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Séverine Garnier
Classique Mais Pas Has Been, October 2018

A surprise in the first notes: the sound of the piano. Nicholas Horvath has chosen a ‘period piano’ to create a colour that is more delicate, softer, less metallic than that of the modern Steinway and Yamaha © 2018 Classique Mais Pas Has Been

Inactuelles, musiques singulières, September 2018

I cannot recommend enough to all fans of Satie’s music and those who would love to discover it these three recordings by Nicolas Horvath on the label Grand Piano. Aside from the amazing interpretations, these discs offer nothing less than a rediscovery of the composer through the new Salabert edition, edited by Robert Orledge, a professor of musicology and Satie specialist, after long conversations with the pianist. The liner notes that accompany these discs stand as models among their kind, complete and exciting. © 2018 Inactuelles, musiques singulières

Thierry Vagne
Musique classique & Co, June 2018

SATIE, E.: Piano Works (Complete), Vol. 1 (New Salabert Edition) (Horvath) GP761
SATIE, E.: Piano Works (Complete), Vol. 2 (New Salabert Edition) (Horvath) GP762
SATIE, E.: Piano Works (Complete), Vol. 3 (New Salabert Edition) (Horvath) GP763

…very well recorded. Everything was very well interpreted. Among the discoveries were the mesmerising mystical sounds of the Prélude du Nazaréen, as well as upsud. A future reference for this music. © 2018 Musique classique & Co

François Jongen
La Libre Belgique, May 2018

Nicolas Horvath presents a very inspired and poetic interpretation, performing on a splendidly sounding instrument. © 2018 La Libre Belgique

James Harrington
American Record Guide, May 2018

Horvath’s playing is fine, with a wide dynamic range and excellent clarity of voices. The old Erard piano, while perfect historically for this music, is recorded very close-up, so we get some extraneous mechanical sounds. Most outstanding here is the extended, illustrated booklet essay by Robert Orledge. © 2018 American Record Guide Read complete review on American Record Guide

Luis Suárez
Ritmo, April 2018

SATIE, E.: Piano Works (Complete), Vol. 1 (New Salabert Edition) (Horvath) GP761
SATIE, E.: Piano Works (Complete), Vol. 2 (New Salabert Edition) (Horvath) GP762

In all of these works, [Horvath] manages to distill and present all the attributes of the shy and lonely artist [Satie], with the piano as the medium for communicating this, based on simplicity, clarity, precision, elegance and economy of means. © 2018 Ritmo

Alex Baran
The WholeNote, April 2018

Horvath is quite comfortable with this music. He himself is a strong promoter of contemporary music and has commissioned more than a hundred works. His familiarity with modern keyboard language makes him adept at working with Satie’s material, since the composer was among the earliest to toy with minimalism, atonality and other new approaches.

The recording is a serious, weighty examination of Satie’s work by a highly capable and credible pianist. There’s nothing casual about this—it’s an all-or-nothing performance. © 2018 The WholeNote Read complete review

Chris Morgan
Scene Magazine, April 2018

The opening chords of Erik Satie’s Le Fils des etoiles set an enigmatic mood to begin this recording, appropriate for a composer whose works are considered to be precursors to the surrealist and minimalist musical schools of the early 20th century. This is the second collection of Satie’s works from Grand Piano/Naxos to feature a performance by Nicolas Horvath, and it demonstrates what a fine pairing the two have made. Horvath’s admiration of Satie’s work is obvious, and he addresses himself into the material like a devoted acolyte might relay his master’s teaching. © 2018 Scene Magazine Read complete review, March 2018

It was in the early 1890s that Satie became close friends with Debussy, but the differences in their approach to the future of French music are very considerable—and the piano version of La Mer, contrasted with Nicolas Horvath’s performance of Le Fils des Étoiles on the Grand Piano label, makes that abundantly clear. Horvath completes the album with a three-minute encore showing Satie in more-familiar miniaturist mode—and contrasting quite neatly with the extended and unusual hour and a quarter of incidental music. © 2018 Read complete review

Romaric Gergorin
Classica, March 2018

In comparison with the fascinating version of Fils des Étoiles interpreted by Alexei Lubimov, Horvath plays up other aspects [of this piece]: clarity of motifs, a restrained transparency and a warm and wooded resonance © 2018 Classica

David Denton
David's Review Corner, February 2018

The second disc, in an ambitious project to record the complete piano works of Erik Satie, contains the world premiere recording of a new edition of Le Fils des Etoiles. Reviewing the first release last May, I commented on the copious notes that come with the discs, often directing our thoughts and appreciation to music that has fallen into oblivion. Such is the case with Le Fils des Etoiles, a very extended score—lasting some seventy minutes—which acted as the incidental music to Peladan’s pastoral drama set in 3000 BC, his use of a version of plainsong offering little in terms of melodic invention. Interest comes from Satie’s use of unusual harmonies, the music being formed in vertical rather than horizontal lines, its genesis coming from tonality that at times sounds atonal. In six sections, it has a limited dynamic range and is mostly slow moving. Probably written in 1891, it came from a difficult period in his life when he was still coming to terms with the possible life either as a composer or as a concert pianist. Knowing the music that came later makes this an interesting document, though heard in isolation it may not be an essential part of a Satie collection. That the French pianist, Nicolas Horvath, is a dedicated advocate, and being the inspiration in creating this series, does bring a definitive label to his performances, and you have that feel in his detailed presentation. More volumes already on its way. © 2018 David’s Review Corner

Records International, January 2018

Composed as incidental music to the pastoral drama set in Chaldea in 3000 BC by French novelist Josephine Péladan, Le Fils des étoiles is one of Satie’s longest scores and rarely heard in its entirety (74 min. here). … © 2018 Records International

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