The three works on this disc all share the common trait of being in C minor, which according to the booklet, is more than just a key for Beethoven. For Beethoven, C minor represents a declaration, and characteristics such as emotional ecstasy, tragedy and colossal expressiveness mark his other C minor works, epitomized by the great Fifth symphony. Vogt explains that by attempting an interpretation of these 3 C minor works, he is in effect retracing Beethoven's musical life, much like dissecting a life nerve.

The first work is the seldom heard 32 Variations on an Original Theme, written in 1806. These variations were sandwiched between the Appassionata, the Fourth Symphony and the Fourth Piano Concerto. Situated between such titans, the plainness and simplicity of the 32 variations seems a little disappointing. The work is hushed and despite its expressiveness, sounds rather reclusive and intimate. I suspect that Vogt must have been attempting to get that flavor across but not quite getting it right. His style is extremely clean and sharp, so spare as to be bereft of any personality. And I think that's the reason I find it hard to empathize with his interpretation. For although the technical proficiency is undeniable, the performance is so bloodless and recessed for me that I cannot come to grasps with the music.

The "petite" Sonata No. 5 is a little more successful. Mozart's influence can still be subtly felt in this early work and is noticeable in the attack-like beginning of the work, with its "terse, chopped motivic formulae". Nevertheless, this is still very much Beethoven's own work. Vogt shows considerable elegance in the serene second movement. The final prestissimo is quite exciting, and Vogt manages to communicate the youthfulness and the Sturm-und-Drang qualities of the work quite well.

The final work is of course the mighty and Olympian final piano sonata of Beethoven, the crowning glory of Beethoven's 32-sonata legacy. In the grandiose Maestoso, giant hands seem to be fashioning an arena in which a life and death struggle is to take place. Again, although Vogt cannot be faulted for incompetence, he is unable to convey the majesty and drama of this work, its unyielding inflexibility and rigidity which melts into the azure peacefulness of the Arietta. A casual comparison with Wilhelm Kempff's account immediately shows that Kempff is by far the greater interpreter of Beethoven, able to scale the heights of his ecstasy, despair and transcendental bliss. Vogt is simply not prickly enough or too monotonous and chunky. In his playing, we are unable to have direct access to the pathos and rapture in this sonata, but hear it as though from a great distance.

Unfortunately, despite the fine reputation of this young pianist, I cannot in good conscience recommend this disc. In fact, even Glenn Gould's highly controversial accounts hit closer to the heart of Beethoven than Lars Vogt's. There are many finer and lower-priced versions of these works out there.

Copyright © 1998 Melvin J Yap