mardi 21 juillet 2015

Siloti's daughter on Scriabin

My dear friends

As you might know, right now after all the concerts and recording i did, i am now preparing all material for futur releases , means .... writting booklets , doing the editing , the checking , organising musicologists about what i am looking for ...
Not really a peacefull vacation !

Also, i still have in mind to do nice longer new articles (i have in mind : last Glass tour in all Paris , last Vexations , and some other such as my Kiev adventure during the eve of the war , or the Glassworlds, the dreamt success in Carnegie ... )

Anyway , until this time , i wanted to share with you a great discovery . Specially if you are a Scriabin lover.

As few might know, Scriabin is my fav composer ! Yes ! Scriabin and not Liszt or Glass or Satie or i don t know whom
And .... honestly .... he is also the reason i worked with Gerard Frémy (assistant of Heinrich Neuhaus)  and Oxana Yablonskaya (who studied with Alexander Goldenweiser) .
Maybe i was dreaming about that ? 

It was also the very first international competition i won , the first concerto i played with orchestra ( i was 17 then ) , i shared with him my serious first love (and deception ! of course it always go together) , my search for absolute and also the unknown (yes i even read Blavatsky ! even if most of the time i had to take aspirin every 10 lines! ) the dark ....
Well to sum it , Scriabin is (since my 16) the composer whom i feel the most close and ... when i play his music i feel completely at home

myself at 18, unfortunately only the end was taped : ) 
a little juveline with a not strong technique at all , but ... very romantic and masculine approach of this fantastic music 

So what is my discovery about ?
Well today i read an article from the incredible label Arbiter records (link to article here) where a wonderful letter from Siloti's daughter describle Scriabin ! Yes !!

So to avoid you lot of search , here it is ! (of course if you visit the page you will have tons of other interesting things if, like me, you love russian music)

the letter : 

it s translation ! 

Kyriena on  Scriabin

Scriabin was a very delicate and sensitive person.

His eyes often bore an expression as if he was “in a different world” as it were…

He was of modest height, with small and elegantly shaped hands. Once after having sung something, he put his hand at the edge of a table and started tapping against it with his fifth finger. When my mother, having noticed this, looked at him curiously, he said that the pinky concerns him and he is testing it.

It was hard to find good performers of his music. I have heard a recording of a ‘poem’ by Sofronitsky, who performed it very well, in a true Scriabin style, but with a slightly added romanticism.

Among other pianists who play Scriabin well, too many treat the loud sections with too harsh a tone. He himself performed them certainly in a loud fashion, providing the inner drama, without harshness…

translated by Dmitry Rachmanov

And to finish ... the wonderful Scriabin performing himself

mardi 19 mai 2015

Electroacoustic releases !


My dear friends 

I am very happy and honored that 2 of my electroacoustic compositions will be soon released !!! 

Yes unfortunately i am not very active on this spot as piano really takes me a lot of energy, but recently i got more and more proposal. Some leads to nothing serious and sometime it really works. 

So now those are the great news !!! 

This Sat 23 May 2015 :


my own composition "La Tentation d'exister" will be release on a limited 33 unit print on Vinyl (EP) on one face, and on the other face a poem (AHA) written  and recitated by Maurice Benhamou 
Also it includes a Jean Degottex 's  Hors Sphere facsimile 
it will be release by AH AH AH editions and available only during the MAD#1 - Multiple Art Day in Paris 
Also 7 of them (tirage de tête) are signed by both Maurice Benhamou and me ! 

AUGUST 17th 2015 


my own composition "Electroacoustic Prelude XVII" will be part of the 2 CD digital release album from Demerarra Records
It will feature many young and promising composers and .... i am honored to be part of the selection !!! 
Also the same label should release in 2016 my "24 Electroacoustic Preludes" on album (both digital and "normal") !!!! 

dimanche 19 avril 2015

Glass: Glassworlds, Vol. 1 : reviews

My dear friends

No show off intend with this post. I simply try to , like i did with my Liszt - Christus album , to centralise the review for a real practical reason. 
Unfortunately my website "review" section is very exaustive , but ... not very practical. 
I hope in this way, it will be then way easier for everyone 

Reviews : 

Seth Colter Walls ( - RHAPSODY - TOP 10 CLASSICAL ALBUMS, APRIL 2015
Nicolas Horvath has launched the first volume of a planned series, Glassworlds, with an album that includes a buoyant performance of Glass' Orphee Suite.

Remy Franck (
Die technische Herausforderung an den Pianisten ist gewaltig, bereitet aber dem monegassischen Pianisten Nicolas Horvath keine Probleme. Seine Virtuosität ist stupend

International Piano (june 2016) 5 Stars
Expert performances.’

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

Patrice Imbaud (L'Education Musicale - Mars 2016) "A découvrir absolument !"
Si certains esprits critiques se plairont à souligner la faiblesse compositionnelle de ces pièces, nul ne pourra mettre en doute la magie de l'interprétation de Nicolas Horvath qui nous avait déjà séduit avec son dernier enregistrement lisztien. Rigueur dans la progression rythmique, virtuosité et délicatesse du toucher, poésie de la ligne tout y est pour affirmer haut et fort la profonde affinité existant entre le pianiste et le compositeur américain. Une merveilleuse façon d'entrer dans le monde si particulier de Philip Glass.

Dionys (Inactuelles)
Le pianiste nous entraîne loin des lectures sages, compassées qui réduisent Philip Glass à une icône de la musique minimaliste ou répétitive. Primat à la sensibilité sur la technique compositionnelle !
C'est bien ce que l'on entend dès Opening (1981), une des plus célèbres compositions de Glass, plus contrasté m'a-t-il semblé que sous les doigts du compositeur, avec des moments de retenue très beaux joints à une incroyable délicatesse de toucher, une grâce brumeuse, des montées plus intenses. Une très belle relecture, qui nous prépare à l'étonnante "Orphée Suite", arrangement par Paul Barnes pour le piano d'extraits de l'opéra de chambre en deux actes Orphée d'après Jean Cocteau. Rappelons au passage que Philip Glass a terminé ses études musicales à Paris, sous la houlette de Nadia Boulanger, qu'il parle assez bien français et connaît notre culture, d'où son intérêt pour Cocteau, auquel il consacrera une trilogie. Étonnante, cette suite ? Elle combine ragtime tumultueux et mélodies envoûtantes comme celle de "Journey to the Undeworld", vision infernale à la beauté trouble, très inattendue dans l'œuvre de Philip Glass. Même "Orphée and the Princess", a priori plus dans les clichés glassiens, est aérée par le toucher précis qui fait ressortir chaque note, par l'énergie des montées, la profondeur des moments graves. Toute la suite est tranfigurée, portée par un charme irréel qui se résoud en une atmosphère vaporeuse traversée d'élans émouvants dans la dernière section "Orphée's Bedroom Reprise".
Dreaming Awake, pièce de 2003, si elle ressemble plus à du Glass, surprend par une fougue étincelante, une inventivité mélodique que j'ai pu entendre sous les doigts du compositeur interprétant quelques unes de ses récentes Études pour piano lors de son récent concert à La Comète de Châlons en Champagne. Ce premier enregistrement mondial est superbe, brassant les émotions les plus diverses avec une grande palette de couleurs au long des quatre mouvements, surprenant par un savant jeu de reprises et d'amplifications.
Le programme se termine avec une longue pièce de plus de trente minutes datant de 1968, How Now, représentative du style répétitif de cette période, mais également influencée par les ragas indiens, les gamelans indonésiens. Le piano s'y fait percussif, le jeu roulant des notes produit des champs harmoniques denses, d'où son côté hypnotique. Le piano devient portique de cloches folles agitées par le vent. Musique extraordinaire, qui suscitera sans doute de violents rejets de la part de ceux qui voudraient n'y entendre que le retour du même, tout à fait enthousiasmante pour les autres, dont je suis, ravis d'être transportés dans cette série d'escalades vertigineuses, dans cette houle illuminée, ce martèlement pourtant assez différent de celui d'un Charlemagne Palestine. C'est un chemin violent d'ascèse, un dépouillement, sans cesse à reprendre pour atteindre l'extase.
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 !!

David Denton (David’s Review Corner)
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.

Piano Bleu
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.

Seth Colter Walls (
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.

Rodolphe Bruneau-Boulmier (En Piste ! 8 Février 2015)
En passant par l œuvre pour piano que l on peut découvrir aujourd'hui grâce à Nicolas Horvath , excellent pianiste qui se lance dans une intégrale , c'est le premier volume pour le label Grand Piano. Il faut dire que Nicolas Horvath c'est l'un des grands interprètes de ce répertoire qu'il défend depuis des années en récital principalement et il donne aujourd'hui une vision très chaleureuse de cette musique qui lui retire un peu ce coté mécanique que l'on peut parfois trouver à la musique de Philip Glass pour lui installer une sorte de rubato de lyrisme même. à cette musique que l'on peut parfois trouver un petit peu froide.
C'est le début d'une belle intégrale en tout cas c'est le premier volume.
C'est lui qui écrit la notice de ce disque , on sent un véritable amour , il dit qu'il la joue depuis des années , qu'il se lance dans cette intégrale et j'ai l impression que c 'est vraiment un interprète privilégié aussi pour la musique du XXI ème siècle et du XX ème siècle , on va suivre ceci avec intérêt
On a là en plus une très belle prise de son. (March 2015)
Nicolas Horvath brings as much care and sensitivity to the piano version of How Now…as to the much more dramatic Dreaming Awake …
Nicolas Horvath ist unter anderem bekannt für seine viel gelobten Liszt-Einspielungen auf dem Label Editions Hortus. Aber immer wieder realisiert der Monegasse auch Projekte abseits eingetretener Klassikpfade, so etwa ein Album mit einem Soundtrack zu H. P. Lovecraft's Fantasy-Geschichte »Dreams in the Witch House« in Kollaboration mit einer Dark Ambient-Rockband.
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.

Stephen Smoliar (
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.

La Nuit Magazine – 18 Septembre 2015
Le brillant pianiste français Nicolas Horvath nous propose une plongée dans l’univers feutré du compositeurs américain Philip Glass.
Outre la technique remarquable du pianiste que l’on peut apprécier dans ses interprétations virtuoses des oeuvres de Franz Liszt, on savoure ici la sensibilité de son touchée, et sa vision simple et épurée de cette partition que l’on ressent dès les premières notes d' »Opening », pièce écrite en 1981 et qui reste a ce jour l’une des plus connues du compositeur. Sous les doigts de Nicolas Horvath, « Glassworlds vol1 » parait plus contrasté qu’à l’habitude, le musicien y injectant une grâce brumeuse et toute en retenue qui contraste avec des émotions intenses, une très belle relecture.
Un disque magistral qui vous fera découvrir une partie des multiples facettes de cet immense compositeur portée par la maestria de son brillant interprète. Le piano Fazioli utilisé lors de l’enregistrement nous rappelle a quel point la marque italienne manufacture des merveilles, tant pour leurs capacités musicales, que leur puissance sonore, leur robustesse implicite, ainsi que pour leur finition et leur extrême raffinement. À découvrir sans plus attendre.
Top 100 Classical - Fastest Selling Classical CDs April 23, 2015 :   GlassWorlds #19

For all the piano lovers and contemporary music, this CD is a must have. Perfect play of Philip Glass’s music with a kind of eternal candle to light it inside. Perfect sound and recording of a Fiazoli Grand Piano with all the harmonics and exceptional dynamic of this unique instrument.
Top 50 Classical Best Selling Classical CDs  May 6, 2015 : GlassWorlds #42

Chris Morgan (Scene Magazine, July 2015)
Pianist Nicolas Horvath exhibits skill and inventiveness in his performance, qualities which allow him to go wherever the music leads

Rob Haskins (American Record Guide, July 2015)
the disc is important because it demonstrates that Glass’s music works quite nicely alongside other composers of the past and alongside quite traditional approaches to performance generally

Christian Williams (Utne Reader, May 2015)
Considered one of the most sought after classical pianists of his generation, Steinway Artist Nicolas Horvath is always looking for bigger challenges. His latest release, Glassworlds Vol. 1, sees him taking on more of Glass’ complex minimalism with aplomb.

Mike Shooter (La Vos de los Vientos)
La aproximación de Horvath a la pieza [Opening from Glassworks] es profundamente lírica, con un sentimiento que cuesta adivinar en otras versiones, incluyendo la del propio compositor.
La sola presencia de “Dreaming Awake” sería motivo más que justificado para que el seguidor de Glass se acercase a esta grabación. El resto del repertorio, sin ser tan “raro” no está entre lo más interpretado de su autor lo que convierte a este primer volumen de “Glassworlds” en un interesante punto de partida para una serie que puede atraer por igual al neófito y al experto. Estamos seguros, además, de que el seguidor habitual del blog encontrará en él muchos motivos de disfrute.

Michel Dutrieue (Klassiek Centraal - 30/05/15 ) ranking : ****
Na de opening van Glassworks (1981) volgt het arrangement voor piano solo van pianist en eveneens Liszt vertolker Paul Barnes (°1961) van de Orphée Suite uit 2000. Ritmische ostinati, trance achtige arpèges, etherische melodieën, toonladderfiguren en harmonische progressies wisselen elkaar af of volgen elkaar op. De suite bestaat uit The Cafe in verrassende ragtime stijl, het wazige en fragiele Orphée’s Bedroom met het Gluck citaat dat uitmondt in het gelijkaardig Beethoven citaat uit diens Mondschein, het mysterieuze, Chopin prélude-achtige Journey To The Underworld, het elegante Orphée And The Princess met zijn innemende dalende toonladder, het tremolerend, repetitief Return To Orphée’s House, het aarzelend, meditatief en vredig Orphée’s Return en het magisch, bedwelmend Orphée’s Bedroom.
Dreaming Awake, verklanking van verdriet, angst en wanhoop uit 2003, is hier voor de eerste keer opgenomen. De orgelachtige klank van How Now uit 1968 (een goeie 30 min.) klinkt door al Glass’ typische stijlkenmerken, hypnotiserend. De compositie betekende het begin van Glass’ minimalistische, repetitieve muziek en besluit op deze cd wat pianist Nicolas Horvath in de tekst van het bijhorend boekje omschrijft als “the experience of the divine feeling of love”.

Colin Clarke ( International PIano n°31 May-June 2015 ) ranking : *****
Somehow, the objectivity of the sound of a piano suits the music of Philip Glass perfectly. Certainly that's how it seems in Nicolas Horvath's expert performances on this, the first of a series of Glass Recordings.
The Opening from Glassworks (1981) exudes calm in its echt-Glassian construction. The programming is impeccable here, with the first movement of the Orphée Suite, The Café, at once immediately related to Glassworks but more external, more ragtime.
If the delicacy of Orphée’s Bedroom is as heady as the most Impressionist perfume, it could hardly stand in higher contrast to Orphée’s Journey to Hell , a nightmarish tone poem that immediately makes clear the composer’s affi nity with film (one is reminded of his awe-inspiring soundtrack to the 1931 Dracula). The sheer beauty of the melodic line of Orphée and the Princess is stunning in this performance, while Orphée’s Return finds myth morphing into fairytale.
Dreaming Awake (2003) is a world premiere recording, in itself making this a mandatory purchase, and Horvath projects the music’s energy perfectly. The much earlier (1968) How Now comes up against stiff competition in the shape of Schleiermacher (Dabringhaus). Influenced by Indian raga and gamelan as well as jazz, How Now is a virtuoso piece in which the piano seems to transcend its own boundaries and where the sustaining pedal transports the listener to whole new worlds. Horvath in no way loses out to Schleiermacher. Volume 2 is eagerly awaited.
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.

mardi 31 mars 2015

S.A.I. Ensemble , Live in Paris (Cardew/Riley)

Last friday 27th March was the very first concert of my S.A.I. Ensemble in Paris ! 

Needless to tell you that i was very exited about it. 
For most of you that does not know S.A.I. means : Saturated and Amplified Instruments. 
To sum up a little bit , imagine saturated instruments such as guitars , synth , or even accordion performing contemporary music . 
Unfortunately, as i am pretty busy with my piano and recordings, i have few time left to really take care of this Ensemble, and yes this is a shame. 
Anyway, so far we did concerts in Brussels, Monaco, Nice and Perpignan. 

For this concert, i was in touch with Fleuve Mecanique to organise it as they really wanted to do a SAI Ensemble concert for the release party of their last Tape. Needless to tell you that i was really happy and honored about it ! 

And to complete it, they wanted to see also an electroacoustic improvisation of me. 

The program was to be like this : 

As i prepared my material, i discovered that my idea for the improvisation was not working at all ! 
So then, when i arrived to prepare everything, i asked the organiser for a little change : i will come on stage with Laurent James , my guitar player (then is was more like a SAI Ensemble than a solo improvisation). 

I guess you can't wait one more second, so this is (so far) the only vidéo that i received : 

I really hope you will like our version of Cornelius Cardew 's Treatise 

For the recording, i heard that the organiser did a recording of everything and maybe there is a longer video of the Treatise piece ! 

Now let's return to the pictures and to the concert organisation. 

this is the concert hall from the platform 
i bet you understand why it 's nammed "Les Voutes" 

This is the very nice and rich buffet for the musicians ! we could ask anything we wanted and we would get it !!! all thumb up for that !!! 

Buffet from another point of view 

backstage was a little thin, but well .... just to store some material. 
it was safely guarded and nothing at all happened 

Now we are working on the tech point of the performance ! 
Unfortunately not all the members could be here 
Again all thumbs up for the organisation ! 

Finally my friend, the wonderful composer and accordion / Eigenharp player Olivier Innocenti joined the crew !!! 

This time we performed with 5 members : 
Me on Synth (MiniBrute) , Laurent James (Guitare) , Judicael (Guitare) , Heimoth (Guitare) and Olivier Innocenti (Accordion) 

Now some concert pictures : 

lundi 23 mars 2015

New Promos video GlassWorlds 1

My dear friends

As you might have already seen it, my very first Philip Glass album is now available everywhere !

I am extremely glad that all the return i got are all excellent !

Then i really hope you will like the first volume !

So far we recorded 5 volumes , and they should be out slowly by slowly.

Anyway , i have now all the promo videos and i really hope you will like them !

First of all , you already know the "classical one" . This one was the one i "had to" do, as Naxos requested it. On my side , i like it a lot as JD Dias really did a fantastic job , and it is important for the audience to see what the pianist look like. The piece is one of Philip Glass classics : Opening from Glassworks : 

After it , i was totally free to do whatever i wanted ! And for the one who know me ... this can means a lot ! 

But so far i was nice. 

Then the second promo video is something that i had in my mind for 2 years already, and i was very happy that Nikolai really shared my point of view ! 
So you have something quite psychedelic on a piece that i love a lot : How Now ! 
About it , i am really happy as i received very good feedback from "very classic" persons saying that it was just the perfect rendition for it : ) 

After it , the third one is a fan made video that i received some days after the digital release. 
It is very poetic and beautiful , made with images from the cult Cocteau movie "Orphée" as the music chosen is from the Orphée Suite : Orphée and the Princess : 

I really hope you will like them ! We will very soon prepare videos on the second volume ! There should be quite a lot : ) 

mardi 3 mars 2015

Philip Glass album #1 Digitally Out Today !!!!

My dear friends

Today i have the EXTREME pleasure to tell you that my Philip GLASS Album #1 at Grand Piano is 
now available on download !!! 

Yes, just coming back from my retreat at the Sainte Baume mountains and taking time to finally put order in my life (you know all those things that you keep continue to say "not important at all, i can do it later" and after a decade they are so numerous that you can't even breath). And today THE new !!!! 

As you might already know , the program of the first cd is : 

Opening from Glass Works

the Orphée Suite (transcribled by Paul Barnes) 

Dreaming Awake 

How Now 

For the fans of Ipods and all mp3 player you can find it in all your favorite platforms on Cd quality and also on HD 24 bits ! 

Here the links :




I also received my very own copies (a huuuge box of 300 cds) and ... yes i am really happy with the result ! 

I really hope you will also like the way i am performing Glass' piano music. For the ones that saw me in concert...well ... you know what you will get ; )

And for the other ..... you can check the fantastic promo video Jean Lionel DIAS did for me : 

Soon 2 completely differents promo vidéos will be available !!! 

Enjoy !!!!!!

samedi 17 janvier 2015

New Website !!! Finally !!!

My dear friends

Indeed i was very inactive on my blog the last month. I had quite a lot of nice concerts :
A Minsk Tour with a GlassWorlds, the Bielarus premiere of the Tirol Concerto, a recital to present the French Avant garde (and more) and masterclasses
a Glass Recital in Bordeaux
the Recording of 4 Erik Satie album in Milan for Sheva Collection
a Glass preparation récital in South of France
a GlassWorlds XL in Kiev
and ...
the solo world premiere of all the Glass Etudes in Carnegie Hall !

That was quite something !!! Of course .... there are plenty of pictures (not from me, but thanks to facebook and their tagging system i am able to find some) and i will prepare you shortly some nice blog entry , full of details and nice quotes :)

But another great great new ... yes for years i had those request that came regularly 'when will you update your website" 'why this concert is not listed" "why no link for the cds" ........

Finally it is done !!!!! a whole new website !!!!!
and .... updatable by myself !!!!!

Here you can finally find an updated bio (and everything is in english ! no more french !!! Bon Sang!) , also all the concerts , the cds , the reviews , link to all the socials medias ....

i let you discover : NICOLASHORVATH.COM 

a little image to give you the envy , as you can see , it was made with the inspiration of glass , Philip Glass music maybe ;)

jeudi 15 janvier 2015

Shantidas - Horvath : a Video - Piano performance

Erik Satie : a Video Performance ! 

In december 2011 , i had the chance to do a very nice video performance with Shantidas Riedacker. 
It was on a Erik Satie piece that i found out by luck : The Suite Harmonique , who is supposed to be the whole piece the Satie created for the Rose + Croix Salon (in fact the complete Fils de l Etoile with the 3 Sonneries). There are extremely limited proof that the concert really happened (but there is a proof of a reh). 

For the one who folow my career since quite some time, 2011 was a crazy year, the Vexations 4 Japan tour and also the 2 Satie Marathons in Honfleur (Complete Satie including the Vexations) and in Perpignan (without the Vexations) . The first plan to record all the maestro music with Sheva Collection originated from this year as well (and as you might know, finally realised in 2014 ! but .... in a wonderful way). 

So .... At the same time i was supposed to do a "Complete Satie" in 10 recitals at the Cathédrale Sainte Croix des Arméniens in Paris. I could do only 2 concerts ...... 

Anyway, on this very special day i was able to join forces with the Light Sculptor "Shantidas Riedacker" , a friend back from the old days when i was spending most of my free time in the Paris ' Underground musical scene. I was (and i am still, but he stopped to use them) a big fan of what he was doing with his wall of TV screens , and for months we talked about doing something together. 

The concert was a huge success. The whole Cathedral was packed. But unfortunately we could not do another concert together. The only plan i could get (for the famous David Lynch place "Le Silencio" turned to be a piano solo concert) , and after with our busy career.... 

As far as i remember , Shantidas used a mic to see the audio frenquancies and so to adapt his improvisations and light movements. 
There were 2 HD projector , and we projected on all the back of the Cathedral . It was truely amazing ! 

You can discover also some nice pictures from the concert. I hope you will enjoy it ! 

the croud start to gather during the tests