Pianist Lars Vogt himself says it best when he describes the Mozart solo piano repertoire as “absolutely consistent, ingenious simplicity, music that expresses everything of real importance, that immediately touches the heart and demands of the interpreter a high degree of re-creative artistry — it was like coming home after staying away too long.”
Listening to Vogt’s Mozart Piano Sonatas and Fantasias (EMI Classics), it certainly feels as if one has stayed away from Mozart for too long.
Three complete sonatas (nos 10, 11 and 12), two fantasias, two rondos and other works are included on this double disc.
As an example of its quality, take Sonata No 11. The third movement, the “rondo alla turca”, has become somewhat of a cliché — included in practically every Mozart selection disc, played to death and often very badly. In the capable hands of Vogt, however, the piece is vindicated. He plays it at a frighteningly fast tempo, but without any loss of clarity and a clear sense of direction, making it sound like a truly virtuosic movement not to be taken lightly, despite the piece itself not being that technically demanding. In contrast, the first movement of the sonata is taken at an extraordinarily slow pace, which keeps you on the edge of your seat with anticipation, reminiscent of Sviatoslav Richter’s performance of Schubert’s G-major sonata D894.
Vogt treats all the works presented here with the same acute attention to detail and with a refreshingly new ear, and the performances are as close to being as technically and musically faultless as is possible. He is undoubtedly one of the most sensitive Mozart players to emerge in the past few decades, yet is not afraid of using outright force when he feels it necessary. Here there is no trace of the false restraint that can emerge when Mozart is treated too delicately.
The breadth of feeling Vogt has imparted to all these pieces is truly astonishing. The keyboard works of Mozart can often be played with a tad too much emphasis on ornamentation, making them sickly sweet. This is certainly not the case with Vogt; the pieces are no longer pretty, but astoundingly beautiful. He proceeds with a level of control that immediately puts the listener at ease.
The extent of Vogt’s talent could easily be honoured with a Gramophone Award, perhaps this recording will be the one.
a-ha
Analogue (Universal)
The Scandinavian threesome return with a new album, number eight in the list. Lead vocalist Morten Harket sings more soft-pop ditties about love gone wrong (Celice), love leaving (title single Analogue) and love from years gone by (The Summers of Our Youth). There’s also a song about life on the road for a bit of variety. There’s not much here that deviates from the traditional a-ha sound: gentle wall music. — Nadia Neophytou
Not My Dog
False Dog (Wolmer)
It has the guitars of Not My Dog and the drums of Not My Dog; even the bass has the signature hardcore sound of the Pretoria-based band. But, in the absence of vocals from former lead singer Hanu de Jong, it just doesn’t sound like Not My Dog. There is little here to separate this band from so many other heavy-rock crews, unlike the original NMD. — NN
Slashdogs
Spilled Blood Calls for Vengeance (Alter-Ego)
Before you hear the ominous intro of this album, something else strikes you first: the blood-stained cover and screw enclosed in the spine of the CD. Okay, so the blood is painted on, but these guys deserve points for creativity. The debut from local punk rock’n’rollers Slashdogs has all the right ingredients: attitude, raw vocals and stories about places called Charlie’s Titty Bar and Family Bistro. The band wastes no time, rushing right in until Track 4, an ever-so-slightly blues-tinged interlude that ends before you want it to. The rest of the album makes for a passion-fuelled listen. — NN
TREE63
Worship Volume One: I Stand For You (EMI)
The formerly Durban-based Christian band has a reputation for putting on a rocking stage show. This album captures some of that magic with many of the tracks recorded live. The fan favourite and current TV jingle Treasure features, as does a new version of I Stand for You. What a pity fans in the United States get to sample this magic more often than those at home. — NN