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Chris Morgan
Scene Magazine, November 2016

As performed by acclaimed pianist Nicholas Horvath, these works are evocative, cinematic and filled with a pathos that defies easy definition. …Rather than simply reproducing incidental music, Horvath’s naked arrangement shines a light on the score, allowing listeners to appreciate the subtle aspects of the work, both on an emotional and technical level. © 2016 Scene Magazine Read complete review

International Piano, September 2016

Horvath’s playing, always unhurried, ensures that the desolation of ‘Why does someone have to die’ emerges as the emotional hub. It is fascinating to hear Glass’s take on Viennese Waltz (the 1977 Modern Love Waltz); and to have the world premiere of the composer’s own 2007 transcription of Notes on a Scandal, a fascinating, enigmatic piece. …Horvath brings an unremittingly hard touch to the hypnotic Music in Fifths. Glass enthusiasts need not hesitate. © 2016 International Piano

David Barker
MusicWeb International, July 2016

Production values are very good: the Fazioli piano sounds quite beautiful, and the notes are informative…I will certainly be seeking out the earlier releases in this series. © 2016 MusicWeb International Read complete review

David Denton
David's Review Corner, June 2016

We have reached volume four of the complete piano works of Philip Glass, the disc concentrating on the prize-winning music composed for the 2002 film, The Hours. Not performed straight from the composer’s pen but in arrangements for solo piano by Michael Riesman and Nico Muhly, the fourteen sections of cameo length cover the very differing moods of three women who lived at three different times. I suppose if I frequented the cinema I might be able to relate the music to the events that took place, as without that background it all seems so very repetitious in a minimalist mode, and I cannot imagine the stories to which the enclosed booklet briefly relates. Chopin makes a fleeting inspiration for the tenth section, Why Does Someone Have to Die, and Debussy in the following track, but it is all familiar Glass. There follows his only waltz, Modern Love Waltz, which is not one for you to dance; Notes on a Scandal is translucent in its texture; the disc ending with the 1969, Music in Fifths, and I am back in the era where the composer interests me by his sheer ingenuity. The Glass specialist, Nicolas Horvath, is an unstinting advocate, and there is not a lot for the sound engineers to do, but they do it well. © 2016 David’s Review Corner

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