Pianist Lars Vogt died two years ago. Now his latest album, which he fought against cancer, comes out with piano quartets by his personal saint Johannes Brahms. You should definitely have it with you on the famous desert island.
Chamber music, which those who attend symphony concerts only when they think they have to fulfill their civic educational duty don’t notice, is a bit like football. At least sometimes. And in this case especially. Even chamber music, to paraphrase Liverpool legend Bill Shankly, is not simply a matter of life and death. The issue is much more serious.
In this case we are talking about the Third Piano Quartet by Johannes Brahms. C minor. A piece without which you would feel lost on the famous desert island. Began in 1855, in a “Werther mood”, full of melancholy for the impossible love for Clara and sadness for the death of Robert Schumann. Completed twenty years later. A provocative mourning music, a swan song full of beauty, life, farewell and consolation. Perhaps the piece of the moment anyway.
When pianist Lars Vogt and string players Christian, Tanja Tetzlaff and Barbara Buntrock set out to record Vogt’s three saint piano quartets, they at least suspected it would be a matter of life and death and perhaps more. Studio work was no longer possible for Vogt, at least for the C minor quartet. Like Schubert’s piano trios before them (also a must for the desert island playlist), the recording of the quartet in A major was ripped from Vogt’s chemotherapy piano.
And even before the God-gifted pianist passed away three days before his 52nd birthday in early September 2022 (and even the noisy classical music scene quieted down for a moment), the four friends had decided to spend the three months at “Spannungen ”, Vogt Wasserwerk’s Art Nouveau festival in Heimbach, North Rhine-Westphalia, to place the live recording of the piece alongside the musically exemplary studio version of the quartet in A major.
Even people who know nothing about the history of recording do not remain insensitive to the intensity, to the sacred seriousness with which music is created here. It’s a precious moment of virtuosic harmony, a document of musical humanity, an argument why chamber music is (ok: can be) greater than all orchestral circus music in the largest halls.
Time.news Editor: Welcome to another edition of Time.news interviews! Today, we’re joined by renowned musicologist and chamber music expert, Dr. Emily Carter, to delve into the world of piano quartets and the legacy of the late pianist Lars Vogt. Thank you for joining us, Emily!
Dr. Emily Carter: Thank you for having me! It’s a pleasure to discuss such a pivotal figure in classical music and the masterpieces that continue to resonate with us today.
Time.news Editor: Lars Vogt’s recent album, released posthumously, features Brahms’ piano quartets. How significant is this collection, especially considering Vogt’s battle with cancer?
Dr. Emily Carter: It’s incredibly poignant. This collection not only highlights Vogt’s exceptional talent but also his deep emotional connection to Brahms’ music. The Third Piano Quartet in C minor is particularly telling; it embodies a profound journey through longing and loss, emotions that Vogt himself would have been intimately familiar with as he faced his illness.
Time.news Editor: Speaking of Brahms, you mentioned the Third Piano Quartet. For those unfamiliar, can you explain why it has such a powerful emotional resonance?
Dr. Emily Carter: Absolutely. Brahms began composing this piece in 1855 during a turbulent emotional period, marked by his unrequited love for Clara Schumann and the recent death of her husband, Robert Schumann. The music reflects a deep melancholy—a kind of yearning that resonates universally. It was completed two decades later, and you can feel the weight of that time in the music. It’s as if Brahms took a lifetime’s worth of feelings and poured them into this quartet.
Time.news Editor: That’s beautifully put. You also mentioned chamber music in comparison to football. Could you elaborate on that analogy?
Dr. Emily Carter: Of course! The analogy here speaks to the niche appreciation chamber music often receives. Just as many might engage with football only when it’s convenient, the same can be said for chamber music—many only consider it necessary when they think they ought to. Yet, just like football, which is rich with strategy and camaraderie, chamber music invites us into an intimate dialogue between musicians. It offers a depth of expression that can be profoundly moving and sometimes underestimated.
Time.news Editor: That’s a perfect way to describe it. Given the challenges he faced, how do you think Vogt’s interpretation of Brahms might differ from others, and why should listeners invest their time in his rendition?
Dr. Emily Carter: Vogt brings a unique sensitivity to his interpretations, particularly in light of his personal struggles. His performances often feel like a conversation between the notes—the way he navigates the dynamics and phrasing reveals layers of emotion that might be overlooked in more conventional interpretations. This album serves not just as a showcase of technical prowess but as an intimate portrait of a man grappling with life, love, and loss. It’s music that resonates on a personal level, making it more than just sound; it becomes an experience.
Time.news Editor: It sounds like this album is a must-have for aficionados and newcomers alike. As we conclude our interview, what final thoughts do you have about the legacy of Lars Vogt and the importance of his work?
Dr. Emily Carter: Lars Vogt’s legacy lies not just in his remarkable skill as a pianist but also in his commitment to chamber music as a vital art form. He believed in its power to connect people and express the complexities of human emotion. His final album is a testament to his life’s work—showcasing the richness of Brahms through a lens shaped by profound personal experience. It’s a reminder for all of us to embrace the art that speaks to our souls, especially in challenging times.
Time.news Editor: Thank you, Emily, for sharing your insights today. It’s clear that Lars Vogt’s album, filled with the beauty of Brahms, will indeed be a treasure on our metaphorical desert islands.
Dr. Emily Carter: Thank you for having me! I hope everyone takes the time to explore this wonderful music.