News

17 March 2015 

The 1st album has been released ! First critics are really excellent and i am so much happy about it. 

Also i just finished recording another Glass Volume, i also received all the recording from the first Erik Satie session and now … a long month of editing is awaiting …

By the way , for the ones in Paris, do not forget to go to the 2 forthcoming concert : 

27 March at « Les Voutes » for a solo electroacoustic around Cardew’s Treatise & Terry Riley’s « In C » with the S.A.I. Ensemble

3 April at « Théâtre Adyar » for the Solo European Premiere of the Complete Philip Glass piano Etudes

 

Another good new, i have now the pleasure to share with you 3 differents promo video for the 1st Philip Glass album:

6 february 2015

Back from all those great concerts. I am so happy everything turned out in such a successful way ! Soon i will post picutres and many detailed comments in my blog. 

Some great news : 

in March 2015 : the first volume of the Complete Philip GLASS will be available ! I am so happy about this new ! 

You can have access (for the french ones sorry) to a pre-version in HD at Qobuz there : link to Qobuz

and also a very nice promo video made by my dear friend Jean-Lionel Dias did a fantastic promo video : Link here

 

The 27th March in Les Voutes (Paris), with my Ensemble S.A.I. in a larger formation, we will pay a tribute for the 80th Birthday of Terry RILEY  

3 April 2015 in Paris at the Théâtre Adyar : i will perform the Complete Philip GLASS etudes, like in New York, but this time, my first GLASS album will be available 

A mini website was created for this concert, with videos, bios and a link to buy directly the tickets : Link here

And very soon, i will have news about a possible GlassWorlds tour in the USA East Coast ! 

 

24 December 2014

Merry Christmas, this is the very first entry to my newly created website, i really hope you will like its new design. I am now in the middle of many concerts with Philip Glass piano music : 

27 December in Lantosque 

31 December a GlassWorlds in Kiev 

9 January in Carnegie Hall for the world premiere by one pianist of all the Philip Glass Etudes for Piano (alongside with exclusive miniatures from Alvin Curran, Jaan Rääts, Eve Beglarian, Tom Sora, Michael Blake, Victoria Poleva …)

Also my Lovecraft Trilogy (electroacoustic – dark ambient album ) has just been released by Valse Sinistre Productions

Hope you will enjoy them ! And soon …. the 1st Glass album at Naxos – Grand Piano

Me

Nicolas Horvath ©Perla Maarek

Short biography (by Frédérick MARTIN)

Recognized at once as a great interpreter of Liszt’s music, Nicolas Horvath became in recent years one of the most sought after pianists of his generation. Holder of a number of awards, like the First Prize of the Scriabin and the Luigi Nono International Competitions, he frequently organizes events and concerts of unusual length, sometimes over twelve hours, such as Philip Glass complete piano music or Erik Satie’s Vexations. Composers from tens of countries having written for him, Nicolas Horvath champions all aesthetics. He also is a Steinway artist.Beyond his career as a virtuoso which leads him to travel around the world, Nicolas Horvath is a composer as well, he includes to his creative work musicians from all horizons.
Nicolas Horvath - Live in Kiev 2014 © Дмитрий Блудов

Long biography

Considered to be an out-of-the-ordinary artist with an unconventional résumé, Nicolas Horvath began his music studies at the Académie de Musique Prince Rainier III de Monaco. At 16, Lawrence Foster took notice of him in a concert and, securing a three year scholarship for him from the Princess Grace Foundation, was able to invite him to the Aspen Music Festival. With a degree from the École Normale de Musique in Paris, he worked for three years with Bruno-Léonardo Gelber, Gérard Frémy who instilled in him a sensitivity to music of our time as well as Eric Heidsieck, Gabriel Tacchino, Nelson Delle-Vigne, Philippe Entremont and Oxana Yablonskaya. Leslie Howard got to know him and invited him to perform before the Liszt Society in the United Kingdom, dedicating to him his 23rd Etude in Black and White. Thanks to Leslie Howard, Nicolas was able to deepen and supplement his knowledge of the works of Franz Liszt.. A contemporary music enthusiast, he works for Régis Campo, Denis Levaillant, Jaan Rääts, Mamoru Fujieda, Alvin Curran, Valentyn Silvestrov... Within a free rein from the Palais de Tokyo Museum (Paris) in april 2014, he commissioned exclusives “Homages to Philip Glass” to more than 120 composers from more than 50 countries and various cultures and styles. Nicolas received dedicated pieces in forms of Concertos, Sonatas, Preludes... from more than 70 composers. He is also an electroacoustic composer. He is being noticed with his concert of unusual length (sometime over 14 hours) like his GlassWorlds, his “Nights of Minimal Piano” or his non stop recitals were he performs all the piano music of Philip Glass or Erik Satie. He performs as soloist with the Orchestre Philharmonique de Monte- Carlo, the Palm Beach Symphony Orchestra, the Kiev Virtuoso Soloists, the Kiev & Minsk Symphony , the Nice Ensemble Instrumental and in festivals such as the Palm Beach Atlantic Piano Festival, Gabala Piano Festival, BSI Monte-Carlo Music Master, Canto XL, Palais de Tokyo 2nd Season... Winner of international competitions, he was awarded 4th Prize and Special Franz Liszt Prize at the Yokohama International Competition which takes place in the famous Minato Mirai Hall; 2nd Prize at Fukuoka which enabled him to participate in the Nishin-Nihon Debut Recital Series. In 2015 , Nicolas Horvath did the world premiere of the complete cycle of Philip Glass' 20 Piano Etudes in a sold out Carnegie Hall (William Susman : « Nicolas Horvath is making history » ; Paul A. Epstein : « Nicolas Horvath made a powerful case for Glass as a late Romantic, a MinimaLiszt as it were » Jed Distler : « a feat of concentration and stamina, and I admire that tremendously. Again Bravo »). The release of his first cd «Franz Liszt's Christus» (first complete recording at the Hortus Editions) had a great press reception («un artiste à suivre»: Diapason ; «Urgently recommended» «a musical triumph»: Fanfare... ). Actually, he records for Naxos Classical the Philip Glass complete piano music; for Sheva Collection and under the guidance of Prof. R. Orledge the Erik Satie complete(d) – the first Urtext verion - piano music and is preparing for recording all the Rääts sonatas and all the Denis Levaillant 's Image-Etudes under the composers close advices. Nicolas Horvath is a Steinway Artist

Music

  • GLass n1
    Philip GLASS : GlassWorlds #1
  • Waller cd
    Michael Vincent WALLER : The South Shore
  • the dreams p1 copy
    The Dreams in the Witch-House
  • at the mountains p1
    At the Mountains of Madness
  • twilight p1
    Twilight Amorphousness of the Vague Abysses
  • French Avant Garde
    the French Avant Garde in the XX Century
  • 41cHxJm2nnL._SX450_
    Franz LISZT : Christus
  • NicolasHorvath-CorneliusCardewTreatise2013
    Cornelius CARDEW : Treatise
  • Brenet
    Thérèse BRENET : Le Visionnaire

Press

  • GLass n1
  • Waller cd
  • Nicolas Horvath - Live in Kiev 2014 © Дмитрий Блудов
  • GlassWorlds POSTER
  • 41cHxJm2nnL._SX450_
  • French Avant Garde
  • NicolasHorvath-CorneliusCardewTreatise2013
  • Die technische Herausforderung an den Pianisten ist gewaltig, bereitet aber dem monegassischen Pianisten Nicolas Horvath keine Probleme. Seine Virtuosität ist stupend

    Remy Franck (Pizzicato.lu)

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    Glassworlds I promises to be a comprehensive look at the whole of Philip Glass’ piano art. Horvath takes great care in his articulation of the volume dynamics of the piece, treating the music gently were required and with muscle where appropriate. It will be a treat to hear what is on Glassworlds 2.

    C. Michael Bailey (All About Jazz, April 2015)

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    Un disque magistral, éblouissant, fort intelligemment conçu de manière non chronologique pour présenter toute la diversité de l’œuvre de Philip Glass, ce jeune compositeur de plus de 87 ans. La rencontre d’un immense compositeur et d’un non moins immense pianiste, qu’on se le dise ! Sans oublier le piano, un Fazioli, à la musicalité exceptionnelle !!

    Dionys (Inactuelles)

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    Glass was to embrace every genre, though as he composes at the piano, he has contributed much for keyboard. Certainly an acquired taste, but one which you have to become acquainted, the opening of Glassworks having a delicacy that reminds one of Debussy. With jazz introducing a different slant to the opening of the suite from Orphee, this too largely relies on quiet nuances. The opera, from which it is taken, points to Glass’s quite considerable and critically acclaimed contribution to the stage. The ‘hard nut’ to crack, for those just coming to Glass, will be How Now, a score that lasts for over thirty minutes, its highly repetitive nature requiring the French-born pianist, Nicolas Horvath, to breath life into it. Basically the music does not demand a prodigious technique, though the ability to shade music with an infinite number of sounds is a prime requisite. Here we have such remarkably smooth crescendos and diminuendos, you would almost construe they were electronically created. The engineering is excellent.

    David Denton (David’s Review Corner)

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    Inutile donc de vous commenter les qualités d’interprétation de Nicolas Horvath, un pianiste qui semble ici complètement et parfaitement « chez lui » avec cette musique dans laquelle il met beaucoup de sa sensibilité personnelle.

    Piano Bleu

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    On this all-Philip Glass album, young pianist Horvath has the honor of giving the recorded premiere of « Dreaming Awake, » a pleasant 2003 piece that breaks no new ground. Much more interesting is his take on Glass’ « How Now, » which dates from 1968. Glass himself once played this uber-minimalist opus with a brittle, buzz-saw synth — though Horvath goes in the other direction, managing to sound both nervy and graceful on a resonant grand piano. And while his teasingly languorous performance of the Orphee Suite flirts with lassitude, he keeps the work’s essential momentum going.

    Seth Colter Walls (Rhapsody.com)

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    Nicolas Horvath brings as much care and sensitivity to the piano version of How Now…as to the much more dramatic Dreaming Awake…

    Infodad.com (March 2015)

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    …there is no shortage of excitement in […] performances.

    As a result, my greatest pleasure come from Horvath’s performance of Barnes’ suite based on Glass’ opera.

    …Horvath […] bring[s] an accessibility to Glass’ music that affirms that his years of youthful provocation have long passed.

    Stephen Smoliar (Examiner.com)

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    Philip Glass’ Klavierwerke sind bei Horvath also in den besten Händen, denn in seiner Persönlichkeit vereinen sich spieltechnische Könnerschaft und das gewisse Quäntchen Pop-Feeling, das man für Glass’ minimalistische Klanglandschaften eben auch benötigt.

    Gramola.at 

  • Pasticcio per meno ê più for piano (2014) is a gentle slowly evolving piece, exquisitely crafted, subtly developing with just a hint of Debussy in the more limpid piano lines. The music rises a little towards the end but soon returns to its more tranquil nature. It is beautifully played by Nicholas Horvath.

    Bruce Reader (The Classical Reviewer – March 17th 2015)

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    Pasticcio per meno è piú, track 5, is a solo piano piece played with great sensitivity by Nicholas Horvath. A simple running melody above is supported by warm chords underneath and the feel of this is very impressionistic. The gentle touch on the keyboard nevertheless produces a wonderfully luminous sound and the overall effect is to be transported to a sunny day in the south of France. A variation at 4:00 has a more purposeful color, but Pasticcio per meno è piú concludes by reinstating the softer opening.

    Sequenza 21/

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    Quiet, lyrical expressions and subdued meditation. Waller’s unhurried and gentle music is well-suited to introspection…

    Blair Sanderson (AllMusic.com)

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    Moments of lyrical beauty are plentiful, whether it be the emotionally expressive string quartet “Atmosfera di Tempo,” the Debussy-esque flute solo “Vocalise,” or the gentle piano setting “Pasticcio per meno è più.” The string trio “Per La Madre e La Nonna,” which Waller composed for his mother and grandmother, features some of the recording’s most heartfelt writing…
    From the seductively pensive cello-and-piano duet “Anthems” with which the recording lullingly begins to the dramatic bass clarinet-and-gong duo “Arbitrage” with which it ends, The South Shore—by turns impressionistic, autumnal, introspective—entrances the listener with one supple chamber-styled setting after another.

    Textura.org

  • a prodigious pianist
    The New Yorker – Sam Sweet

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    Nicolas Horvath: fantastic & unique pianist !
    Régis Campo

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    Une brillante démonstration de virtuosité au piano
    Nice Matin – Francine Otto

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    Un hypnotique enchantement… Guettez ses prochains concerts !
    Jean-Yves Leloup

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    a legendary pianist
    Vogue (ukrain)

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    The man with fingers of steel
    Paul Wehage

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    Le jeune et brillant pianiste Nicolas Horvath s’est livré, samedi dernier au Théâtre municipal de Perpignan à un parcours performance: interpréter la quasi totalité des œuvres d’Eric Satie. Salutaire initiative de ce musicien émérite, le public connaît surtout les Gymnopédies et autres Gnossiènes. Confronté à ce monument, concentré, Nicolas Horvath s’y plonge avec beaucoup de finesse, tenant allègrement la distance.
    le Travailleur Catalan – Nicolas Gaspon

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    Nicolas Horvath performance is beyond phenomenal! His emotional intensity is impecable – the subtely, the grace , the courage to play every note like it’s the last. »
    Michael Vincent Waller

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    « Bravo pour ta contribution au monde du classique, et le regard que tu offres »
    Jean-Luc Gillet.

    « Nicolas Horvath is a player of refreshing candour and deeply felt musical conviction, allied to but not dominated bu a comprehensive technical armoury. The Toughtfulness of Mr. Horvath’s playing, demonstrated by a fluency always subject to musical poetry, makes his work stand head and shoulders above many of his contemporaries. »
    Leslie Howard

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    « an amazing interpreter… Virtuoso technique, uncanny ability to interpret challenging scores, and always places his emotionally charged energy in his performances »
    Bil Smith

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    « Un tempérament. Une nature franche et drue, n’encombrant pas d’inutiles mièvreries, hélas, trop à la mode aujourd’hui!
    Faisons confiance à ce jeune hommage qui s’investit corps et âme dans la Musique qui l’anime »
    Eric Heidsieck

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    « Horvath is doing a great thing for new music! »
    Tom Chiu

  • one of the most extraordinary concert events in music history
    Lawrence Ball

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    a feat of concentration and stamina, and I admire that tremendously. Again Bravo
    Jed Distler

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    Nicolas Horvath made a powerful case for Glass as a late Romantic, a MinimaLiszt as it were
    Paul A Epstein

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    a stellar line up of world class composers in a monumental event dedicated to the iconic Philip Glass
    Bil Smith

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    This is the marathon of Nicolas Horvath. His ten-hours mission: to explore beautiful new music, to seek out new music and new composers, to boldly go where no man has gone before.
    Douwe Eisenga

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    bravo pour cet impressionnant concert-marathon, programmation qui prouve que l’équation musique »contemporaine » et prestige de l’interprétation sont d’une vitalité musicale réconfortante…
    Françoise Levéchin-Gangloff

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    une musique servie par un magnifique interprète : toute la palette de couleurs, d’atmosphères, de lumières, de nuances dont on peut rêver et au-delà!
    Jean-Christophe Rosaz

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    un événement qui est et restera résolument singulier et magnifique
    David Christoffel

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    Merci pour cette performance extraordinaire !!! C’était captivant, magique, émouvant ! Un immense bravo !
    Vittoria Matarese

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    a superhuman feat!
    David Toub

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    Nicolas is making history
    William Susman

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    I admire Nicolas boldness in taking on such an expansive project
    John Luther Adams

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    Horvath is doing a great thing for new music!
    Tom Chiu

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    an epic event
    Andrew Chubb

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    a truly historic concert
    Steve Kornicki

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    a great homage to a great composer
    Daniel Lentz

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    a wonderful project
    John Psathas

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    un épico concierto
    Leoncio Lara Bon

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    a unique and tantalising idea
    Tom Service – The Guardian

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    a memorable cultural event in the life of Minsk
    BigRate.by – Nikita Evening

  • Le pianisme sûr de Nicolas Horvath, remarqué par Leslie Howard, grand lisztien encyclopédique, réussit à construire un ensemble cohérent de ce qui aurait pu virer en mosaïque déstructurée. Des multiples facettes de cette fresque religieuse en ressort une musicalité générée par une aisance certaine à rendre nettes les parties chargées du texte et à éviter de remplir inutilement de son les plus volontairement dépouillées.
    Un travail intelligent qui sort du quotidien destiné aux lisztiens avertis..

    Nicolas Mesnier-Nature (ResMusica 11 March 2013 Note: 5/5 – A Emporter)

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    Sens du récit, pédale économe, richesse de la pâte sonore et caractérisation intelligente des différents plans. Rien à redire aux rafales terrifiantes de la tempête du Miracle, ou au chromatisme titanesque de Tristis est anima mea, qui convient beaucoup mieux à la personnalité de Horvath. Coup de chapeau pour l’hymne O Filii et Filae conclusif, antipianistique au possible mais tendrement suggéré ici. Un artiste à suivre.

    Laurent Marcinik (Diapason April 2013. Note: 4 Diapasons)

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    Horvath’s playing is simply jaw-dropping. His dynamic range knows no bounds—you won’t believe it’s possible for one pianist playing one piano to make sounds like this—and there are moments where you’d swear that Horvath has to have more than 10 fingers. But he’s by no means all glitz and no substance. He penetrates and illuminates the quiet, contemplative passages with the intensity of a highly focused beam of light.
    The recording has to be one of the most phenomenal piano recordings I’ve ever heard. This is not the sort of music or program that ordinarily shows up on my annual Want Lists, but this one might just be an exception. Urgently recommended.

    Jerry Dubins (Fanfare July 2013)

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    Liszt reduced his massive oratorio on the life of Christ to solo piano. For some reason, it is rarely performed, but it is a quietly powerful masterpiece. French pianist Horvath makes it sing.

    Peter Burwasser (Philadelphia Citypaper 26 december 2013  #7 Top 10 classical albums of 2013)

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    This disc offers a unique contribution to the discography: more, it is a musical triumph.

    Colin Clarke (Fanfare July 2013)

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    Pianist Nicolas Horvath realizes Liszt’s monumental Christus oratorio as an eight-movement cycle of religious devotion and keyboard wizardry, always in epic proportions.

    Gary Lemco (Audiophile Audition 03 june 2013  Note : **** Rifle with wonder and mystery)

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    Un enregistrement particulièrement cohérent qui rend justice à cette musique inspirée que Liszt considérait comme l’un des sommets de son art

    La Lettre du Musicien (June 2013 n°434 « Nicolas Horvath : un oratorio au bout des doigts »)

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    Grand poème mystique qui représente vraiment le Liszt de la dernière période , on est loin de ce qu’on entend d’habitude, du grand romantisme , là on est plutôt dans l épure avec une musique qui se fait extrêmement moderne par endroits. Cette œuvre est connue Nicolas Horvath en a donc tiré trois extraits inédits
    Choix audacieux, très intéressant fait par ce jeune pianiste, trois morceaux restés inédits. Pas le Liszt le plus facile, peut être plus pour les initiés. Et c’est l’occasion de découvrir Nicolas Horvath.

    Emilie Munera (Changez de disque France Musique 03 April 2013)

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    The apparently simplistic construction conquered me with stealth beauty. I’ll give Horvath, a very fine young French artist, a good share of the credit for his ability to portray an almost naïve sense of awe in the music, which can seem both child-like and wondrous.I did end up listening to the original full choral version of Christus (the Rotterdam/Conlon performance). I am glad to come to know this strangely beautiful work, but, somewhat surprisingly, it did not reduce my affection for this solo piano version, which I find to be mysteriously bewitching. If this were an LP, I would have worn it out by now.

    Peter Burwasser (Fanfare – September 2013)

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    Le pianiste Nicolas Horvath présente ici au disque une magistrale version pour piano solo en première mondiale : c’est une découverte passionnante qui permert de suivre et d’approfondir les intentions les plus intimes et le message musical le plus exact du compositeur dans ce cycle musical d’une superbe authenticité tant musicale que religieux. A recommander …

    Delphine Freyssinet (Radio Notre Dame March 2013 –  Disque du mois)

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    Nicolas Horvath, brillant pianiste particulièrement inspiré par la musique de Liszt et remarqué par le grand Leslie Howard, s’est attaqué à cette œuvre monumentale, pour notre plus grand plaisir, car il n’est pas toujours chose aisée, même avec l’art de Liszt, de donner autant d’intensité à une transcription de 70 minutes en comparaison des trois heures de l’œuvre pour orchestre que l’on a en mémoire à l’écoute de ce disque… Et pourtant le résultat est saisissant, car le pianiste parvient à redonner souffle à une narration ciselée de nuances, où chaque tableau émerveille l’oreille autant que l’imagination. Nicolas Horvath surprend par cette grande maturité qui lui permet d’insister sur les instants précieux tels ce Chant des bergers à la Crèche digne des plus belles évocations de Lorenzo Costa dans la peinture de la renaissance italienne ou encore ce majestueux Tu es Petrus. Et que dire de ce passage si fort Tristis est anima, une douleur évoquée par les accords graves répétés, avec des accents qui préfigurent les dernières œuvres de Liszt (Nuages gris, Unstern…).

    Lexnews (Mars 2013)

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    Au final, de même que Karl Valentin disait que toute pièce de théâtre doit raconter l’histoire du théâtre, de même ce « Christus » pour piano se révèle être, en même temps qu’un oratorio sur le Christ, un oratorio sur l’histoire de la musique liturgique. Et Nicolas Horvath l’a bien vu. La cohérence de ce CD est évidente.

    Yvette Laval (On-Mag 14 March 2013 Note: 5/5)

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    Monégasque pianist Nicolas Horvath is building a career out of making sense of the difficult — be it new music or the later works of Liszt. In his début album issued on the Éditions Hortus label, Horvath does a double-Liszt with the composer’s own piano-solo transcription of his massive oratorio Christus, published in 1872. These transcriptions essentially meld choral and instrumental parts into plenty of work for 10 fingers. There are gorgeous moments when Liszt reaches back to the simplicity of plainchant. There also are extravagant dramatic outbursts with crashing chords and and virtuosic runs. But the bulk of the music is a quilt of meek-and-mild episodes sprung from the composer’s fertile imagination — more noodling than drama. Horvath approaches the music with breathtaking dexterity and gives it momentum wherever he can find some. Here is a pianist with a powerful sense of where his interpretation needs to go.

    John Terauds (Musical Toronto 13 june 2013 – Nicolas Horvath’s brave journey through Franz Liszt’s Christus)

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    Superbe interprétation de Nicolas Horvath qui sait laisser place à la musique, ne sombrant jamais dans une vaine et quelconque virtuosité, exaltant par son jeu toutes les facettes de cette partition complexe, véritable parcours initiatique. Tour à tour orchestral ou confident, son piano, toujours juste et expressif, sait respecter les silences et les articulations pour donner à cette œuvre toute sa beauté, parfois aride, et sa transcendance. Un disque rare et indispensable à tous les amoureux de Franz Liszt.

    Patrice Imbaud (L’Éducation Musicale April 2013)

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    Great find

    Piano Addict

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    Nicolas Horvath, dont on connaît l’engagement pour la musique contemporaine dans laquelle il excelle, monte ici une nouvelle dimension de son talent par un jeu d’une grande richesse. Il alterne douceur et subtilité avec des effets sonores plus amples exigeant une maîtrise technique exceptionnelle, car l’œuvre est complexe, tant Liszt l’a chargée d’un message profond, une sorte de synthèse de tout ce qui est essentiel pour lui. Peut-être même que, même si six chants sont absents, ce condensé a une profondeur plus grande, parce la musique est plus épurée. C’est en tout cas un très bel enregistrement

    Danielle Anex-Cabanis (Utmisol March 2013 – Christus – poème symphonique pour piano)

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    Christus is rarely heard in its oratorio form, and this arrangement of eight movements for piano is even rarer. However it draws on Liszt’s lifetime of experience as both composer and believer to bring a subtlety and conviction which in other works can appear bombastic. The simplicity of Pastorale , the might of the Foundation of the Church and the unexpected gentle warmth of the Easter Hymn all seem more persuasive in piano version than the full choral epic.

    Larkreviews (Febuary 2013)

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    Selection de la semaine

    Piano Bleu

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    Dans ce merveilleux CD, toute la douceur du piano de Liszt nous fait pénétrer par les sens dans le mystère de la vie du Christ. Laissez vous faire: ça file des oreilles tout droit vers le coeur… L’âme est comme soulevée par l’émotion qui se dégage de ce poème symphonique. La foi pénètre aussi par la beauté.

    L’1nvisible (May 2013)

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    De ce monumental poème symphonique en trois parties, retraçant la vie du Christ (Oratorio de Noël, Après l’Épiphanie, Passion et résurrection, 1862-1866), il existait une version pour piano solo, dont voici le premier enregistrement mondial. En huit parties, cette fois: Introduction, Pastorale, Chant des bergers à la crèche, Marche des rois mages, La fondation de l’Église, Le miracle, Tristis est anima mea, O Filii et Filiæ. Merci à l’excellent pianiste qu’est Nicolas Horvath de nous restituer ces pages de haute spiritualité. Sans les ordinaires « effets de manche », propres – chez Liszt – à tant de ses confrères…

    Francis Benoît Cousté (March 2013)

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    French pianist Nicolas Horvath is heard in his recording debut with this fascinating solo piano version of Liszt’s monumental oratorio Christus.

    Music Broadway World (14 May 2013)

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    Nicolas Horvath, jeune pianiste au talent exceptionnel, réussit à reproduire le dépouillement voulu par le compositeur pour cette fresque religieuse. Cet enregistrement du Christus de Liszt restera sans doute l’une des meilleures interprétation de cette œuvre.

    Jacques Yvert (Église de Beauvais – revue diocésaine  July – august 2013)

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    Nun hat der monegassische Pianist Nicolas Horvath dieses Werk in Auszügen in einer Klavierbearbeitung vorgelegt – wer die entsprechenden Gesangstexte vermisst: Sie werden im Beiheft nachgereicht. So klingt das Oratorium in dieser rein instrumentalen Fassung natürlich schlanker, durchsichtiger, transzendenter.

    Christoph Vratz (Paulinus 21 April 2013 –  Oratorium für 20 Finger)

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    The end experience is quite moving and orchestral in breadth and expanse. Nicolas Horvath handles the music with all the versatility, sensitivity, passion and technical heroics the music requires. It’s most definitely a revelation to hear the complete eight-part piano version performed in its entirety. And Horvath triumphs in so doing! Definitely recommended, for all Lisztians, solo piano aficionados and those who want to experience the bridging of romanticism into modernism. Fabulous!

    Grego Applegate Edwards (Classical-Modern Music Review blogsite 31 July 2013)

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    C’est une transcription pour le piano de huit des quatorze pièces de cet oratorio que l’on peut entendre sous les doigts d’une dextérité merveilleuse de Nicolas Horvath qui a une connaissance approfondie de l’œuvre pianistique de Liszt. (…) Une œuvre singulière, aux sonorités somptueuses, admirablement rendues par un pianiste d’exception.

    Philippe Gut (L’Hébdo-Le Comtadin 17 October 2013 –  Cd coup de cœur: Christus)

    .

    Horvath’s pianism is spectacular. While you might not know it from hearing the disc, these transcriptions are at times diabolically difficult to play, so much so that they make many of the Transcendental Etudes sound like a proverbial walk in the park. Horvath overcomes Liszt’s obstacles with almost superhuman ease, although it is clear at times that the fearsome demands of the score are pushing the limits of what is humanly achievable behind a keyboard. What’s more, Horvath almost makes you forget that an orchestra and platoon of singers are missing. To be sure, some of the movements (e.g., “The Three Magi” and “The Miracle”) work better as piano pieces than others, but all are worthwhile hearing. The quality of the recorded sound is very fine, although somewhat dry. Highly recommended.

    Radu A. Lelutiu (Fanfare)

  • Un grand merci et un grand bravo à vous ! Votre interprétation de la lande, dans ce tempo très lent, presque dilaté, est vraiment impressionnante !
    Philippe Hersant

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    This wonderful assemblage of under-documented gems is a. beautiful gift. Nicolas Horvath continues to disrupt in a most magical manner.
    Bill Smith

  • In Nicolas Horvath’s performance, Treatise, is interpreted and performed in the framework of Noise / Power Electronics music. The performer Nicolas Horvath is an active pianist and composer acquainted with wide range of musical theory and practice, and indeed has an ample repertoire from Franz Liszt to Philip Glass.
    Utilizing his knowledge of, and peculiar sensibility to, contemporary music, Horvath constructs abstract, creaking, and dizzying waves of pure electronic noise to reincarnate Cardew’s ideas in an entirely new fashion. In this way Horvath try not only to offer another interpretation of Treatise, but also to demonstrate that harsh noise can have a real music form.
    Although the score of Treatise allows performers considerable freedom of interpretation, there seems to have been no attempt to perform this piece in such an absolutely harsh manner as Horvath does. Recommended for all those who are seeking another intriguing form of musical experiment.
    Bil Smith (Laboratorienewmusic)

    .

    Gerade eingefleischte Noise-/ Power Electronics Fetischisten, die japanische Interpreten wie MASONNA, MERZBOW & Co schätzen, könnte NICOLAS HORVATH‘s “Cornelius Cardew Treatise” zusagen, dessen Strukturen neben der Intensität oftmals durch totale Abstraktheit überzeugen. Insgesamt eine derbe Vorstellung von NICOLAS HORVATH, die ausschließlich Kenner(-inn)en vorbehalten beleibt!
    Fazit: Egal ob aus der Perspektive CORNELIUS CRADEV/ KARLHEINZ STOCKAUSEN oder Noise/ Power Electroncis betrachtet, dürfte “Cornelius Cardew Treatise” von NICOLAS HORVATH ein spannender Leckerbissen sein – meine absolute Empfehlung! PS: Individuen, die mit Hochtonnoise oder Abstraktheit (in kleinsten Dosen) nicht um können, lassen von NICOLAS HORVATH’s “Cornelius Cardew Treatise” defacto die Finger!
    Raphael Feldmann (Kulturterrorismus Meine absolute Empfehlung!)

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    The most listeral version, fantastic !
    Prof. Virginia Anderson

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    Simply brilliant, Bravo !
    Steve Kornicki

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    I just found your harsh version of Cornelius Cardew: I LOVE IT! IT’S BRILLIANT!!!
    Eve Beglarian

Gallery

Naxos – Philip Glass shooting ©Perla Maarek

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Naxos – Philip Glass shooting ©Perla Maarek

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Naxos – Philip Glass shooting ©Perla Maarek

Nicolas Horvath (c) Perla Maarek

Naxos – Philip Glass shooting ©Perla Maarek

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in Kiev ©Maxim Polishchuk

kiev 2 (c) Maxim Polishchuk

in Lyon ©Pascal Cheron

Nicolas Horvath Lyon

with Jaan Rääts

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in Kiev ©Дмитрий Блудов

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Drawing ©четыре руки

Николя Горват Киев Арсенал

Christus Photoshooting ©Sakuya Okayasu

SONY DSC

Electroacoustic Improvisation in Prague

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with Regis Campo and Denis Levaillant

Regis Campo Denis Levaillant Nicolas Horvath

Satie ‘s Vexations in Lagny ©JT Boisseau

Nicolas Horvath (c) Jean Thierry Boisseau

Monaco Shooting ©Olivier Forest

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1st professional photo, at 17

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Calendar

2015

2015

January 9 : New York – Carnegie Hall (USA) Philip GLASS World Premiere of the Complete Piano Etudes by a solo pianist Philip GLASS : Etudes Book I  (1 to 10) Jeroen van VEEN (hol) : Hommage for Philip Glass (dedicated to me – national premiere) Frédérick MARTIN (fr) : Glass in Mirror (dedicated to me […]

2014

2014

Febuary 14 – Kiev ( Ukrain ) Union of composers Hall – Dynasty Festival Philip GLASS Complete Etudes Book 1 (I to X) Jaan RÄÄTS Madrigal n°1 op.65 (national premiere) Estnische Präludien F# op.80 4 op.124 (national premiere) Sonata Nr.10 op.114 (national premiere) Alexander SCRIABIN Sonata Nr. 9 «Black Mass» op.68 Vers la Flamme op.72 […]

2013

2013

January 1 : Roc Estello (France) New Eve Concert Franz LISZT Via Crucis S.504a In Festo Transfigurationis Domini Nostri Jesus Christi S.188 Sancta Dorothea S.187 Complete Christus Wolfgang Amadeus MOZART Fantaisie Kv 475 Ludwig van BEETHOVEN Sonata op 27 n°2 Frederic CHOPIN Nocturnes op 9 n°2, op 48 n°1, Opus Posthume Philip GLASS Metamorphosis 1 […]

2012

2012

January 21 : Brain L’Alleud (Belgium) : Bibliothèque – Organised by ICPA Gaylor MORESTIN Metamorphosis VI (dedicated to me – world premiere) Frederic SERRANO Nocturne 1 (world premiere) Frederic LAGNAU “Je me souviens de do dièse majeur dans un prélude en do majeur de Jean-Sébastien Bach” (national premiere)   Febuary 21 : West Palm Beach […]

2011

2011

Fevrier 14 : Palm Beach Récital Norton Museum 15-23 : Palm Beach Festival Mars 20 : Récital privé Lyon Avril 15-16 : Monaco 4Japan tour Erik Satie Vexations 23 : Istambul 4Japan tour Récital ?? Madeira Juin : 3 : Prague 4Japan tour Electroacoustic Improvisations 5 : Prague 4Japan tour Erik Satie Vexations 7 : […]

2010

2009-2010

2009 June 7 : Recital in Venaria Reale – Chiesa di San Lorenzo (Italy) Kazuo Missé : Le Temps Profond (Italian premiere) Prokofiev : Sonata n°3 Eliot Carter : Caténaire (Italian premiere) Beethoven : Sonata op.57 « Appassionata » Liszt : Mazeppa Liszt : Après une lecture de Dante Scriabin : Sonata #9 « Black Mass » 15 : […]

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