The outer movements of the Fantasie could hardly be bettered. Vogt has an instinctive feel for their structure, is ardent without being sentimental, “opting out of all academicism and letting oneself be carried away by the powerful current that engulfs one” (Vogt). He does not allow himself this in the second movement, however, self-consciously shying away from the “blaring kettledrums and trumpets” he frequently hears from others, he says, and failing to embrace Schumann’s durchaus energisch (“quite vigorously”). For example, the measures at 2'05" repeated at 5'22" are marked sfzorzando with a crescendo leading to a series of climactic notes. Vogt plays against the dynamics, reducing tension and momentum.

The Liszt Sonata receives a satisfyingly magnificent reading. Vogt is no mere right-hand Lisztian, giving due prominence to the left’s deft counterpoint in the first “movement”, ending with the chorale theme uttered in truly crunching pesante chords. The allegro energico/fugue is sensibly paced in order to allow him an exciting injection of speed for the più mosso section, and if he fails to thrill in quite the same way as a Horowitz or Argerich in the fuocoso assai prestissimo octaves it is perhaps because Vogt does not view the work purely as a virtuoso vehicle. Well recorded, by the way, with a stimulating booklet.