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Rob Haskins
American Record Guide, March 2017

Mr Horvath continues this fascinating survey of Glass’s piano music with performances that satisfy me completely. © 2017 American Record Guide Read complete review on American Record Guide

David Barker
MusicWeb International, November 2016

Nicolas Horvath plays this music wonderfully well: warm and expressive or cold and mechanical as required. His notes are again excellent, and the Fazoli piano sounds glorious.

If you appreciate all of Glass’s styles, then this will provide great satisfaction. © 2016 MusicWeb International Read complete review

Jean-Luc Clairet, October 2016

Glass’ piano in technicolour, although unusual for the guardians of the temple of Glass, but certainly convincing in the absolute. © 2016

Stephen Smoliar
The Rehearsal Studio, October 2016

…Horvath plays this music with considerable attention to the dynamic level of every note, …Thus, it does not take long for the attentive listener to realize that, while the structures of the marks on the score page may be repetitive, the performance itself has a rhetorical shape of its own that enhances the surface structure of repetition with the deep structure of something more like a journey. © 2016 The Rehearsal Studio Read complete review

David Denton
David's Review Corner, October 2016

The fifth volume in the complete piano works of Philip Glass contains two of his most extended works in the genre, Mad Rush and the highly complex 600 Lines. Though he distanced himself from Minimalism, Mad Rush is surely one of the perfect examples of that movement, the score almost of a mystic quality at odds with its title. It is also a score that remains in the memory, even to an extent that you cannot loosen yourself from it, but continue to hear it for days afterwards. Originally an organ piece, it was later given its name Mad Dash when adapted for a piano accompaniment used by a modern ballet company. The work’s twenty minutes is dwarfed by 600 Lines that plays for twice that length and was originally composed for the Philip Glass Ensemble in 1967, and was only many years later adapted for solo piano. Shaped as a restless toccata whose subtle shifts around a musical kernel of five notes is as taxing on the performer as on the listener, the changes of rhythm as complex as the changes of the note patterns. As a Glass enthusiast, I confess I find its length something I would not often return to, despite the advocacy of the pianist, Nicolas Horvath, in this premiere recording. Two short pieces revisits his Metamorphosis Two—maybe you will spot the changes from the version on volume three of this series—and a solo piano arrangement of Paul Simon’s lush harmonies in The Sound of Silence. Horvath is the unfailingly promoter of Glass, and in very good sound quality. © 2016 David’s Review Corner

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