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Seth Colter Walls
Rhapsody, December 2015

On this all-Philip Glass album, young pianist Horvath has the honor of giving the recorded premiere of Dreaming Awake, a pleasant 2003 piece that breaks no new ground. Much more interesting is his take on Glass’ How Now, which dates from 1968. Glass himself once played this uber-minimalist opus with a brittle, buzz-saw synth—though Horvath goes in the other direction, managing to sound both nervy and graceful on a resonant grand piano. And while his teasingly languorous performance of the Orphee Suite flirts with lassitude, he keeps the work’s essential momentum going. © 2015 Rhapsody



AudioNec, December 2015

For all the piano lovers and contemporary music, this CD is a must have. Perfect play of Philip Glass’s music with a kind of eternal candle to light it inside. Perfect sound and recording of a Fiazoli Grand Piano with all the harmonics and exceptional dynamic of this unique instrument. © 2015 AudioNec



Chris Morgan
Scene Magazine, July 2015

Pianist Nicolas Horvath exhibits skill and inventiveness in his performance, qualities which allow him to go wherever the music leads. © 2015 Scene Magazine Read complete review



Rob Haskins
American Record Guide, July 2015

…the disc is important because it demonstrates that Glass’s music works quite nicely alongside other composers of the past and alongside quite traditional approaches to performance generally. © 2015 American Record Guide Read complete review on American Record Guide



Christian Williams
Utne Reader, May 2015

Glassworlds Vol 1, sees [Horvath] taking on more of Glass’ complex minimalism with aplomb. © 2015 Utne Reader Read complete review




Colin Clarke
International Piano, May 2015

Somehow, the objectivity of the sound of a piano suits the music of Philip Glass perfectly. Certainly that’s how it seems in Nicolas Horvath’s expert performances on this… © 2015 International Piano



Remy Frank
Pizzicato, April 2015

The technical challenge to the pianist is huge, but causes no problems to the Monegasque pianist Nicolas Horvath. His virtuosity is astounding. © 2015 Pizzicato



C. Michael Bailey
All About Jazz, April 2015

Glassworlds I promises to be a comprehensive look at the whole of Philip Glass’ piano art. Horvath takes great care in his articulation of the volume dynamics of the piece, treating the music gently were required and with muscle where appropriate. It will be a treat to hear what is on Glassworlds 2. © 2015 All About Jazz Read complete review



Inactuelles, musiques singulières, March 2015

A masterful disc, dazzling, very intelligently conceived in a non-chronological manner, in order to present the full diversity of Philip Glass’ works. © 2015 Inactuelles, musiques singulières



Infodad.com, March 2015

Nicolas Horvath brings as much care and sensitivity to the piano version of How Now…as to the much more dramatic Dreaming Awake… © 2015 Infodad.com Read complete review



Stephen Smoliar
Examiner.com, March 2015

…there is no shortage of excitement in […] performances.

Personally, I have always preferred music that involves some form of staging, either in an opera house or in front of a movie camera. In February of 2011 I was fortunate enough to enjoy a production of the Orphée opera here in San Francisco… As a result, my greatest pleasures come from Horvath’s performance of Barnes’ suite based on Glass’ opera and Riesman’s arrangement of the film music for The Hours.

…Horvath […] bring[s] an accessibility to Glass’ music that affirms that his years of youthful provocation have long passed. © 2015 Examiner.com Read complete review



David Denton
David's Review Corner, March 2015

The American-born composer, Philip Glass, rejects that he is part of the Minimalist group that sprang up in the late 1970’s, but that is how the world recognises him. Indeed, as this opening disc in a projected series clearly illustrates, it is in this form of writing, with its repeated use of note and/or rhythmic patterns, that his creativity relies. From his standpoint, he would prefer us to see it as a synthesis of Western and Indian music. Those two factors came into his life when he studied in Paris in the 1960’s, and there met the Indian sitar virtuoso, Ravi Shankar. It brought to an end an early predilection for the twelve-tone system of composition, and on his return to the States he formed the Philip Glass Ensemble. That was the year following Steve Reich’s formation of his group whose primary aim was to perform music created by repetitive note and rhythmic patterns. Curious how classical music is so full of coincidences. For his part, Glass was to embrace every genre, though as he composes at the piano, he has contributed much for keyboard. Certainly an acquired taste, but one which you have to become acquainted, the opening of Glassworks having a delicacy that reminds one of Debussy. With jazz introducing a different slant to the opening of the suite from Orphee, this too largely relies on quiet nuances. The opera, from which it is taken, points to Glass’s quite considerable and critically acclaimed contribution to the stage. The ‘hard nut’ to crack, for those just coming to Glass, will be How Now, a score that lasts for over thirty minutes, its highly repetitive nature requiring the French-born pianist, Nicolas Horvath, to breath life into it. Basically the music does not demand a prodigious technique, though the ability to shade music with an infinite number of sounds is a prime requisite. Here we have such remarkably smooth crescendos and diminuendos, you would almost construe they were electronically created. The engineering is excellent. © 2015 David’s Review Corner





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