Fanfare MagazineMay 2018"This is a stunningly played recital of two of Debussy’s most familiar cycles and a world premiere of pianist Vincent Larderet’s expansion of André Caplet’s piano reduction of Debussy’s incidental music to Grabriele D’Annunzio’s Le Martyre de saint Sébastien. Reviews in these pages of Larderet’s previous work have been unanimously positive. Peter Burwasser recently (40:4) grouped him with Pollini, Brendel, and Badura-Skoda as 'masterful technicians and intellectual[s].' John Bell Young wrote (39:3) that Larderet 'has blossomed into a great pianist indeed.' And Colin Clarke (35:5) described his playing as 'gripping and multitimbred.' I will add that it is full of vivid colors, subtle rubato, and an equal affinity for the contemplative and the virtuosic aspects of Debussy’s writing."
Fanfare Magazine (USA) N°41:5 - May-June 2018 issue
Fono ForumApril 2018"Vincent Larderet, with his interpretation of the second Book of [Debussy's] Préludes in comparison with the youngest of the named 'old Master' [Krystian Zimerman], is almost on equal footing. The juxtaposition of individual voices and chords, the highly differentiated dynamics and the parallel play of colors require the interpreter to achieve a maximum in the areas of agogics and pedaling. Larderet possesses great subtlety in this regard. [...] The symphonic fragments from Le Martyre de saint Sébastien are a real enrichment on Larderet's SACD."
Fono Forum (Germany) n° 04 - 2018 / April 2018 issue
Classica 5 stars "Coup de cœur"April 2018"The musicality of Larderet, his art of transitions and the quest for the mystery behind appearances are perfectly suited to the First Series of Images and the Book II of Preludes which the soloist brings an orchestral dimension (Feux d’artifice). [...] A stone in the debussyst edifice. "
Classica Magazine (France) N° 201 - April 2018 issue
Michel Le Naour
Pizzicato 5November 2017"Vincent Larderet’s extremely clear and finely nuanced playing combined with one almost symphonic sound sensibility reduced for the piano, serves Debussy’s music very well. On the CD there is also a premiere recording : a suite from Le Martyre de saint-Sébastien transcribed for piano by André Caplet."
Pizzicato 5 (Luxembourg)
ConcertclassicNovember 2017“Around 20 km from Strasbourg, the Würth Museum of Erstein inaugurated in 2008 offers a beautiful setting for a piano festival which Vincent Larderet provides the artistic Direction. [...] The program which Vincent Larderet chose for the inaugural evening is distinguished by its density. [...] In the second part, Liszt's Après une lecture de Dante is performed with greatness, dexterity and a deep sonority which underlines the importance of the teaching received in Lübeck with Bruno Leonardo Gelber.”
Michel Le Naour
Pianiste - interviewSeptember 2017PIANISTE Magazine (France) - n°106 Sept/Oct 2017
PIANO News - review & interviewMarch 2017"Vincent Larderet und das Festival Piano au Musée Würth in Erstein"
PIANO News magazine (Germany) N° 2 / 2017 - Mar/Apr
4 pages of review with interview
Fanfare MagazineMarch 2017"French pianist Vincent Larderet belongs to that class of artists who are both masterful technicians and intellectual. His compatriot Pierre-Laurent Aimard is also in this category, and in the previous generation we can include Maurizio Pollini, Alfred Brendel (...). He conveys a sense of a young genius still trying to find a proper vehicle for what is already a distinctive voice."
Fanfare Magazine (USA) N° 40:4 - Mar/Apr 2017 issue
Musica 5 starsFebruary 2017“I am convinced that we will speak a lot of Vincent Larderet in the future. His Brahms has a huge tragic force for the depth of the sound, breath phrasing, the density of speech and a lyrical, passionate, painful intensity. (…) A great value CD on which background seems to appear even the ghost of Claudio Arrau.”
MUSICA 5 stars Award (Italy) n°283 - February 2017 issue
Tutti magazine - InterviewJanuary 2017Tutti-magazine (France)
Classic agenda - podcast interviewDecember 2016Classicagenda (France)
"Portée de voix"
Classica 4 starsDecember 2016"A recording that imposes itself by its height of view."
Classica (France) n°188 - Dec 2016 / Jan 2017 issue
Rondo MagazinNovember 2016"Vincent Larderet hat sich nun beider Werke für eine CD angenommen, und sein eigener Beihefttext zeigt, dass er sich eine Menge Gedanken um die Hintergründe dieses Programms gemacht hat. Die intensive geistige Durchdringung der Materie wird in seinem Spiel durchaus auch hörbar. Larderet vermag zudem eine Menge Plastizität in die Satzstruktur zu bringen: Wer tiefer in die Stücke einsteigen will, dem liefert Larderet einen Höreindruck von so bemerkenswerter Klarheit, dass er einen analytischen Zugang zur Materie passagenweise fast ohne Notentext in der Hand ermöglicht."
RONDO Magazin (Germany)
MusicWeb InternationalOctober 2016“Larderet plays with commanding virtuosity, purposeful direction and shows a real empathy for this music. [ Brahms Sonata n°3 op.5 ]”
“It’s a performance [ Berg's Sonata op.1 ] that sets the bar high, and stands side by side with two of my favourites by Mitsuko Uchida and Glenn Gould.”
MusicWeb International (UK)
Pianiste - InterviewSeptember 2016Double interview in Pianiste magazine (France)
=> Artistic Director of the "Piano au Musée Würth" international Festival (page 15)
=> About the ARS Ravel / Schmitt Concertos SACD-CD (page 68)
Sept / Oct 2016 issue n°100
Resmusica - InterviewMay 2016Resmusica (France) - Interview "Aller + loin”
ScherzoFebruary 2016"Larderet te acaricia directamente, suave y seductor, en complicidad con Kawka y el conjunto. Ah, sus trinos despidiéndose del movimiento central son todo un poema."
Scherzo n°315 (Spain)
Santiago Martín Bermúdez
Fanfare "Best recordings of the year"January 2016"Not only has this recording earned a place on my short list of the best recordings of the year, but it sets a new standard by which all other performances will likely be measured in future."
Fanfare Magazine (USA) N°39:3 issue (Jan/Feb 2016) - Best recordings of the year
John Bell Young
Klassik Heute “Empfehlung”December 2015"I call it fascinating because it’s the only relevant performance for me which can exist without restriction alongside the reference recordings of Michelangeli (Concerto in G) in 1957 and Zimerman (both concertos) in 1994."
Klassik Heute "Empfehlung" (Germany)