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Rob Haskins
American Record Guide, May 2016

…performances are fine and demonstrate as always Horvath’s intense, almost romantic expressive choices for the music. Glass’s music benefits from this approach very nicely. © 2016 American Record Guide Read complete review on American Record Guide



Alex Baran
The WholeNote, March 2016

Young pianist Nicolas Horvath has a very impressive reputation as a Liszt interpreter. …At the keyboard he extracts thematic material from the rotating structures that Glass sets spinning like so many Buddhist prayer wheels. In doing so he compels the listener to experience the music more melodically than its hypnotic patterns might otherwise allow.

This kind of versatility makes Horvath a compelling interpreter and presents the repertoire in a deeply engaging and listenable way. © 2016 The WholeNote Read complete review



Midwest Tape, February 2016

This Nicolas Horvath program reverses time, revealing the metamorphosis in Glass’s work from his 1980s film and theatre transcriptions, through The Olympian composed for the Los Angeles Olympiad, to rarities such as the dream-like Coda. © 2016 Midwest Tape



Stephen Smoliar
Examiner.com, January 2016

The most substantial part of Horvath’s album is the collection of five pieces entitled “Metamorphosis”…

…each of Barnes’ arrangements stands up perfectly well when performed independently… © 2016 Examiner.com Read complete review



David Denton
David's Review Corner, January 2016

For his third volume in the series, Glassworlds, Nicolas Horvath takes us on a reverse journey through the career of the American-born composer, Philip Glass. To make life easy, let us start at the beginning of his career with his Second Sonatina, composed in 1959 at the age of twenty-two, and before he graduated from New York’s Juilliard School of Music. Compressing three movements into something less than three minutes has the parentage of Webern. Then a significant jump to 1968—by which time he had spent three years in Paris with the pedagogue, Nadia Boulanger, as his guiding light—and he had now totally embraced Minimalism in the 1968 score, Two Pages. The repetitive nature of the work takes minimalism one giant step too far in a work lasting almost thirteen minutes. Thankfully for the sanity of the world, by the time he wrote his opera, Einstein on the Beach, he had lived through that era, an interlude from the opera later forming the first part of the Trilogy Sonata. Now he had broken out of a rhythmic straightjacket and had taken on a warm and richly coloured tonal palette even in this version for solo piano. Then taking a stride towards Steve Reich’s unusual minimalist time-patterns we have the brief A Secret Solo from 1977, which was seemingly a bridging period to the opera Satyagraha, which together with an extract from Akhnaten, provided the remaining parts of Trilogy Sonata. The Olympian—Lighting of the Torch and Closing for the Los Angeles Olympic Games, leads to the four Metamorphosis, and finds Glass in a new melodic world of gentle sounds. Not all of the disc was originally intended for the piano, and many tracks sound that way, though the Glass specialist, Nicolas Horvath, is always a potent advocate. © 2016 David’s Review Corner





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