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Alain Steffen
Pizzicato, October 2017

Nicolas Horvath launches his Satie series with early works and some premiere recordings. The pianist uses the new Salabert Edition and Cosima Wagner’s own 1881 Erard piano, Satie’s instrument maker of choice. His performances are clearly defined in the most objective may. As interesting this might sound at the very beginning, and despite a nuanced and lively playing, the listener progressively gets the impression that the music lacks variation in terms of colours. Nevertheless, this is an interesting undertaking and we look forward to the next releases. © 2017 Pizzicato

Alan Becker
American Record Guide, September 2017

Many of these pieces are enjoyable; most are rather light and brief, others simplistic and dull. Horvath plays with the skills of a thoroughly grounded academician. I hope to hear more imagination as the series progresses. Good sound and fabulous notes by Robert Orledge bring considerable lustre to this first outing. © 2017 American Record Guide Read complete review on American Record Guide

Romaric Gergorin
Classica, September 2017

Horvath plays with wonderful intensity on an Erard 1881 piano once belonging to Cosima Wagner, applying a discrete humorous touch, clearly in the spirit of Satie, who was in his time deeply contemptuous of French Wagnerism… Nicolas Horvath thus succeeds, with presence, the first stage of his project and should soon cover the entire body of works. Performed with objectivity, seduction and vivacity… © 2017 Classica

Salvatore Phichireddu, September 2017

Very very promising first volume of a new Satie complete piano works recording by Monegasque pianist Nicolas Horvath. Fantastic sound, excellent instrument and delicate playing. © 2017

Alex Baran
The WholeNote, August 2017

Horvath does a splendid job in presenting this unusual repertoire. The four Ogives are almost entirely vertical and hymn-like in their replication of plainchant. Said to have been inspired by the Gothic arches of a neighbouring church, these are perhaps unlike most of Satie’s other music. © 2017 The WholeNote Read complete review

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, August 2017

Horvath’s interpretations are meant to be faithful to Satie’s vision and as such they are not spectacularly slow or fast, not extrovertedly dashing so much as concentrated.

Strongly recommended. © 2017 Gapplegate Classical-Modern Music Review Read complete review

WGBH, August 2017

French pianist Nicolas Horvath explores the eccentric mysticism of one of the leading minds of modernist music. © 2017 WGBH Read complete review

Bruce Collier
The Beachcomber, June 2017

French pianist composer and archetypal eccentric Erik Satie gets meticulous attention from Horvath on Satie, Complete Piano Works Vol. 1. Twenty seven pieces drawn from Satie’s early years make up what I hope is only the first installment of more Satie from Horvath. Here, Satie is still trying on and shedding outside influences (Chopin, for one), and there’s a more formal, romantic, light classical feel to the pieces, with titles like “Sarabande.” Still, there’s a hint of the mature Satie, the sly archness and intellectual jokes that characterize later works like “Dried up embryos” and “Three pieces in the form of a pear.” © 2017 The Beachcomber

Lisa Flynn
WFMT (Chicago), May 2017

Erik Satie’s earliest works show traces of Chopin as an influence but he soon came to reject virtuosity, choosing instead to remain with the French traits of simplicity, clarity, elegance and economy. This landmark recording by Nicolas Horvath uses a new edition played on Cosima Wagner’s own 1881 Erard piano, Satie’s instrument maker of choice. © 2017 WFMT (Chicago)

David Denton
David's Review Corner, May 2017

It is rare that I review a CD that is accompanied by such copious and informative notes that complements this first in a complete cycle of Eric Satie’s piano music. It relates the origins of this first definitive printed edition of all Satie’s works that exist for solo piano, some of these unknown even to his enthusiasts, and are here receiving their world premiere recording. In his younger years, Satie was looked upon as something of an odd-ball figure who enjoyed a Paris coterie who only wanted to be different. He belonged to that group of composers who rejected the previous Romantic era, but who still clung to the world of tonality. Having entered the Paris Conservatoire in 1879 at the age of thirteen, he departed soon after, and it was in the three years beginning 1908 that he eventually committed himself to becoming a pianist and composer. This first disc using the new Salabert Edition offers works in order of composition written between his two periods of study, and is as diverse as the brief opening Allegro, which lasts for less than half a minute, through the substantial group of three Sarabands and onto the Sonneries de la Rose Croix, the disc’s most extended work. At this point he had yet to create an individual musical voice, and initially it was the influence of Debussy that was present in his harmonic language. We have known little of this period, though the Trois Gymnopedies, written when he was twenty-two, have been passed down as one of his most frequently heard works. The decision to record them on an 1881 Erard piano was questionable, as to ‘modern’ ears this particular instrument—which belonged to Wagner’s wife—sounds rather like an upright that has known better days being recorded in a large and empty hall. The tempos of the outstanding French pianist, Nicolas Horvath—from whom the idea of making these recordings emanated, are sometimes unexpected, particularly in the slow approach to the Trois Gymnopedies, though he obviously has a great fondness for the music. Two further volumes are expected soon. © 2017 David’s Review Corner

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