tag:blogger.com,1999:blog-22098857478177008402024-02-20T11:24:22.932-08:00In Piano We Trust ( Nicolas Horvath blog )Nicolas Horvath 's official blog
piano music art cat composer minimalism glass pärt chocolat Liszt christus Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.comBlogger78125tag:blogger.com,1999:blog-2209885747817700840.post-24499913033618068482018-04-18T22:46:00.002-07:002018-04-18T22:46:25.838-07:00Erik Satie : Complete piano music Vol.2 reviews <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8SpCWsWl7SVR6fVh9f_J6KRVbs8s5gT7eGSojfV3PMsMwO4Grpi_de0-O4CPpoax-AhXR-qs1l9lgRGdUq6QBWYZyJ0j6e9TQW-N1CBEqC0ifRCY6L8jJYYAOtXhPUCpbasRANHnUykg/s1600/Satie+Vol.2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8SpCWsWl7SVR6fVh9f_J6KRVbs8s5gT7eGSojfV3PMsMwO4Grpi_de0-O4CPpoax-AhXR-qs1l9lgRGdUq6QBWYZyJ0j6e9TQW-N1CBEqC0ifRCY6L8jJYYAOtXhPUCpbasRANHnUykg/s320/Satie+Vol.2.jpg" width="320" /></a></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Naxos
Bestseller February 2018</b></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Terry
Robbins </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(TheWholeNote
- 28 March 2018) </span></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath plays Cosima Liszt’s 1881 Érard in his latest recording:
Erik Satie – Complete Piano Works 2 (Grand Piano GP762
grandpianorecords.com). In doing so, Horvath provides an example of
how Satie would have heard his music in the late 19th century. This
particular instrument is in surprisingly good playing condition and
delivers tremendous power in the lower range.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">The
main work on the disc is Le Fils des étoiles, incidental music to a
drama in three acts. The three preludes are brief and each is
followed by a more substantial Autre musique in which Satie explores,
invents and generally does the kind of thing that earned him a
reputation for being unconventional. 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.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Luis
Suárez</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Ritmo – April 2018)</span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>
Rating : </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">★★★★</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Bajo
una nueva edición revisada por Salabert de las obras del excéntrico
bohemio Erik Satie, Nicolas Horvath grabará en instrumentos de
época, como en estas dos primeras entregas, un Erard de 1880 que
perteneció a Cosima Wagner. Aunque ya se hayan abordado grabaciones
integrales o revisada su vida y obra en programas de radio o en
ensayos, no deja de ser interesante descubrir nuevas miniaturas
pianísticas que aquí se pueden escuchar recogidas y revisadas.
Producción en acertado orden cronológico de composición,
acompañada de una excelente presentación en diseño y generosa
información en inglés. Ante rarezas como la música incidental Le
Fils des Étoiles (1891), Horvath necesitó sin duda resistencia y
gran concentración en la realización de este trabajo altamente
inusual que supera los setenta minutos de duración y con la
dificultad de una lectura monocorde y austera.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Chris
Morgan </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Scene
Magazine – April 2018) </span></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">The
opening chords of Erik Satie’s Le Fils des etoiles set an enigmatic
mood tobegin this recording, appropriate for a composer whose works
are considered to be precursors to the surrealist and minimalist
musical schools of the early 20</span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><sup><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">th</span></span></span></span></span></span></sup></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
century. This is the second collection of Satie’s works from Grand
Piano/Naxos to feature a performance by Nicolas Horvath (on an 1881
Erard piano that once belonged to Cosima Wagner, no less!), and it
demonstrates what a fi ne 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. The composition itself – incidental music for a three-act
play set in Mesopotamia in 3,000 BC – is a curious artifact in
Satie’s oeuvre, representing one of his most radical works.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Standing
among the composer’s longest scores and rarely heard complete, Le
Fils des etoiles is beautifully presented here to be appreciated by
all. </span></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Infodad</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(8 March 2018 - transcentury blogspot) Piano Thoughts </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>++++</b></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Both
the similarities and the differences between Debussy and Satie are
many, and they are apparent in the fascinating world première
recording of the complete Satie score, Le Fils des Étoiles (“The
Son of the Stars”). Lasting fully an hour and a quarter –
exceptionally long for anything by this miniaturist composer – the
music was originally written for a play by Joséphin Péladan, leader
of a religious-artistic group devoted, among other things, to Wagner.
In his typical inversion-of-expectations style, Satie wrote music
that could never be confused in the slightest with anything Wagnerian
or anything influenced by the German composer, except insofar as
doing the opposite of something shows that you know what the original
“something” was. The three short Preludes from Le Fils des
Étoiles are well-known and have often been performed, but the
complete score has never been recorded before. And while it is
scarcely typical of later Satie (to the extent that the word
“typical” applies to anything he ever wrote), this work from 1891
clearly shows the philosophical underpinnings of Satie’s
compositional style. The music is entirely non-descriptive and in no
way related to anything occurring on the stage. True, the play was
essentially a series of philosophical musings, and Satie’s music
could be construed the same way, but if so, the composer’s musings
had little to do with the playwright’s. In addition to the three
short Preludes, called The Vocation, The Initiation and The
Incantation, the music includes three much longer sections, each
labeled Theme Decoratif. Their titles are A Night in Chaldea, The
Lower Hall of the Great Temple, and The Terrace of Patesi Goudea’s
Palace. If the titles bring to mind something vaguely Masonic and
perhaps vaguely Mozartian, the music does not: it is woven almost
entirely from material that appears in the first Prelude, and its
sounds are heavily chordal and quite repetitive – a kind of
proto-minimalist music. 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.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Romaric
Gergorin</b></span></span></span></span></span></span></span><span style="color: blue;"><u>
</u></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Classica
– Mars 2017)</span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>
Rating : </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">★★★★
</span></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Composé
par Satie en 1891 pour faire office de musique de scène d'un grand
drame antique de Péladan, </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Le
Fils des Étoiles</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
ne fut jamais donné intégralement, seuls ses préludes furent joués
par le compositeur au piano en mars 1892 à la galerie Durand-Ruel.
Musique étonnante, une des plus longues du corpus de Satie, cette
pièce expérimentale qu'il conçut à vingt-six ans fait partie de
sa période religieuse, dans laquelle il mêle allègrement
provocation pré-dadaïste et audace formelle. Avant-gardiste
visionnaire, Satie élabore une pièce impersonnelle faite de
juxtaposition de courts motifs agencés en mosaïque, avec une
structure qui frise parfois le dodécaphonisme avant l'heure. </span></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath s'appuie sur la nouvelle édition révisée du maître
d'Arcueil, réalisée par Robert Orledge éminent satiste. Il
respecte ainsi les silences indiquées dans la partition entre les
différents motifs, ce que ne faisaient pas les précédents
interprètes de cette pièce si singulière. Face à la fascinante
version du </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Fils
des Étoiles</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
interprétée par Alexei Lubimov, Horvath joue sur d'autres
tableaux : clarté des motifs, limpidité distanciée et une
sonorité chaude et boisée, celle d'un piano Erard 1881 ayant
appartenu à Cosima Wagner. En supplément vient une </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Fête
donnée par des chevaliers dormants en l'honneur d'une jeune
demoiselle</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">,
réjouissante bizarrerie qui martèle des cadences répétitives
animées de mouvements contraires. </span></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>James
Harrington</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(American Record Guide - May 2018)</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>David
Denton </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(David's
Review Corner - February 2018)</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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. </span></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Gramola.at</b></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Der
monegassische Pianist Nicolas Horvath setzt mit dieser zweiten Folge
seines Satie-Zyklus für Grand Piano die aufsehenerregende
Weltersteinspielung der neuen Salabert-Urtext-Edition von Saties
Klavier-OEuvre fort. Die neue Edition weist zahlreiche Korrekturen zu
früheren Notenausgaben auf, und so ist diese neue Gesamtaufnahme
allein schon deswegen von Bedeutung. Es kommt hinzu, dass Horvath die
Musik auf einem historischen Flügel aus der Zeit Saties
interpretiert, sozusagen im "Originalklang". Dass dieses
Klavier einstmals Cosima Wagner gehörte, der Ehefrau des von Satie
zutiefst verabscheuten Komponisten Richard Wagner, darf als ein
originelles Kuriosum der Einspielung verbucht werden. </span></span></span></span></span></span></span></span></span>
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<br />Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0tag:blogger.com,1999:blog-2209885747817700840.post-8339641465925721782018-04-18T22:44:00.001-07:002018-04-18T22:44:31.657-07:00Erik Satie : Complete piano music Vol.1 reviews<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj70vIO5va2VdspxfOWlRD8gKYea2UPYXIxTFiMkeHmXeGVKcbQmLMaUgWTEVJzj5Y9_1mPcGzWQxTNdFYqqF3cEdo94XJQk2sq3g9OS1CPoyWX1vCgr1A1itNUYqnNlgursjGc0ukS1ok/s1600/Satie+Vol+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj70vIO5va2VdspxfOWlRD8gKYea2UPYXIxTFiMkeHmXeGVKcbQmLMaUgWTEVJzj5Y9_1mPcGzWQxTNdFYqqF3cEdo94XJQk2sq3g9OS1CPoyWX1vCgr1A1itNUYqnNlgursjGc0ukS1ok/s320/Satie+Vol+1.jpg" width="320" /></a></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Alex
Baran </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Thewholenote
- september 2017) </span></span></span></span></span></span></span></span></span>
</div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath has released the first volume in his latest project, Satie -
Complete Piano Works 1 (Grand Piano GP761). His projec takes
advantage of the newest and most extensively corrected edition of
Satie's piano music by Salabert (Milan). Horvath has also chosen to
record the repertoire up to 1897 on Cosima Wagner's 1881 Erard, in an
effort to create the kind of piano sound that Satie would have known
and expected. The CD program includes two world premiere recordings
of short works and nine others from the newly revised edition. </span></span></span></span></span></span></span></span></span>
</div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">The
notes to this CD contain some very fine historical autobiographical
material that reminds the reader of how extraordinary Satie was. His
music is never really contrapuntal or even impressionistic. He
establishes an atmosphere of mysticism with pulsating chords against
melodies that feel modal and something akin to Asian or Middle
Eastern. </span></span></span></span></span></span></span></span></span>
</div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Horvath
does a splendid job in presenting this unusual repertoire. The four
</span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Ogives</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
are almost entirely vertial and hymn-like in their replication of
plainchant. Sait to have been inspired by the Gothic arches of a
neighbouring church, there are perhaps unlike most of Satie's other
music. There's also a fascinating, if short, monodic piece titled
</span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Leit-Motiv
du "Panthée"</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">.
</span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Chanson
hongroise</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
is barely more than half a minute but contains curious tantalizing
touches of Bartok. </span></span></span></span></span></span></span></span></span>
</div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">With
volumes two and three already designed and ready for release soon,
Satie collectors will be eager to snap them from the shelves when the
appear. </span></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Alain
Steffen</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
( Pizzicato - October 2017) </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Rating
:</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
★★★★</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Es
wird höchste Zeit, dass sich mal wieder ein Pianist um das
Klavierwerk von Eric Satie kümmert. Nicolas Horvath plant eine
Integrale mit bisher unveröffentlichten Werken nach der neuen
Salabert Edition. Das Klanguniversum Saties wird so um neue
Perspektiven erweitert. Horvath ist ein Pianist, der mit der
zeitgenössischen Musik aufgewachsen ist, die darüber hinaus einen
wichtigen Teil in seinem Leben als Musiker einnimmt. So besticht
diese erste CD von Grand Piano mit u.a ‘Trois Gymnopédies’
(1888), ‘Trois Sarabandes’ ( 1997), ‘Trois Gnossiennes’
(1890–9*) und etlichen Ersteinspielungen durch ihre
Bodenbeständigkeit und ihre objektive Klarheit. Hier gibt es nur
wenige entrückte und schwebende Klänge, und auch sonst entspricht
Horvaths Interpretation so gar nicht dem Klischee der gängigen
Satie-Interpretation. Klar, Durchsichtig, architekturbetont, so kommt
Horvaths Satie daher. So positiv sich dieses Konzept auf die
einzelnen Werke auch auswirkt, umso schwieriger greift es, wenn man
die CD als Ganzes hört. Das Farbenspektrum erscheint beschränkt,
die Interpretationen gleichen wie einem Ei dem anderen und warten
kaum mit Überraschungen; auch die Dynamik kann während den rund 74
Minuten trotz eines nuancierten und engagierten Spiels nicht
hundertprozentig überzeugen. Spieltechnisch leistet Horvath
hervorragende Arbeit, so dass unter dem Strich trotzdem eine
willkommene, mutige und wichtige Satie-Scheibe herauskommt.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Luca
Segalla</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Musica - September 2017) </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Rating
:</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
★★★★</span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Delizie
leggere, della consistenza di una brezza lieve, quasi sul punto di
scanire nel nulla. Ascoltare le pagine pianistiche di Erik Satie può
rivelarsi un'esperienza intrigante come noiosa. È musica construita
in modo sfacciatamente elementare, la musica di un dandy pigro che
amava fare il verso al sentimentalismo dei salotti tardo
ottocenteschi, musica scarabocchiata sulla tastiera, spesso
ostinatamente ripetitiva.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Se
alcune pagine hanno raggiunto una grande notorietà, come la prima
delle </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Gymnopédies</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">,
la maggior parte sono rimaste quasi del tutto sconosciute.
Un'integrale pianistica si Satie assume quindi un valore storico e
musicologico prima ancora che estetico. Ascoltando uno dopo l'altro,
senza interruzioni, i pezzi e pezzettini usciti dalla facile penna
del compositore francese si finisce per entrare in un flusso
uniforme, sospeso nel vuoto del tempo, come succede per la musica
minimalista degli anni Sessanta e Settanta. È facile comprendere il
motivo per cui John Cage amasse Satie ed è anche facile comprenderer
come mai abbia deciso di cimentarsi con questa integrale un pianista
come il francese Nicolas Horvath, abituale frequentatore del
repertorio contemporaneo e grande esperto di Philip Glass, di cui ha
eseguito l'integrale per pianoforte in un unico concerto della durata
di oltre dodici ore. </span></span></span></span></span></span></span></span></span>
</div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Questo
CD è il primo volume della fatica di Horvath e raccoglie del
materiale molto vario, da pezzettini giovanili come il </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Valse-Ballet</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
e la </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Fantaisie
Valse</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
nello stile di Chopin alle tre celebri </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Gymnopédies</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
composte da un ventiduenne Satie nel 1888, passando per le stagnati
tre </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Sarabande</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
del 1887 oppure due nuscoli frammenti accordali che nei manoscritti
sono intitolati curiosamente « quartetti » e tre arie
celebrative dell 'ordine dei Rosa-Croce, tutte impostate su
un'accordalità dal sapore allusivamente arcaico. </span></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nell'affrontare
questa integrale, Horvath non ha voluto lasciare nulla al caso. Ha
scelto un pianoforte d'epoca, l'Erard del 1881 appartenuto a Cosima
Liszt e si è basato sulla nuova edizione Salabert curata da Robert
Orledge, a cui si devono le ricche e dotte note del booklet, un
piccolo saggio musicologico che impreziosisce questa pubblicazione.
Infine Horvath ha trovato il giusto equilibrio tra leggerezza ed
atteggiamento aristocratico, cura del suono ed apparente disincanto.
Un' integrale da seguire con attenzione per i volumi futuri. </span></span></span></span></span></span></span></span></span>
</div>
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<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Luis
Suárez </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Ritmo
– April 2018)</span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>
Rating : </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">★★★★</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Bajo
una nueva edición revisada por Salabert de las obras del excéntrico
bohemio Erik Satie, Nicolas Horvath grabará en instrumentos de
época, como en estas dos primeras entregas, un Erard de 1880 que
perteneció a Cosima Wagner. Aunque ya se hayan abordado grabaciones
integrales o revisada su vida y obra en programas de radio o en
ensayos, no deja de ser interesante descubrir nuevas miniaturas
pianísticas que aquí se pueden escuchar recogidas y revisadas.
Producción en acertado orden cronológico de composición,
acompañada de una excelente presentación en diseño y generosa
información en inglés. En todas estas obras de juventud y
composición prácticamente autodidacta, asimismo logra sacar todos
los atributos de conjugan su producción, la del artista tímido y
solitario, con el piano como medio de comunicación, escritura modal
basada en la simplicidad, claridad, precisión, elegancia y economía
de medios. </span></span></span></span></span></span></span></span></span>
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<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Alan
Becker </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(September
2017 - American Record Guide)</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>David
Denton </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(May
2017-David's Review Corner)</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></div>
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</div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Bresciaoggi</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(1 august 2017) </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Tutto
il piano Horvath esalta l’«oro» di Satie </b></span></span></span></span></span></span></span></span>
</div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath inizia con questo disco la meritoria impresa dell’edizione
completa delle opere di Erik Satie nella nuova edizione Salabert,
apparsa nel 2016. Edizione che ci fa riscoprire e in alcuni casi
scoprire ex novo alcuni interessanti numeri dell’originalissimo
compositore francese: infatti molte delle pagine di musica che
appaiono in questo disco sono in prima registrazione mondiale nella
nuova edizione, dalle Tre Sarabande del 1887 alla Pièce sans titre
del 1891, accanto alle celebri Tre Gymnopedie e alle tre Gnossiennes.
</span></span></span></span></span></span></span></span></span>
</div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Un’incisione
dunque di riferimento per gli amanti di Erik Satie, compositore e
pianista morto a Parigi nel ’25.</span></span></span></span></span></span></span></span></span></div>
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</div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Salvatore
Phichireddu </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(blog.about-music.de,
September 2017)</span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></div>
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<br />
</div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Jan
de Kruijff </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Musicalifeiten,
october 2017) </span></span></span></span></span></span></span></span></span>
</div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">De
Franse pianist Nicolas Horvath die zich in het Grand Piano album met
3 cd’s The key collection liet horen met Satie’s vroege Allegro
en die eerder opmerkelijke opnamen maakte met werken van Liszt
(Hortus 100) en Glass (Grand Piano GP 677) zet zich nu in voor Satie.</span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Diens
treffende pianowerken maken ongeveer driekwart van zijn oeuvre uit en
behoren tot zijn representatiefste werken. Hun vaak absurde titels
hebben vaak een parodistische bedoeling (en drijven soms ook
lichtelijke spot met de poëtische titels van de pianowerken van
Debussy).</span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Maar
ondanks hun blijkbare frivoliteit zijn deze miniatuurtjes vaak heel
lyrisch in een klankwereld die deels voortkomt uit het café-cabaret
waarin Satie optrad en deels vanuit de belangstelling die hij toonde
in modale en Middeleeuwse christelijke muziek.</span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Die
nadruk op modale technieken en strenge ‘witte toetsen’ harmonieën
zijn vooral goed te horen in zijn Trois Gymnopédies uit 1888 en de
Six Gnossiennes (1890) die vooruitlopen op dergelijke harmonische
hulpbronnen vijftien jaar later door Debussy.</span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Het
begin van Nicolas Horvaths complete opname onderscheidt zich meteen
in enige opzichten veelbelovend van voorgaande pogingen door Reinbert
de Leeuw (Philips), Noriko Ogawa (BIS), Pascal Rogé (Decca), Aldo
Ciccolini (EMI), Jean-Yves Thibaudet (Decca) en Jean-Pierre Armengaud
(Adda).</span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Niet
alleen gaat hij namelijk zorgen voor een echt volledige opname van
deze werken in chronologische volgorde, hij doet dit op basis
van een nieuwe kritische uitgave en historiserend op een Erard
vleugel uit 1881 die ooit aan Cosima Wagner toebehoorde.</span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Dat
zou van ondergeschikt belang zijn, wanneer zijn voordracht niet zo
geschikt was voor het tijdeloze, etherische karakter van deze muziek.
Zijn spel is heel idiomatisch en geeft een goed levendig beeld van
Satie’s bijzondere soort verbeelding waarbij het zozeer aankomt op
eenvoud, precisie, helderheid en elegantie. Nu hopen dat dat hoge
niveau gehandhaafd wordt in het vervolg. Grappig dat nu al blijkt dat
er een zevende Gnossienne is.</span></span></span></span></span></span></span></span></span></div>
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</div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Bruce
Collier</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Friday June 23 2017 – Beachcomber ) </span></span></span></span></span></span></span></span></span>
</div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.”</span></span></span></span></span></span></span></span></span></div>
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<br />
</div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Alain
Maestracci </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Nice
Matin 14 Octobre 2017) </span></span></span></span></span></span></span></span></span>
</div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Tout
le monde connaît Erik Satie, un trublion qui a révolutionné la
musique à la fin du XIX siècle. Le pianiste monégasque, Nicolas
Horvath, nous offre son étude complète des œuvres de piano de
Satie dont les trois célèbres </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Gymnopédies
</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">et
quelques inédites. Nicolas Horvath les joue sur son propre
instrument, un Erard 1881 de Cosima Wagner. Ah oui, au fait, c'est
sublime ! </span></span></span></span></span></span></span></span></span>
</div>
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<br />
</div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Lisa
Flynn</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
( May 2017 - WFMT Chicago)</span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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. </span></span></span></span></span></span></span></span></span>
</div>
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<br />
</div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Christophe
Rodriguez</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(10 juin 2017 – Journal De Montreal) </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Rating
:</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
★★★★</span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">L’univers
du pianiste Erik Satie apporte beaucoup de réconfort en ces journées
pluvieuses. Même si son œuvre est abondamment utilisée par la gent
pianistique, une nouvelle approche est toujours instructive. Dans le
cas présent, le pianiste Nicolas Horvath revisite de façon
extrêmement poétique les incontournables Gymnopédies, puis il
aborde avec beaucoup d’intériorité Les ogives. Travaillant entre
l’ombre et la lumière, il débusque les coloris, sort des sentiers
battus comme dans la Sonnerie de Sainte-Croix et nous offre en
première mondiale Gnossienne ou Fils des étoiles.</span></span></span></span></span></span></span></span></span></div>
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<br />
</div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Salvatore</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Naxos Deutschland Blog - 12 September 2017)</span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Auch
fast 100 Jahre nach dem Tode Erik Saties scheint seine Musik
aufregend aktuell und einzigartig wie eh und je. Seine einfache,
klare, nicht selten ironische oder zumindest surreale Musik bleibt in
ihrer Schlichtheit ein Fixpunkt für die Moderne. Bereits John Cage
sah in ihm einen Wegbereiter der Neuen Musik. Später bezogen sich
die Komponisten der Minimal Music und aktuell die der Postmoderne auf
seine schlichten Formen und seine bewusst reduzierte Klangsprache.</span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">So
aktuell, wie für die Komponisten der nachfolgenden Generationen war
und ist Erik Satie auch für die Interpreten: Rund ein Dutzend
Gesamteinspielungen seines Klavierwerks (das wiederum den Großteil
seines Œuvres ausmacht) tummeln sich derzeit auf dem Markt: Von
Reinbert de Leeuw über Aldo Ciccolini bis Jean-Yves Thibaudet haben
sich immer wieder anerkannte und ungewöhnliche Künstler der selten
technisch anspruchsvollen Musik Saties gewidmet. Es mangelt also
eigentlich nicht an guten Satie-Aufnahmen (zumal seine bekanntesten
Werke, etwa die „Gymnopédies“ und die „Gnossiennes“ in
zahllosen Einzelaufnahmen zusätzlich erhältlich sind). Ich schreibe
„eigentlich“, weil der erste Teil der geplanten Gesamteinspielung
des Satie’schen Klavierwerks des monegassischen Pianisten Nicolas
Horvath sich von den anderen Aufnahmen klanglich und
interpretatorisch deutlich abhebt.</span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Um
es auf eine Formel zu bringen: Horvath schlägt ein neues Kapitel in
der Satie-Rezeption auf. Dies hat drei Gründe: Zum einen wird es die
erste Gesamtaufnahme nach der neuen, kritischen Salabert-Notenausgabe
sein. Diese versucht Saties vollständige Musik für Soloklavier
zusammenzufassen, was einige frühe Arien-Bearbeitungen, kleinere
unvollständige Fragmente, die Musik zu vier Händen und die
Liedbegleitungen ausschließt, andererseits aber einige erste
Fassungen von später radikal umgearbeiteten und „neu
geschriebenen“ Stücken enthält. Das Album beinhaltet einige
Weltersteinspielungen und einige Premieren der (deutlich revidierten)
Fassungen, die erstmalig in der Salabert-Edition von 2016 erschienen.</span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Des
Weiteren hat Nicolas Horvath das Instrument mit Bedacht ausgewählt.
Der erste Teil der Gesamtaufnahme enthält Kompositionen, die
zwischen 1884 und 1893 entstanden. Als Instrument wählte man einen
Erard-Flügel von 1881 (der einst Cosima Wagner gehörte). Man weiß
von Saties Präferenz für dieses Instrument durch ein von Picasso
entworfenes Festival-Poster von 1920. Ausdrücklich bat Satie den
Maler „Piano</span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Erard“
unten auf dem Plakat einzufügen. Der silbrig-helle Klang des Erards
mit seiner kürzeren Resonanzzeit (im Vergleich zu den modernen
Konzertflügeln von Steinway, Bösendorfer usw.) verleiht den ohnehin
„luftigen“, schnörkellosen Kompositionen Saties noch eine
zusätzliche Transparenz und entromantisiert sie (was sicher im Sinne
des Komponisten war).</span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Last
but not least ist es Horvaths feingliedriges Spiel selbst, das diese
erste CD der Gesamtaufnahme so interessant macht. Seine Meriten als
Interpret von sowohl Liszt als auch Glass mögen eine gute
Vorbereitung für diesen Satie-Zyklus gewesen sein. Im Spannungsfeld
zwischen (verblühender) Romantik und Minimal Music nimmt Saties
Musik eine Sonderrolle ein, die eine Ära abschließend, die andere
visionär vorausahnend. Horvaths Spiel spiegelt diese ästhetische
Kontroverse wider und trägt dabei Saties leiser Ironie Rechnung. Er
verzichtet auf romantisierende Überspitzungen ebenso wie auf
minimalistische Perkussivität und spielt mit einer bemerkenswerten
Distanz, die gleichermaßen kühl und surreal wirkt.</span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Ein
starker Auftakt einer Aufnahmereihe, der Saties Musik klanglich und
interpretatorisch neu inszeniert und dazu noch mit einigen Raritäten
aufwartet, die man bei anderen Gesamtaufnahmen nicht findet. Das
Artwork zeigt bereits die bald erscheinenden („Coming soon“)
Volumen 2 und 3 der Reihe. Man darf also hoffen, dass wir nicht allzu
lange auf mehr Musik in dieser aufregenden Gesamtaufnahme warten
müssen.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>SM</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Qobuz) </span></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Le
pianiste Nicolas Horvath, un grand spécialiste des défis les plus
fous, a décidé d’enregistrer une sorte d’intégrale de la
musique pour piano de Satie. « Une sorte », car, ainsi qu’il le
dit lui-même, on peut toujours discuter sur l’opportunité de
présenter tel ou tel fragment, tel ou tel inachevé, tel ou tel
exercice d’écriture qui n’avait pas vocation à être vraiment
joué. Cela dit, son intégrale – qui est prévue pour tenir en
neuf albums – fait largement le ménage. Tous les morceaux
assemblés par Robert Caby ont été impitoyablement supprimés ; les
titres qu’il a fabriqués de toute pièce ont été retirés – au
grand dam du label qui penserait sans doute mieux vendre ou même
ranger une pièce intitulée Première Pensée Rose+Croix plutôt
qu’affublée du neutre Pièce sans titre. Les fautes ont été
corrigées – il s’en trouve parfois beaucoup, comme dans les
Sarabandes semées d’erreurs de notes et d’harmonie, parfois
aucune comme dans les trois Gymnopédies et les trois Gnossiennes que
le bon Maître avait fait imprimer à compte d’auteur avec un
regard d’aigle sur l’exactitude. L’un portant l’autre,
Nicolas Horvath a préféré ne pas appeler son intégrale «
Première discographique mondiale de l’Edition 2016 », un brin
trop ronflant en effet compte tenu de la ténuité de certaines
différences entre l’ancienne édition et la nouvelle. Cela dit,
nombre de pièces sont effectivement présentées en première
discographique sous cette nouvelle forme, mais ce n’est « que »
la première de ladite forme corrigée, pas de l’œuvre en
elle-même.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">L’intégrale
de Horvath suit grosso modo la chronologie, de sorte que le premier
volume comporte – outre la véritable première discographique des
deux Quatuors de 1887 qui sont de véritables pièces pour piano,
pianistiques, pas même jouables au quatuor à cordes – déjà les
Quatre ogives, les trois Gymnopédies, les trois Sarabandes, les
Gnossiennes, autrement dit des œuvres fondamentales, fondatrices,
dans la production du compositeur qui, dès 1888, avait ouvert tout
un monde lointain et impensable à l’époque, qui fit qu’on le
relégua rapidement dans le cabinet des curiosités, voire des
zinzins. Peut-être l’était-il, mais avec ô combien de génie et
de vision d’avenir ! Les minimalistes de la fin du XXe siècle ne
s’y sont pas trompé et le considèrent comme l’un des pères
fondateurs de toute une modernité musicale. John Cage, en 1963,
avait déjà offert Vexations à un public sidéré que ce petit «
Frenchy » eût tant d’audace. Vexations que Horvath donnera dans
une version « courte », durée discographique (et nerveuse, côté
auditeur) oblige : quatre redites au lieu des 840 prescrites par
l’auteur facétieux. Cinq reprises seulement aussi pour Chanson
hongroise de 1889, quatre mesures à répéter ad lib. jetées au dos
du manuscrit de la Cinquième Gnossienne ; et cinq reprises pour le
Tango perpétuel. On précise également que Horvath fait usage de
pianos de l’époque d’écriture des ouvrages ; le premier volume
est joué sur un Érard de 1881 ayant appartenu à rien moins que
Cosima Wagner. </span></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Jeff
Simon </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(The
Buffalo News - 19 Mai 2917) </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>The
musical line from Satie to Horvath Rating : </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">★★★</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">By
the time he was composing the works that have become some of the most
popular in our time -- the "Gymnopedies," "Gnossiennes,"
and "Sarabandes" -- he was one of the great artistic
radicals of the late 19th century, a minimalist, modalist and almost
fanatical enemy of rhetoric.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">In
his flight from everything German in music, he became an inspiration
to some of the greatest 20th century American composers (Cage and
Thomson, especially). The piano Horvath plays here once belonged to
Cosima Wagner and is said to be from Satie's instrument maker of
choice. These are newly edited versions of Satie, including music
heretofore little known. If Horvath's performances are more than a
little academic for some of the least academic music ever written,
the notes on the disc by Robert Orledge are particularly fine.</span></span></span></span></span></span></span></span></span></div>
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<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Jean-Marc
Warszawski </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(musicologie.org
22 juin 2017) </span></span></span></span></span></span></span></span></span></span>
</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Le
premier cédé, sur trois prévus, d’une intégrale des œuvres
pour piano d’Érik Satie, selon une nouvelle édition Salabert
dirigée par Robert Orledge, qui a remis sur le métier les
manuscrits du maître qui ne voulait pas l’être. Nicolas Horvath a
choisi, une très bonne idée, un piano Érard de 1881, pas n’importe
lequel : celui de Cosima Wagner, ce qui risque d’agacer
quelque peu notre EsoteriK Erik national et montmartrois. Le livret
est très soigné, il est signé par Robert Orledge avec la
participation pour les illustrations, de la passionaria satiste
Ornela Volta. </span></span></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Gramola.at</b></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nach
Abschluss seines Zyklus von sämtlichen Klavierwerken des
Minimalisten Philip Glass kehrt der monegassische Pianist Nicolas
Horvath quasi an den Ursprung von jeglichem Minimalismus zurück: Zum
Klavierwerk des Exzentrikers und Avantgardisten Erik Satie, der Ende
des 19. Jahrhunderts die Vorstellung von Musik grundlegend
revolutionierte und der folgenden Musikmoderne den Weg bereitete.
Aber dieses Album enthält so viel, auch "zwischen den Zeilen"!
Denn es ist dies nicht nur die Weltersteinspielung von Saties
prominenten Kompositionen in der neuen Urtext-Edition, die 2016 beim
Verlag Salabert erschien und großes Aufsehen in
musikwissenschaftlichen Kreisen erregte. Es liegt hier auch die
Weltersteinspielung von manchem Klavierstück Saties vor, das erst
bei den Arbeiten zur neuen Salabert-Gesamtausgabe entdeckt wurde! Zu
allem Überfluss ist hier ein Klavier aus der Zeit der Kompositionen
zu hören und sorgt für höchste klangliche Authentizität. Und zwar
nicht irgendein Klavier, sondern ausgerechnet der Érard-Flügel, der
einst Richard Wagners Ehefrau Cosima gehörte. Wenn das nicht pikant
ist! Wer also glaubte, das Klavier-Gesamtwerk von Erik Satie bereits
komplett zu kennen, der sieht sich hier mit mancher
Repertoire-Überraschung konfrontiert. Auf diesem mit 73 min.
randvollen ersten Teil der Edition befinden sich zudem die populären
Gymnopédies, die Ogives und auch die Gnossiennes, die zusammen zu
den wohl bekanntesten Klaviermusikzyklen Saties gehören. Fazit:
Einzigartig, überraschend, kurios und wichtig!</span></span></span></span></span></span></span></span></span></div>
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<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span style="color: blue;"><span style="color: black;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Emilie
Munera </b></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(En Piste ! 23 mai 2017) </span></span></span></span></span></span></span></span>
</div>
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<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span style="color: blue;"><span style="color: black;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Une
intégrale Satie lancée par un musicien dont on vous parler
régulièrement dans cette émission, le français Nicolas Horvath,
il est en pleine intégrale Philip Glass et on vous diffuse
régulièrement les nouveaux volumes. Nouveau projet donc avec le
premier Opus des œuvres pour piano d'Erik Satie, vaste entreprise,
vaste sujet puisque rien que de définir ce qu'est une intégrale de
l’œuvre pour piano d'Erik Satie pose problème et est un vrai
travail en soi. Il y a les œuvres publiée du vivant de Satie, il y
a celles publiées après sa mort puisque après sa disparition
Darius Milhaud a fait le tri dans les manuscrits. Il a fait publié
certain d'entre eux et a confié les pages moins intéressantes à
l'époque à la bibliothèque du Conservatoire. Et vient ensuite un
certain Robert Caby qui en 64 se sentant héritier mystique de Satie,
se lance dans un travail de restauration et publie à nouveau des
inédits. Mais ce petit filou a regroupé des partitions en cycle et
a donné des noms à des pièces qui n'en avaient pas, d'ailleurs il
paraît que Darius Milhaud était furieux. Il assura qu'il avait
changé aucune note aux pièces dont il s'est occupé, mais il
reconnaîtra que certaines, effectivement n'auraient pas dû être
publiées. </span></span></span></span></span></span></span></span>
</div>
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<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span style="color: blue;"><span style="color: black;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Donc,
il y avait un grand travail à faire au niveau du corpus d'autant
plus que certaines fautes étaient glissées dans les précédentes
éditions. Et c'est un musicologue britannique, Robert Orledge, qui
s'est lancé dans l'aventure pour proposer une toute nouvelle édition
de l’œuvre de Satie en 2016. C'est sur ce travail que Nicolas
Horvath publie sa propre intégrale avec des œuvres que l'on connaît
déjà pour la plus part et que l'on va redécouvrir dans leur
version corrigées </span></span></span></span></span></span></span></span>
</div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span style="color: blue;"><span style="color: black;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">On
a un très beau livret , très grand qui est écrit par le
musicologue mais malheureusement tout en anglais </span></span></span></span></span></span></span></span>
</div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span style="color: blue;"><span style="color: black;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">C'est
donc l'occasion d'entendre ses œuvres avec des tempis assez étonnant
parfois, je pense à la première Gnossienne qui est jouée assez
lentement et qui pour m'a part m'a assez déstabilisée et sur un
piano étonnant qui est un piano Erard de 1881, qui a un coté plus
cabaret.</span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Francis
Benoît Cousté</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(24 juin 2017) Trois nouveaux enregistrements Satie, Glass et Rääts</span></span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Éminent
pianiste français, Nicolas HORVATH vient de publier, chez Grand
Piano, trois albums mémorables</span></span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Jouant
un piano Érard de 1881, ayant appartenu à Cosima Wagner, Nicolas
Horvath a ici entrepris d’enregistrer l’intégrale de l’œuvre
pour clavier de "l’Ermite d’Arcueil" (dont plusieurs
items en première audition mondiale)</span></span></span></span></span></span></span></span></span></div>
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<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Romaric
Gergorin </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Classica
- Septembre 2017)</span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>
Rating : </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">★★★
Audio</span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>
: </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">★★★
</span></span></span></span></span></span></span></span></span>
</div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Ce
premier volume d'une intégrale des œuvres pour piano de Satie par
Nicolas Horvath a la particularité de s'appuyer sur une édition
révisée, publié aux éditions Salabert par le musicologue Robert
Orledge, remarquable spécialiste de son œuvre. Il présente aussi
des inédits assez courts, les </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Quatuors
n°1 </span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">et
</span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">2</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">,
recherches harmoniques qui sont des préfigurations des </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Sarabandes</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
plus que des œuvres achevées, et </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Chanson
hongroise</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
dont les entraînantes 35 secondes nous laissent néanmoins sur notre
faim. Horvath joue avec une belle intensité sur un piano Erard 1881
ayant appartenu à Cosima Wagner, apportant une discrète touche
humoristique propre à l'esprit de Satie, en son temps contempteur
acharné du wagnérisme français. </span></span></span></span></span></span></span></span></span>
</div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Malgré
la sonorité un peu aigre de cet instrument, on retrouve avec plaisir
l'univers du compositeur anglo-normand, ses charmants débuts avec
</span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Allégro</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">,
</span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Valse-Ballet</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
et </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Fantaisie-Valse</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">,
la froideur des </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Ogives</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">,
des </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Sarabandes</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
jouée de manière incarnée, des </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Gymnopédies</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
à la lenteur mesurée, des </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Gnossiennes
</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">à
la profondeur atemporelle, d'attrayantes </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Sonneries
de la Rose+Croix</span></span></i></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
jouées de manière très personnelle, avec une séduction proche
d'un onctueux babil quand de nombreux interprètes misent sur leur
magnétique hiératique. </span></span></span></span></span></span></span></span></span>
</div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath réussit ainsi avec prestance la première étape de son
voyage en terre satiste et devrait bientôt couvrir tout son corpus.
Faite de distanciation, séduction et vivacité, son approche
complète la monumentale intégrale de référence par Aldo Ciccolini
(Erato) et la très singulière interprétation par Daniel Varsano
(Sony). Elle permet de renouveler l'écoute des œuvres
inlassablement insaisissables de Satie par un infime déphasage à
défaut de grand renouvellement, ce qui convient bien à un
compositeur voué aux mystères de l'inframince, concept défini avec
précision par son camarade Marcel Duchamp. </span></span></span></span></span></span></span></span></span>
</div>
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<br />
</div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>99.5
WCRB : CD of the Week: Satie: Complete Piano Works, Vol. 1</b></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">French
pianist Nicolas Horvath explores the eccentric mysticism of one of
the leading minds of modernist music.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Satie’s
solo piano works are among his most popular compositions. The
famously unorganized composer left several manuscripts of varying
completion strewn about his study at the time of his death in 1925,
and it is for that reason that musicians such as French pianist
Nicolas Horvath are able to furnish world premiere recordings of some
of his pieces, even after over 100 years. In his new album Horvath
also explores Satie’s more famous works, including the celebrated
Three Gymnopedies and the mystical grandeur of Ogives.</span></span></span></span></span></span></span></span></span></div>
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<br />
</div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Bertrand
D</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(LesVeillesMusicales - 25 juillet 2017) </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">CHAPEAU
MELON ET PARAPLUIES</span></span></span></span></span></span></b></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">17
mai 1866 : Alfred Satie et Jane Leslie Anton ont le plaisir de vous
annoncer la naissance du petit Eric-Alfred-Leslie Satie. L’enfant
va bien, merci. Septembre 1884 : première composition connue :
Allegro (00’29 »). C’est peu, mais à la même époque un
changement de taille intervient : le c du prénom devient un k, c’est
tout de suite plus « ésotérik ».</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">1885
: deux nouvelles compositions : Valse-Ballet et
Fantaisie-Valse. Cette dernière, première excentricité dans
une carrière qui ne cessera plus de surprendre, sera publiée deux
ans plus tard sous l’étonnant numéro d’opus 62. Ces trois
(très) courtes pièces ouvrent le premier volume de l’intégrale
des pièces pour piano d’Erik Satie par Nicolas Horvath. Le
pianiste, dont on a déjà dit beaucoup de bien dans ces colonnes,
poursuit sur le label Grand Piano un travail de grand intérêt, qui
concerne également Philippe Glass (le cinquième volume de son
intégrale des pièces pour piano est sorti l’année dernière) ou
Jan Rääts (premier volume de l’intégrale des sonates cette
année). </span></span></span></span></span></span></span></span></span></span>
</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Les
enregistrements des pièces de Satie pullulent, pour le meilleur et
parfois pour le pire : certes, son écriture pour piano n’est pas
celle de Franz Liszt, mais on se figure un peu vite que, de ce fait,
tout est simple. Or, chez le solitaire d’Arcueil, les difficultés,
non pas techniques, mais interprétatives, abondent. On peut louer,
dans cet enregistrement, une attention particulière portée aux
tempi : certaines pièce peuvent surprendre, à première écoute,
par leur lenteur, mais se révèlent tout à fait convaincantes sur
la durée. En outre, Nicolas Horvath trouve ici, à maintes reprises,
cet équilibre difficile entre « appropriation » et
« mise à distance » qui raconte quelque chose de Satie
lui-même. Et on ne louera jamais assez l’incroyable capacité de
résistance de pièces comme les Gymnopédies ou les Gnossiennes :
vous pouvez les utiliser pour vendre des voitures, du bain moussant
ou de la bière et, miraculeusement, quand vous les réécoutez,
aucune trace de contamination n’est perceptible. Souvent considéré
par les historiens de la musique comme un compositeur mineur, peu
digne de confiance car pêchant par trop d’humour (le comique
n’étant pas, il faut bien l’avouer, le fort de nos compositeurs
contemporains), Erik Satie aura néanmoins influencé certains
compositeurs, et non des moindres : pour vous en convaincre,
réécoutez la troisième Sarabande de « notre bon
maître » et, à la suite, In a Landscape, de John Cage. À
ceux d’entre vous qui s’étonneraient du sérieux imperturbable
de cette chronique, souvenez-vous de la Journée Du Musicien, tirée
des admirables Mémoires d’Un Amnésique (disponible dans la
« Petite Bibliothèque Ombres ») où Satie nous confie :
« D’aspect très sérieux, si je ris, c’est sans le faire
exprès. Je m’en excuse toujours et avec affabilité« </span></span></span></span></span></span></span></span></span></span></div>
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<br />
</div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Philippe-Emmanuel
Krautter </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Lexnews
- Édition Semaine n° 36 / Septembre 2017)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath est un pianiste talentueux de renommée internationale et que
ne rebutent ni le travail, ni l’audace et le courage, pour preuve
ces trois parutions discographiques qui témoignent non seulement de
ce courage éditorial, mais également de l’excellence des
interprétations proposées. </span></span></span></span></span></span></span></span></span></span>
</div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Le
premier CD est consacré à Éric Satie, et si le mélomane pense
avancer en terrain connu avec ce premier volume des œuvres complètes
pour piano d’Érik Satie, il devra s’attendre à quelques
heureuses et agréables surprises. Pour cet enregistrement, Nicolas
Horvath a en effet travaillé avec Robert Orledge, grand spécialiste
de la musique de la fin du XIX et début XXe s. C’est un véritable
travail titanesque de fond qui a été entrepris sur les manuscrits
d’Érik Satie et qui a conduit à une nouvelle édition révisée
de ses œuvres pour piano publiée à Milan par Salabert.
Curieusement, il s’avère que depuis un siècle un certain nombre
d’erreurs – certaines dues à Satie lui-même comme dans la
deuxième Sarabande – entachaient les œuvres du musicien et
avaient été reprises sans correction depuis. Le musicologue a ainsi
plongé au cœur de l’œuvre du compositeur révolutionnant la
musique du début du XXe afin de retrouver cette pureté de
l’inspiration que Nicolas Horvath illustre avec cet enregistrement
réalisé sur le piano Érard de Cosima Wagner (modèle 55613, année
1881) ! Toute l’esthétique du compositeur se trouve magnifiée
avec des harmonies nouvelles pour l’époque, qui s’éloigne de la
virtuosité pour préférer un nouveau dialogue, plus intime,
annonciateur des révolutions artistiques à venir. Nombreuses seront
les découvertes dans ce disque telle cette pièce sans titre datant
de 1891 et faisant référence au fameux courant Rose + Croix dont le
musicien fit partie, il fut même quelque temps le « maître de
chapelle » de l’Ordre de la Rose-Croix aux côtés de Joséphin
Péladan.</span></span></span></span></span></span></span></span></span></span></div>
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</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">A.M.</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Nice Matin - october 2017) </span></span></span></span></span></span></span></span></span></span>
</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Tout
le monde connaît Erik Satie, un trublion qui a révolutionné la
musique à la fin du XIXè siècle. Le pianiste monégasque, Nicolas
Horvath, nous offre son étude complète des œuvres de piano de
Satie dont les trois célèbres </span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><i><span style="text-decoration: none;"><span style="font-weight: normal;">Gymnopédies</span></span></i></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
et quelques inédites. Nicolas Horvath les joue sur son propre
instrument, un Erard 1881 de Cosima Wagner. </span></span></span></span></span></span></span></span></span></span>
</div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Ah
oui, au fait, c'est sublime !</span></span></span></span></span></span></span></span></span></span></div>
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<br />
</div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Gapplegate
Modern Music Blogspot</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(3 august 2017) </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Strongly
recommended.</span></span></span></span></span></span></b></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Anyone
who for some reason does not know Erik Satie's piano music has been
missing out on a singularly wonderful thing. I've listened for so
many years to the bulk of it that it has entered my being as
something eternally internal to me. I still have the old LPs of the
Frank Glazer Vox Box, the Aldo Ciccolini volumes on Angel/EMI, and
lately the Jeroen van Veen CD set on Brilliant (see my review
here from last October 6, 2016).</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">And
now we have Nicolas Horvath playing Cosima Wagner's 1881 Erard Grand
(the make of piano that Satie favored) for Volume One of the Complete
Piano Works in the new corrected Salabert Edition of 2016 in its
World Premier recording (Grand Piano 761). The Glazer version is the
most middle-of-the-road in its clean depiction of the scores, the
Ciccolini is the must sparkling and impressionistic version, the van
Veen is the more radically iconoclastic of all of them, featuring
very slow, sensuously beautiful versions of the lyric masterworks and
adventurous readings of the other works.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">And
so what of Horvath's new set? Of the Volume One? The Erard gives us a
sort of pale, brittle vulnerability to the lyric works, most of which
are a part of Volume One. We get Gnossiennes, Gymnopedies, Sarabands,
the "Sonneries de la Rose Croix" and other gems both very
familiar and less so.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">The
Salabert Edition corrects the numerous errors that crept into the
printed versions of the works, some because Satie did not proofread
the printed galleys as carefully as he might, and others for whatever
reason. I cannot say that my well-accustomed Satie ears perked up and
lead me to a pronounced "wow" at any particular point in my
listening, but nonetheless it is always a good thing to get the music
closer to what Satie intended.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">The
wealth of lyric pieces combined into the First Volume along with the
sterling interpretations make this an excellent place to start for
anyone who does not know Satie well. For the cognoscenti this new set
promises to be another offering of finely poetic interpretations that
completists or enthusiasts will want to have.</span></span></span></span></span></span></span></span></span></span></div>
<br />Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com1tag:blogger.com,1999:blog-2209885747817700840.post-26615009628318621662018-04-18T22:42:00.001-07:002018-04-18T22:42:35.778-07:00Jaan Rääts : Compete Sonatas Vol.1 reviews<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJxLCDI2KCXApn90KbePqV8bUMxL1eXK-biceAsdgd2jrF3lXZYvNbrP2MdQ9vJmGcht2oK9C8BNUCHyiICixXIeZg6S8bwNbQ8yuYKI9AKkPwqIAtk3-ZhLIF6ijhXJbZ492eRLI2swk/s1600/raats+Vol+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1594" data-original-width="1600" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJxLCDI2KCXApn90KbePqV8bUMxL1eXK-biceAsdgd2jrF3lXZYvNbrP2MdQ9vJmGcht2oK9C8BNUCHyiICixXIeZg6S8bwNbQ8yuYKI9AKkPwqIAtk3-ZhLIF6ijhXJbZ492eRLI2swk/s320/raats+Vol+1.jpg" width="320" /></a></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">International
Classical Music Awards : 2017 Nominee </span></span></span></span></span></span></b></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Resmusica </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">:
</span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Clef
d'Or , 2017 Best Contemporary Release </b></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Naxos
Bestseller April 2017 </b></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Jean-Marie
André</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Crescendo-magazine – 24 february 2018) </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>
Des premières mondiales d'un "autre" compositeur estonien
!</b></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Son
7 – Livret 10 – Répertoire 7 – Interprétation 7</b></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Si,
interrogé sur le nom d'un compositeur estonien, on cite facilement
Arvo Pärt, Jaan Rääts nous est, par contre, parfaitement inconnu.
C'est donc l'intérêt de ce CD de nous faire découvrir, en première
mondiale, six des dix courtes - elles dépassent rarement la dizaine
de minutes - sonates pour piano de ce musicien de 85 ans. Il est
difficile de définir le style de cet auteur prolifique. On lui doit
entre autres une dizaine de symphonies, plus d'une vingtaine de
concertos, un important corpus de musique de chambre et de nombreuses
musiques de film ; compositeur néoclassique, on pourrait le
qualifier de chaînon manquant entre un Chostakovitch énervé et un
Steve Reich immergé dans un minimalisme pimenté d'influence jazzy.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Le
livret bref mais très bien conçu résume en quelques lignes les
caractéristiques de chaque sonate qu'il est inutile de reproduire
ici. Disons simplement qu'elles couvrent la période créatrice du
compositeur, les trois premières datant de 1959, la neuvième de
1985 et la dixième de 2000.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Le
pianiste français, Nicolas Horvath, est un spécialiste des
marathons musicaux ; il a donné un premier concert marathon de 24
heures à la maison de la radio en 2015, un autre de 11 heures avec
l'intégrale de l'œuvre pour piano de Philip Glass à la
Philharmonique de Paris en octobre 2016. C'est donc une nouvelle
gageure pour lui d'envisager l'intégrale de ces sonates pour piano
de Jaan Rääts malgré l'avantage certain de ne rencontrer aucune
concurrence sur le marché du disque.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">On
peut regretter une sonorité quelque peu acidulée ; est-elle due au
Yamaha CFIII ou à la technique du pianiste ? Quoiqu'il en soit, un
enregistrement qui fera plaisir aux spécialistes de la musique
estonienne et aux amateurs en quête de nouvelles découvertes plutôt
originales sinon singulières.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>David
Denton </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(April
2017-David's Review Corner)</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">We
are indebted to Grand Piano for introducing the first recordings of
the piano sonatas by the octogenarian Estonian, Jaan Rääts, this
being the first of two discs. Prolific in his output that includes
ten symphonies and twenty-four concertos, it is Rääts’ years
spent educating the present generation of composers for which he will
be specially remembered. As a student he was educated in both piano
and composition, the first group of three sonatas coming from 1959
when he was twenty-seven, and were made up of very short movements,
the four-movement Third lasting less than seven minutes in total. It
is a curious mix of tonality and atonality with a hint of
Shostakovich in his spiky mode, the disc’s most extended movement,
at the centre of the First, being an unspecified lament. The Second
introduces a minimalist tendency and jazz influences that continue as
the sonatas progress to the Ninth dating from 1985. Occasionally
melody enters, as in the Grave movement of the Second, and more often
in the Fourth, to which he added the title, Quasi Beatles. No quotes,
though you could well believe it contains music from their popular
songs. Then a time jump of sixteen years before we arrive at the
Ninth, though the recipe is much the same. The most recent sonata,
the Tenth composed in 2000, is in one short movement divided into
three moods. Born in Monaco, the pianist, Nicolas Horvath, is known
for his deep committment to contemporary music, and has already
become a champion of Jaan Rääts, with whom he has worked in the
preparation of these sonata recordings. Very good sound.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Dionys</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Inactuelles – 4 juillet 2017) :</span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>
Le Sacre de l'énergie</b></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Vous
avez dit l'Estonie ? On vous répond au mieux Talinn... et Arvo Pärt
dans le domaine musical. Les mélomanes avisés mentionneront
peut-être Erkki-Sven Tüür. Mais qui, en France, prononcerait le
nom de Jaan Rääts ? Pourtant, ce compositeur né en 1932, longtemps
professeur à l'Académie de musique, est l'auteur d'un catalogue
impressionnant, essentiellement dans le domaine instrumental :
musique de chambre, pour orchestre, pour piano. Aussi la rencontre
entre le pianiste Nicolas Horvath, ambassadeur fougueux de cet
instrument et défricheur infatigable des musiques d'aujourd'hui, et
Jaan Rääts était-elle quasiment inévitable, d'autant plus que
l'estonien revendique hautement sa liberté musicale : « Je n'aime
pas les systèmes rigides, affirme-t-il. J'aime absorber le matériau
musical, le filtrer, développer son potentiel émotionnel là où
c'est nécessaire. Je l'utilise comme un tremplin pour mon
imagination... » Je ne m'évertuerai donc pas à lui accrocher une
ou plusieurs étiquettes, ce à quoi se réduit parfois la critique
musicale qui en profite pour nous assener ses derniers anglicismes
agressifs, manière faussement innocente de nous prouver qu'elle est
à la pointe de la pointe des nouveautés. Je vous invite tout de
suite à la lecture du beau livret - bilingue dont notre belle langue
- qui propose une analyse musicologique abordable, très juste. Pour
ma part, au lieu de prendre les sonates chronologiquement comme le
fait Ed Distler, compositeur et pianiste auteur du livret, je les
aborderai au fil du disque.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">En
effet Nicolas Horvath, qui a préparé ce premier volume avec le
compositeur, a choisi de commencer son programme par la neuvième
sonate. Le premier mouvement est comme un coup de tonnerre :
répétitions obstinées d'accords, arpèges tourbillonnants, qui se
résolvent par moments en micro séquences élégiaques vite
emportées dans le déluge pianistique . Un hymne aux forces vitales
qui n'exclut pas comme un éloge du mystère. Ô comme cette musique
fait du bien, nouveau sacre du printemps pour le piano ! Le second
mouvement reprend en mineur les thèmes du premier pour une promenade
incantée par des boucles minimalistes et des afflux d'énergie :
miracle d'une écriture libre, aérée, aux incroyables beautés
mélodiques inattendues. Le dernier mouvement est au croisement des
deux premiers, torrentueux, faillé par des staccatos puissants, des
falaises de notes répétées : la puissance accouchant d'instants de
grâce. Il y a du volcan chez Jaan Rääts. La musique jaillit comme
un feu d'artifice sublime : quoi de mieux pour ouvrir un album ? Les
six minutes de de dixième sonate, en un seul mouvement, offrent
comme un condensé de l'univers de Rääts : transitions abruptes,
contrastes puissants, surgissements de sources vives avec arpèges
éblouissants, moments de calme et d'ironie sereine, dissonances et
répétitions explosives à faire pâlir de jalousie le pulse
reichien. Cette musique est aux antipodes de la musique de salon.
C'est une musique sauvage, une bête indomptée, fantasque et
fascinante justement par le jeu de sa libre souplesse. C'est une
musique généreuse, dispensatrice d'une joie extraordinaire !</span></span></span></span></span></span></span></span></span></div>
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<span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">
<span style="font-size: medium;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">La
suite de l'album reprend les sonates dans l'ordre, de la première à
la quatrième. et l'on s'aperçoit, à l'écoute de la numéro 1, de
la fantastique liberté à l'œuvre dès l'origine. Avec son premier
mouvement qui court sur une seule ligne mélodique non accompagnée,
comme un équilibriste grisé par sa folie, elle bouscule pourrait-on
dire tous les attendus, tandis que le second déploie une veine
sombre, très lente, dramatisée par de puissants accords plaqués et
une sorte d'éclatement du tissu mélodique, paradoxalement enchantée
par des retours lancinants, poignants. Le trio, comme le remarque Jed
Distler, évoque en effet par moment la virtuosité ébouriffante des
études pour piano mécanique de Conlon Nancarrow, mais disloquée
par des bouffées extatiques et des accès de douceur, une cavalcade
effrénée. La seconde sonate est tumultueuse à souhait,
étincelante, obstinée, rageuse, et un brin mystérieuse, à
mi-chemin du ragtime et de Janàček (oui, Jed Distler !). Avec un
troisième mouvement noble et grave, à l'intensité croissante,
d'une confondante beauté hypnotique !! La troisième sonate commence
de manière dramatique par des accords hiératiques avant de
développer une langueur vite réinvestie par une marche solennelle,
alors que le second mouvement est vif-argent, espiègle canon qui
cède la place à un adagio fragile et mystérieux, puis un allegro
étourdissant curieusement troué par quelques secondes à la Morton
Feldman. </span></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">L'album
se termine avec la quatrième sonate "quasi Beatles" :
c'est un régal de virtuosité allègre, joyeusement dissonante
parfois. Musique folle, qui martèle jusqu'à l'outrance certains
motifs, en écho notamment à " A Day in the Life" de
l'album Sgt Pepper's Lonely Hearts Club Band. Quelle jubilation ! Un
orage magnétique, des gerbes éblouissantes !</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Un
disque magnifique à la prise de son impeccable, servi par un Nicolas
Horvath que l'on sent dans son élément, inspiré, serviteur
passionné de l'énergie du Balte. À écouter sur une bonne chaîne
si possible, il faut le répéter dans ce monde envahi par les
formats compressés.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Rob
Barnett</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(May 201 - Gramophone)</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">The
first three piano sonatas all date from 1959 and they established
Rääts as a champion of succinct and accessible expression. The
First is in three movements and play for just over eleven minutes. It
ends impressively with a weighty and tolling serenity verging on the
lugubrious and the desolate. The harmonic language is cleanly
dissonant. The Second, like the Third, is in four movements. It
includes a rapid-fire first movement racing along like a Nancarrow
miniature on speed. There is a jazzy underpinning to this piece. The
Third is from the same year and plays for just short of seven
minutes. Its plodding, tender, imperious bell-swung first movement is
followed by an intricately stalking second, a hesitant third and
another fast-coursing Pianola- style movement which then finds time
to morph into passive quietude. Don't let the Fourth's Quasi Beatles
title fool you. There are some pleasing and confidingly melodious
moments but it makes creative play with dissonance, both subtle and
grinding. The Ninth pounds and pummels yet has a tracery of Bachian
humanity about it. The Tenth is in one movement. It too picks up on
writing that involves wild-eyed trilling. These trills often spin out
into violence. To contrast with this there is a restful Finzian
spirit abroad (1.50). The listener may be lulled but there is reason
to be watchful. Rapid changes of mood, tempo and harmony are the
order of the day. I can imagine these pieces appealing strongly to
Joanna MacGregor. They are very much in that vein.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicholas
Horvath seems in masterly command of Rääts' often dark yet gleaming
materials whether in propulsion or in the hypnotic doldrums. As for
the audio side the sound is gripping whether the music is hammering
away or close to silence. Jed Distler is at the tiller for the liner
essay which does an accessible and informative job just as you would
expect from this expert communicator. Grand Piano are good at series
so don't expect to wait very long before the next disc appears.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Philippe-Emmanuel
Krautter </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Lexnews
- Édition Semaine n° 36 / Septembre 2017)</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath est un pianiste talentueux de renommée internationale et que
ne rebutent ni le travail, ni l’audace et le courage, pour preuve
ces trois parutions discographiques qui témoignent non seulement de
ce courage éditorial, mais également de l’excellence des
interprétations proposées. </span></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Découverte
enfin avec le troisième enregistrement constituant le premier volume
de l’œuvre complète des sonates pour piano de Jaan Rääts,
compositeur estonien, élève de Nikolaï Rimski-Korsakov, aux
réminiscences de Prokofiev… Nicolas Horvath a travaillé avec cet
artiste à l’inspiration puissante qui irradie ses œuvres. Accords
plaqués et arpèges vertigineux confèrent à cette musique une
dissonance postmoderne. Tout est convoqué dans la musique de Jaan
Rääts, l’oreille pourra discerner en filigrane de discrètes
évocations folkloriques, le compositeur poussera même la curiosité
jusqu’à étudier le style de Philip Glass. </span></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Le
talent de Nicolas Horvath se joue des difficultés dans cette musique
qu’il affectionne manifestement, les ponts entre Satie et Glass
avec Rääts transparaissant ici de manière saisissante, et on se
laisse volontiers emporter...</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Marvin
Rosen </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(WPRB
- Classical Discovery - Rockin' Rääts special day, 18 august 2017) </span></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">I
love Nicolas Horvath's Rääts Cd </span></span></span></span></span></span></span></span></span>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Francis
Benoît Cousté</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(24 juin 2017) Trois nouveaux enregistrements Satie, Glass et Rääts</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Éminent
pianiste français, Nicolas HORVATH vient de publier, chez Grand
Piano, trois albums mémorables</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">D’un
compositeur estonien par trop ignoré en France (considérable est
toutefois son œuvre instrumentale : 10 symphonies, 24 concertos,
quantité de musique de chambre, musiques de film), voici les pièces
retenues pour ce premier enregistrement français : Sonates 1,
2, 3, 4, 9 et 10. </span></span></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Gapplegate
Modern Music Blogspot</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(9 june 2017) </span></span></span></span></span></span></span></span></span>
</div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Oh,
the things we will hear once we open our ears! There is so much out
there. There is Jaan Raats (b. 1932) a name as unknown to me as the
umlauts in his name (that my current writing program cannot produce).
The World Premiere recordings of his Complete Piano Sonatas 1 (Grand
Piano 765) as deftly handled by pianist Nicolas Horvath is something
of an event, The music has a dash and panache that is as revelatory
as it is appealing, This first volume gives us sonatas 1-4 and 9-10;
the first three hail from 1959, No. 4 from 1969, No. 9 from 1985,
rev. 2014 and No. 10 from 2000, rev. 2014. His is a very motile,
dynamic modernism that takes maximum advantage of the percussive
nature of the instrument.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">The
music is not quite like anything else. The long span between the
first and tenth sonatas does not at first listen show a huge
stylistic change, there is a pronounced Raats-like quality to all of
them. But that pronounced originality is the constant thread that
makes the entire program stand out as special. Jaan Raats has found a
way to be modern without being what one might expect. That is
something to appreciate. Explore this music and find another musical
world awaiting! </span></span></span></span></span></span></span></span></span>
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</div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Jean-Luc
Caron</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Resmusica - 7 septembre 2017) </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Clef
du Mois</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(meilleure parution classique du mois de septembre 2017) , </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Clef
d'Or </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(meilleur
enregistrement de musique contemporaine de l'année 2017) </span></span></span></span></span></span></span></span></span>
</div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Dans
les années 1960 un groupe de compositeurs estoniens s’est hissé à
un haut degré de créativité. On connaît les noms de Veljo Tormis,
Eino Tamberg et Arvo Pärt, beaucoup moins celui de Jaan Rääts.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Cet
élève des conservatoires de Tartu et Tallinn fut aussi un étudiant
de l’excellent Heino Eller avant de devenir ingénieur du son à la
Radio estonienne, responsable des programmes musicaux et enfin
directeur de la musique à la Télévision de son pays. Rääts,
président de l’Union des compositeurs estoniens et professeur à
l’Académie de musique d’Estonie, n’a pas négligé la
composition montrant une préférence certaine pour la musique
instrumentale où se côtoient deux symphonies, vingt-quatre
concertos, de la musique de chambre et des partitions pour le cinéma.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Parmi
ses œuvres consacrées au piano seul se détachent dix sonates, peu
courtisées, que le pianiste français Nicolas Horvath défend avec
fougue, enthousiasme et brio. La présente livraison nous permet d’en
découvrir six, écrites entre 1959 et 2014, révisions incluses.
Toutes profitent de l’acquisition d’une multiplicité de sources
au profit d’une écriture, sinon foncièrement originale, du moins
singulière et personnelle. La Sonate n° 9 (1985, rév. 2014) fait
usage dans son premier mouvement de répétitions de blocs d’accords
et de brefs motifs enrichis de douces dissonances ; le second
mouvement apaisé repose sur des salves d’arpèges souples tandis
que le troisième et dernier propose une accélération dynamique
urgente. La Sonate n° 10 en un seul mouvement (2000, rév. 2014)
organise une série de confrontations de notes pointées et d’accords
dissonants où s’expriment des sections élégantes et d’autres
davantage rugueuses. Si ces deux dernières sonates s’appuient sur
une sophistication certaine de la pensée et de l’écriture, elles
doivent encore beaucoup au climat de la Sonate n° 1 (1959) d’où
émerge une ligne mélodique unique discernable (Allegro), puis
un climat nostalgique orgueilleux (Grave) et enfin un
flux sonore rapide, râpeux et martelé (Allegro final). Des rapports
discrets mais certains à plusieurs chansons des Beatles rendent
compte du sous-titre de la Sonate n° 4 de 1969.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Les
Sonates pour piano de Rääts méritent notre attention et
s’éloignent, non sans réussite, des schémas traditionnels,
créant un monde sonore propre et attractif. A découvrir.</span></span></span></span></span></span></span></span></span></div>
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</div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Kari
Nevalainen</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(inner-magazines – december 2017) Jaan Rääts angled piano sonatas</span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Jaan
Rääts (b. 1938), contemporary of eg. Veljo Tormis and Arvo Pärt,
two other prominent Estonian composers, is perhaps best known for his
pieces he’s written for the piano – especially the ten piano
sonatas, the earliest of which are from half a century ago.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">A
quite a clever selection of the sonatas are documented on the album
(Grand Piano) in which Nicolas Horvath plays three smaller sonatas
from 1959, sonata “Quasi Beatles” from the 60s, the ninth sonata
from 1985 and the latest sonata, the tenth, from 2000.</span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">If
there’s one word that would describe Rääts’ musical thinking as
it manifests itself in these piano sonatas and the disc, it is its
originality, and why not, oddity too.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">On
the one hand, the music is, as one critic put it, playful,
obsessively aggressive, lyrical, hacking, rhythmic, and minimalistic.
Stylistically postmodern, if you like. On the other, it’s
characteristically inorganic, structurally angular and texturally
somewhat heavy. This last aspect makes the music kind of onerous to
inhale. But Rääts’ sonatas also present clear-cut, non-trivial
and first and foremost, highly energetic music.</span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">The
sonata “Quasi Beatles” is from the best end. Some of the famous
themes are audible but the focus is on tightly controlled
expressivity.</span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">From
time to time less intrusive sonics might have served Rääts
demanding musical eruptions better. However, the sonatas’ slightly
mechanical nature distances them from purely acoustic performances.
The notation, not the natural acoustics, becomes the true reference,
and the close recording is in a better position to reveal what goes
on in the music. It supports the music’s energicity as well</span></span></span></span></span></span></span></span></span></div>
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<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>SM
</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Qobuz)
</span></span></span></span></span></span></span></span></span>
</div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Avec
Tormis et Pärt, le compositeur estonien Jaan Rääts (*1932) fait
partie d’un groupe d’artistes qui émergea dans les années 1960
et avec lesquels la musique estonienne trouva sa place au centre du
répertoire moderne, embrassant les styles, les philosophies et les
techniques développées parmi les compositeurs occidentaux de
l’après-guerre. Les sonates de Rääts présentent une fusion
organique sophistiquée de contraires. On y trouve une simplicité
enjouée à la Satie, d’âpres dissonances post-modernes, une
obsession minimaliste, des rythmes durs et énergiques, et des gestes
d’un lyrisme poignant. Des références à plusieurs styles – y
compris Les Beatles dans la Quatrième Sonate de 1969, même si Rääts
ne reprend aucune mélodie des « Fab Four » mais se saisit plutôt
de leur modèle d’écriture –, des citations et des motifs se
succèdent rapidement ou se bousculent mutuellement.
Superficiellement, on pourrait hasarder une analogie avec le style
typique de Schnittke, ou avancer non sans raison que Rääts serait
le chaînon manquant entre Chostakovitch et Steve Reich. Le pianiste
Nicolas Horvath qui, malgré son nom à consonance hongroise, est
monégasque de naissance, nous offre ici le premier volume des dix
sonates de ce compositeur dont il s’est fait l’enthousiaste
champion, en première discographique mondiale.</span></span></span></span></span></span></span></span></span></div>
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</div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Jean-Marc
Warszawski </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(musicologie.org
22 juin 2017) </span></span></span></span></span></span></span></span></span></span>
</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Belle
découverte avec le premier de deux cédés consacrés aux sonates
pour piano de Jaan Rääts, compositeur estonien né en 1932, qui,
parallèlement à son œuvre de création, fait une brillante
carrière à la radio-télévision estonienne, pour en devenir
directeur des programmes musicaux, puis directeur de la musique dans
les années 1970, poste qu’il quitte pour assumer la Présidence de
l’Union des compositeurs. Il est par la suite professeur de
composition à l’Académie nationale de musique. Ses œuvres ont
été de nombreuses fois primées. </span></span></span></span></span></span></span></span></span></span>
</div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Il
est sans conteste un musicien postmoderne dont les pièces intègrent
un large spectre d’influences explicites, où musique répétitive
et jazz dominent (jazz dès la première sonate de 1959), mais encore
où se manifeste des réminiscences de Chostakovitch. On peut
apprécier l’influence occidentale, mais la concrétion est,
au moins dans les premières œuvres, plutôt russe, malgré
l’absence de sentiment épique, par l’affrontement du
lyrisme et de violents accords voire clusters, parfois le côté brut
de décoffrage, ou art naïf qui peut faire penser à des toiles de
Malévitch, une « simplification » apparente qu’on retrouve chez
Arvo Pärt ou Pēteris Vasks. </span></span></span></span></span></span></span></span></span></span>
</div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Ce
cédé est un première mondiale, Nicolas Horvath a eu la chance de
pouvoir le préparer avec le compositeur. </span></span></span></span></span></span></span></span></span></span>
</div>
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</div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Gramola.at</b></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Auch
Jan Rääts ist einer der führenden estnischen Komponisten. Selbst
Schüler des großen Heino Eller, wurde er später selbst vor allem
als Pädagoge bekannt und bildete u.a. Erkki-Sven Tüür aus. Rääts
ist ein polystilistischer Komponist, einer, bei dem man nie weiß,
was einen erwartet. Seine durchgehend tonale, dennoch rundum moderne
Musik ist sehr abwechslungsreich und spannend. Nicholas Horvath,
bekannt durch seine Reihe mit der vollständigen Klaviermusik von
Philip Glass bei Grand Piano, ist seit Jahren mit Jaan Rääts
befreundet. Der Komponist schrieb viele seiner Klavierwerke für
Horvath, der hier nun den Auftakt zu sämtlichen Klaviersonaten des
Esten bei Grand Piano vorlegt.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Romaric
Gergorin</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Classica – June 2017) </span></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Rating
:</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
★★★ Audio : ★★★ </span></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Ces
six sonates de Jaan Rääts interprétée avec une belle énergie par
Nicolas Horvath sont une heureuse surprise. Enregistrées pour la
première fois, alors que ce compositeur estonien, ancien député de
Tallinn, à tout de même quatre-vingt cinq ans, elles évoluent dans
un univers tonal mais aucunement tournées vers le passé, et
n'hésitent pas à manier des dissonances postmodernes et une
brutalité à la Prokofiev. Les trois premières sonates , écrites
en 1959, kaléidoscopiques, alternent différents registres, entre le
déclamatoire, le pastiche et l'expressivité exaltante, et ne sont
pas sans rappeler une certaine veine du Satie, de la période
humoristique, en moins acerbe et concis. La Sonate n°4 «Quasi
Beatles», composée en 1969, manie les quintes descendantes propres
au groupe de Liverpool ainsi que leurs changements de rythmes, avec
aussi des clins d'œil à certains de leurs titres les plus fameux
comme A day in the life. Dans sa Sonate n°9 en 1985, Jaan Rääts
fait évoluer son style, en intégrant l'apport des minimalistes
américains, en particulier Steve Reich. Les accords répétitifs
juxtaposent différents blocs sans parfois éviter le sentimentalisme
nauséeux d'un Philip Glass quand il succombe au pathos.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">La
Sonate n°10, datée de 2000, élégante et diverse, manie les
ruptures de registres avec une fluidité altière, avec des pointes
de brutalité affleurant parfois, dominée par des lignes
minimalistes plus sereines et un art des contrastes qui s'avère être
la marque de fabrique de ce compositeur qui regarde loin vers
l'horizon sans totalement larguer les amarres — nous ne sommes pas
non plus dans la frénésie des Études pour piano de Ligeti ni dans
le déchaînement des Sonates de guerre de Prokofiev. Mais un charme
singulier baigne cette musique d'une quête de rupture et d'un monde
à part, entre lyrisme et dureté, éloquence et concentration.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>unCLASSIFIED
</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(21
avril 2017)</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Beautiful
new recording of Räät's sonatas from Nicolas Horvath and Grand
Piano Records. Featured on Brain Fuel this month!</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Richard
Kraus</b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Musicweb-international - Febuary 2018) </span></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">This
arresting set of sonatas by an Estonian master is music that many
will enjoy a lot for its spikey melodies, interesting rhythms, and
playful sensibility.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">I
had not heard any of the music of Jaan Rääts before this disc,
which I now understand is my loss. Here are six attention-grabbing
piano sonatas by a contemporary master from Estonia who should be
better known.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Ranging
between six and eleven minutes long, the sonatas are small in scale
and rather meticulously crafted, yet they feel much larger in terms
of ambition and impact. Rääts’ musical language is high-energy,
with sharp, sometimes syncopated, rhythms and occasional blues
intervals. His fondness for repeated chords suggests a touch of
minimalism, although the music is rugged rather than smooth. </span></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Pianist
Nicolas Horvath begins with a pair of sonatas which Rääts revised
in 2014. No. 9 opens dramatically, and follows an emotional
trajectory across three movements of assertion, followed by
introspection, revolved by a somewhat tempered affirmation. No. 10
also conveys a sense of connection to tradition, yet using
unconventional means to show it. This sonata sounds more
improvisatory, although that is likely an illusion created by the
composer, skillfully abetted by Horvath.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">The
three earlier sonatas of Opus 11 utilize more jazzy touches, which
must have been remarkable in 1959 in Soviet Estonia. Sonata No. 1
opens with a spikey prelude and no chords at all. The grave is calm
and rather static, while the final allegro comes close to
boogie-woogie frenzy. Sonata No. 2 follows a similar arc, with outer
movements showing bad-boy instincts, while a chorale surprises with
its patient and sustained power. Rääts’ juxtaposition of
radically conflicting musical sides reminds one of Poulenc. It is fun
to listen for musical influences and analogies in Rääts’
constantly engaging and highly original music. The third of the Opus
11 sonatas closes with a final movement of the sort of stubborn
persistence you sometimes find in Hindemith. The boogie-woogie theme
seems so relentless as to be not quite human, perhaps a mechanical
construction by Conlon Nancarrow, until it gives way to quiet calming
chords. </span></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">The
“Quasi Beatles” Sonata No. 4, from 1969, contains hints of the
Beatles, but no actual quotations. I missed many of the pop
references, but Jed Distler’s fine notes offer help for the
terminally egg-headed. This sonata features some of the flashiest
playing on the disc.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath is an energetic and sensitive performer, who plays as if
these short sonatas are masterpieces, and perhaps they are. The
artist’s conviction certainly helps carry the listener along.
Horvath has previously recorded Glass and Satie, two other
distinctive voices. </span></span></span></span></span></span></span></span></span>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">The
sound quality is fine. The piano rattles and clangs a bit, but never
more than fits Rääts’ exuberant music. I look forward to volume
2.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><b>Kare
Eskola </b></span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Yle)
Jaan Rääts - betonibrutalismia virolaisittain</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Levyllä
kuullaan kolme pikkusonaattia vuodelta 1959, "Quasi
Beatles"-sonaatti kuusikymmenluvulta, yhdeksäs sonaatti
vuodelta 1985 ja viimeinen eli kymmenes sonaatti vuodelta 2000.
Pitkästä aikavälistä huolimatta musiikki on yhtenäistä ja
erittäin omaäänistä. Leikkisyys, pakkomielteinen aggressio,
koskettava lyyrisyys, hakkaavat rytmit, minimalismi sekä tietysti
postmodernismi tyylilainoineen ja asenteineen sekoittuvat tai
oikeastaan vaihtelevat nopeasti, kun taas orgaaninen kehittely ja
sarjallinen yhtenäiskulttuuri loistavat poissaolollaan.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">On
helppo ymmärtää, miksi Räätsistä ei tullut kuuluisaa.
Omaperäinen, jopa trendikäs postmodernismi ei paljon auta, kun
musiikki on rakenteeltaan kantikasta ja raskasta kuin Tallinnan
Mustamäen betonibrutalismi. Parhaimmillaan Räätsin sonaatit
kuitenkin ovat lennokasta, selvärajaista ja energistä musiikkia, ja
etenkin "Quasi Beatles" -sonaatissa tarjolla on avartavaa
ajankuvaa.</span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath soittaa kolisevalla kosketuksella </span></span></span></span></span></span></span></span></span>
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<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br />Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0tag:blogger.com,1999:blog-2209885747817700840.post-78655084027165112942017-02-08T05:47:00.001-08:002017-02-08T05:51:25.681-08:00Philip Glass 80 Celebration at Carnegie Hall My dear friends <br />
<br />
Back from the Carnegie Hall Madness of my contribution to the 80 Glass Celebration with a Glass Solo Piano Marathon , i just found out some very nice videos on Facebook that were made by the audience ! <br />
<br />
I am then sharing them with you for the ones that missed the event ! <br />
<br />
Here enjoy some parts of 2 pages : <br />
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<a href="https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Fdaniel.boeri%2Fvideos%2F1472954072716076%2F&show_text=0&width=400">https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Fdaniel.boeri%2Fvideos%2F1472954072716076%2F&show_text=0&width=400</a><br />
<br />
And here a part of How Now <br />
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<a href="https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Fcarolinebergonzinyc%2Fvideos%2F10155049239264623%2F&show_text=0&width=400">https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Fcarolinebergonzinyc%2Fvideos%2F10155049239264623%2F&show_text=0&width=400</a><br />
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<br />
<br />Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0tag:blogger.com,1999:blog-2209885747817700840.post-66754438153784957472016-12-12T07:42:00.001-08:002018-04-18T22:39:14.462-07:00Glass : GlassWorlds Vol. 5 reviews <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVwMUzCUY27sDi4iLzavPK7byOqydCNq65tjyc5d3i8zbssvLffaidpiHyRZFn00mJN2ZLJsEnBojcL0y05NZFQBedDegn7bdgcUElxwYRsnK9mfMO9W4ndhMqmZMyo9XsaJjdCO8mVms/s1600/Glass+5+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVwMUzCUY27sDi4iLzavPK7byOqydCNq65tjyc5d3i8zbssvLffaidpiHyRZFn00mJN2ZLJsEnBojcL0y05NZFQBedDegn7bdgcUElxwYRsnK9mfMO9W4ndhMqmZMyo9XsaJjdCO8mVms/s320/Glass+5+.jpg" width="320" /></a></div>
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<span style="color: black;"><span style="font-family: "kozuka gothic pro m" , sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">David
Denton </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(David's
Review Corner, October 2016)</span></span></span></span></span></span></span></span></span></span></div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm; margin-right: 0.03cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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. </span></span></span></span></span></span></span></span></span></span>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Rob
Haskins</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(March 2017-American Record Guide) </span></span></span></span></span></span></span></span></span></span>
</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Mr
Horvath continues this fascinating survey of Glass’s piano music
with performances that satisfy me completely</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Philippe-Emmanuel
Krautter</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Lexnews - Édition Semaine n° 36 / Septembre 2017)</span></span></span></span></span></span></span></span></span></span></div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm; margin-right: 0.03cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath est un pianiste talentueux de renommée internationale et que
ne rebutent ni le travail, ni l’audace et le courage, pour preuve
ces trois parutions discographiques qui témoignent non seulement de
ce courage éditorial, mais également de l’excellence des
interprétations proposées. </span></span></span></span></span></span></span></span></span></span>
</div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm; margin-right: 0.03cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Plus
de proche de nous, le deuxième enregistrement est consacré au
compositeur Philip Glass ; Philip Glass égrène les notes de ses
compositions comme autant de rappel à nos sens engourdis. Cloches,
battements, chapelets sonores défilent dans des mélodies épurées
que Nicolas Horvath parvient à saisir avec une acuité étonnante
dans ce cinquième et dernier volume qu’il a consacré au
compositeur. Mad Rush envoute, hypnotise pour ouvrir à de nouveaux
paysages, tour à tour suggérés, rapprochés ou simplement
entraperçus. 600 lines étonne et ravit par son ascétisme
hypnotique, Philip Glass ayant pour cette œuvre travaillée avec
Ravi Shankar. Véritable haïku sonore, l’épure fait
paradoxalement naître une profusion d’images et de sensations
quasi corporelles, mantra acoustique des temps modernes… Dernier
clin d’œil de cet enregistrement Philip Glass, la transcription
pour piano du compositeur du fameux « The sound of Silence » de
Paul Simon…</span></span></span></span></span></span></span></span></span></span></div>
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<br />
</div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm; margin-right: 0.03cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Jasemin
Khaleli </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Magazin
Klassik-8 december 2016) </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Zauberwort
Entschleunigung </span></span></span></span></span></span></b></span></span></span>
</div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm; margin-right: 0.03cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Rating
: </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Interpretation:
</span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">★★★★</span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
Klangqualität: </span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">★★★★</span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
Repertoirewert: </span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">★★★★</span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
Booklet: </span></span></span></span></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">★★★</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">
</span></span></span></span><br />
</div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm; margin-right: 0.03cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Mit
durchaus meditativen Qualitäten begeistern Nicolas Horvaths präzise
und fein gedeutete Glass-Interpretationen.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath scheint ein Faible für Vollständigkeit sowie
interpretatorische und physische Herausforderungen zu haben. ‚Quält‘
er sich beispielsweise in einer 48 Stunden-Version mit Erik Saties
'Vexations' oder gibt alle 'Nocturnes' von Frédéric Chopin an einem
Abend zum Besten, füllen des Öfteren auch Philip Glass‘ Stücke
das Konzertprogramm. Sie sind bei Horvath dabei in besten sowie in
festen Pianistenhänden, würdigte er in den vier bislang im Hause
Grand Piano veröffentlichten Platten (‚Glassworlds‘ 1-4) den
bedeutenden Minimalisten, Opern- und Filmmusikkomponisten. Gebündelt
werden die Stücke dabei mehr unter dem konzeptionellen Gesichtspunkt
spannungsgenerierender Variabilität als chronologischer
Geradlinigkeit und so sollen nun ‚nach Beginn, Virtuosität,
Verwandlung und Liebe‘ (so Nicolas Horvath im Booklet) die
‚spirituellen Kompositionen‘ in ihrer Raffinesse und ihrem
Nuancenreichtum zum (Er-)Leuchten gebracht werden.</span></span></span></span></span></span></span></span></span></span></div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm; margin-right: 0.03cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Wie
ihre Vorgänger enthält auch diese Glass-Welt Weltersteinspielungen:
Im Mittelpunkt stehen die beiden großangelegten Stücke 'Mad Rush'
und das ‚Übungsstück‘ '600 Lines', das, bereits 1967 für das
Philip Glass Ensemble komponiert, in der Version für Klavier
erstmals auf Tonträgern festgehalten ist. Ebenso betrifft das die
beiden kurzen, den Hauptwerken angehängten Stücke, die jüngste
Version des zweiten Satzesaus dem Klavierwerk 'Metamorphosis' und die
Transkription des Songs 'Sound of Silence' von Paul Simon.</span></span></span></span></span></span></span></span></span></span></div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm; margin-right: 0.03cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Für
'Mad Rush' (1979), ursprünglich für Orgel, sind klangliche
Kontraste charakteristisch: Atmosphärische, träumerisch-friedvolle
Klangflüsse brechen fast schmerzlich in unnachgiebige
Sechzehntel-Arpeggien und hämmernde Tonrepetitionen aus – ein
Hörerlebnis, zu dem der perkussive und glasklare Anschlag des
Klaviers sicherlich seinen Teil beiträgt. Aber weit mehr als das
Kräftemessen ruhiger und rasanter Passagen ist 'Mad Rush' eine
dramatische Erzählung, in beinah versteckter Sonatenform werden
Klanggebilde exponiert, überlagert, aufgepeitscht, aufgelöst und
verklingen schließlich im Nirgendwo. Angelegt ist hier bereits die
melancholische, über eine kreisende Bassstimme geführte Linie aus
'Metamorphosis Two', sodass sich die Neufassung in logischer
Konsequenz anschließt.</span></span></span></span></span></span></span></span></span></span></div>
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<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm; margin-right: 0.03cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Psychedelischer
Schwerelosigkeit wird der Zuhörer in '600 Lines' jäh entrissen. Die
mit über 40 Minuten Dauer schier endlose monodische Verkettung der
fünf Töne C, D, E, F, G und die dominanten Quartsprünge haben
etwas Radikales und Ungehörtes von karikierend fröhlicher
Einfachheit an sich. Der Eindruck einer beliebig erweiter- und
beendbaren, den Gesetzmäßigkeiten von Zeit völlig lossagenden
Kombination trägt eindeutig die Handschrift des Minimalisten und
führt ein fortan etabliertes Organisationsprinzip vor Augen, das
seinen Anfang von Glass‘ Kontakt mit indischer Musik nahm.
Melodisch wieder versöhnlicher rundet dann Glass‘ nur einmal (zur
Verleihung des Gershwin Prize an Paul Simon im Jahr 2007)
vorgetragene Popsong-Bearbeitung die Einspielung ab und bewegt sich
mit den überlagerten Zweier- und Dreierrhythmen wieder auf den
Ausgangspunkt des Programms zu.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Glass‘
Kunstgriff sind kaum merkliche Veränderungen in einem Kreislauf der
Wiederkehr, die Horvath mit feinem Gespür für packende
Spannungsbögen ausgestaltet. Aus Reduktion und vermeintlicher Statik
entstehen hier Stimmungsbilder, die mit großer Sensibilität und
Ernsthaftigkeit ein ganzes Spektrum an Einfärbungen offenbaren –
und eine Musik, die von ihren bereitwilligen Zuhörern erlebt werden
will und ihnen den Freiraum gibt, bei sich selbst zu verweilen.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Björn
Gustavsson</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(June 28, 2017 - Magasin Opulens) </span></span></span></span></span></span></span></span></span></span>
</div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm; margin-right: 0.03cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Och
det som hos mig glimmat kanske mest denna försommar är Philip Glass
Glassworlds (Grand piano, distribueras av Naxos), fem volymer med
Philip Glass pianomusik, kongenialt sensibelt framförd av Nicolas
Horvath. Hängivet återger Horvath såväl det mikrokosmiska,
repetitiva myllrandet som den meditativt egensinniga, storskaliga
magi som mynnar i nya, vida världar. Ett måste för alla
Glass-älskare!</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Klaus
Heymann</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(October 2016 - KLAUS HEYMANN REKOMMENDERAR!)</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">This
fifth volume in our ongoing cycle contains some rare treats for
Philip Glass fans, not least in the first recording on solo piano of
his 600 Lines (a hypnotic toccata reflecting the influence of Ravi
Shankar) and the première on disc of Metamorphosis 2. The vivid
contrasts of Mad Rush and the composer’s sole example of an
arrangement (Paul Simon’s The Sound of Silence) complete the
programme. Pianist Nicolas Horvath’s previous releases in the set
have attracted many plaudits</span></span></span></span></span></span></span></span></span></span></div>
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</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Francis
Benoît Cousté</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(24 juin 2017) Trois nouveaux enregistrements Satie, Glass et Rääts</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Éminent
pianiste français, Nicolas HORVATH vient de publier, chez Grand
Piano, trois albums mémorables</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Suite
aux quatre premières stations du cycle de la vie (Opening, la
Virtuosité, la Métamorphose, l’Amour), Nicolas Horvath nous
propose, cette fois, « Enlightenment »</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Salvatore</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Naxos Deutschland Blog - 23 janvier 2017)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Fast
schon könnte man glauben, dass die Musik des US-amerikanischen
Minimal-Music-Komponisten Philip Glass ein wenig aus der Mode kommen
sollte. Immerhin drängen immer mehr junge „postmoderne“
Komponisten ins Rampenlicht, aber das Gegenteil ist der Fall. Glass’
Musik ist aktueller denn je. Sie wird nicht nur von Komponisten wie
Max Richter, Yann Tiersen und Ólafur Arnalds als Inspirationsquelle
und Vorbild genannt, eine Fülle von jungen Musikern widmen sich mit
Leidenschaft und Raffinesse der Musik des vom Establishment nicht
immer gern gesehenen Grenzgängers.</span></span></span></span></span></span></span></span></span></span></div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Der
monegassische Pianist Nicolas Horvath hat sich vorgenommen, Philip
Glass‘ vollständiges Klavierwerk aufzunehmen. Das schließt auch
zahlreiche Transkriptionen für Klavier seiner Orchesterwerke und
Filmmusiken ein. Horvaths Reihe „Glassworlds“ ist mittlerweile
beim fünften Teil angelangt und stellt immer wieder nicht nur
bekanntes Material, sondern auch Raritäten vor. „Enlightenment“,
so die Überschrift des fünften Volumen, enthält gleich drei
Weltersteinspielungen: „Metamorphosis Two“ (in der Fassung für
Soloklavier), „600 Lines“ und dazu, quasi als Zuckerstückchen,
die Transkription von Paul Simons Welterfolg „The Sound of
Silence“. Darüber hinaus enthält das Album eine Aufnahme des
Schlüsselwerks „Mad Rush“ von 1979. Dessen erster Teil wurde
später zur berühmten „Opening From Glassworks“, der zweite Teil
wurde im Koyaanisqatsi-Soundtrack in „Vessels“ wiederverwertet,
der dritte Teil tauchte im sechsten Satz des dritten Streichquartetts
„Mishima“ auf und der vierte wurde in „Metamorphosis Two“
wieder aufgegriffen.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Herzstück
des Albums ist das rund 40-minütige „600 Lines“. Im Booklet
nennt Horvath das Werk »das radikalste und faszinierendste Stück,
das Philip Glass komponiert hat« und erläutert: »Die fünf Töne
C, D, E, F und G, die in ständigen Mutationen von großer,
raffinierter Komplexität organisiert sind, wecken durch ihre
Wiederholung den trügerischen Eindruck einer zyklischen Struktur.«
Diese »obsessive, hypnotische Toccata« mit epischer Länge ist ein
Lehrstück, wie Minimal Music in nucem funktioniert: Ein bewusst
eingeschränktes musikalisches Vokabular wird durch Wiederholungen,
leichte Taktverschiebungen und gemächliche Mutationen zu einem
hypnotisierenden Klanggebilde.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvaths Stärke ist seiner traumwandlerische Vertrautheit mit dem
Material und seine technische und interpretatorische Souveränität.
Hier wirkt, trotz stellenweise sehr rascher Tempi, nichts überhastet
oder flüchtig. Jede einzelne Note erhält genügend Zeit (und Raum),
um sich frei entfalten zu können. Dabei gelingt ihm das Obsessive,
Mechanistische der „600 Lines“ mit derselben Überzeugungskraft,
wie die sehnsuchtsvolle Reduktion in der leider viel zu kurzen „Sound
of Silence“-Transkription.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Eine
besondere Erwähnung verdient auch die kluge Wahl der Instrumente,
ein Fazioli Grand Piano bei den Minimal-Stücken, ein Steinway Model
D bei der Paul-Simon-Bearbeitung. Es ist der fantastischen Klangregie
des Produzenten Nikolaos Samaltanos und des Toningenieurs Evi Iliades
zu verdanken, dass die ganz eigene Magie der Musik Glass’ in der
protestantischen Saint-Marcel-Kirche plastisch und natürlich
aufgenommen wurde.</span></span></span></span></span></span></span></span></span></span></div>
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</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Mike
Shooter</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(La Vos de los Vientos – 11 july 2017)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Hace
algo más de dos años comentamos aquí el primer volumen de
“Glassworlds”, la serie de grabaciones que Nicolas Horvath
comenzaba a publicar entonces con la obra para piano de Philip Glass.
Como estaba previsto entonces, la colección llegó a los cinco
volúmenes incluyendo en ellos música originalmente escrita para
piano así como un buen número de transcripciones, apareciendo de
forma esporádica algún estreno absoluto, al menos en formato
grabado.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Como
el orden estrictamente cronológico no es algo que acostumbremos a
llevar de un modo estricto en el blog, nos saltamos por ahora los
volúmenes que van del dos al cuatro y pasamos directamente el que
cerraba la serie, subtitulado “Enlightment” (iluminación). En
él, Horvath nos muestra dos obras de la larga duración acompañadas
de otras dos más breves que, en cierto modo, son estrenos.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">“<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">Mad
Rush” - Hemos comentado ya varias versiones de esta composición
por lo que poco podemos añadir al respecto. Queremos hacernos eco,
eso sí, de las reflexiones del propio Horvath al respecto, que
tienen mucho que ver con el título del disco. Según el pianista,
Desde su estreno en 1979, “Mad Rush” ha ido evolucionando a
través de sus versiones en directo a cargo del propio Glass. Como si
con el tiempo, la pieza hubiera ido creciendo. Ese nuevo tratamiento
se refleja aquí un una ejecución muy expresiva que reduce en cierto
modo los fuertes contrastes entre las diferentes secciones de la obra
sin perder ni un ápice de su fuerza.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">“<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">Metamorphosis
Two” - Algo parecido a lo que acabamos de comentar ocurre con esta
pieza, parte del ciclo de composiciones para piano más popular del
repertorio de su autor. Afirma Horvath que la pieza ha cambiado y que
la versión que Glass interpreta en los últimos quince años en sus
conciertos es diferente de la original, tanto como para llegar a
indicar en las notas del CD que esta grabación es la primera de la
“nueva” obra. El cambio es sutil. Tanto que incluso sabiendo
dónde se encuentra nos cuesta identificarlo aunque también es
posible que después de haber oído tantas veces la pieza en
diferentes formatos y versiones, no tenemos una versión “canónica”
fijada en la memoria que nos haga reconocer de inmediato cualquier
variante de la misma.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">“<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">600
Lines” - La obra más extensa de la colección es esta
transcripción para piano de una de las composiciones más “raras”
del repertorio de Glass. No tanto por la música en sí sino porque,
pese a haber sido escrita en 1968, no aparecía en ningún catálogo
de obras del artista hasta que en 2003 fue grabada por los miembros
de Alter Ego (no en 2013 como indica Nicolas Horvath en sus propios
comentarios). No existía referencia alguna en entrevistas, reseñas
de conciertos ni en ningún otro sitio pese a que el propio Glass
afirma que fue una de las primeras obras que escribió para la Philip
Glass Ensemble y que en su momento la interpretaron en varias
ocasiones. También señala el compositor en los comentarios de la
grabación de Alter Ego que se trataba de una pieza concebida para
los ensayos más que de una pieza para concierto en sí, cuestión
que puede explicar su ausencia en casi todos los listados de obras
que existían hasta hace poco. La partitura original era para grupo
por lo que esta versión para piano de una de las primeras piezas
puramente minimalistas de Philip Glass aparece aquí com estreno
mundial.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">“<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">The
Sound of Silence” - Cerrando el disco y también la serie de cinco
volúmenes que Horvath tituló “Glassworlds” encontramos una
auténtica rareza. Aunque pertenecen a mundos musicales muy
diferentes, Paul Simon y Philip Glass son amigos desde hace tiempo y
han colaborado ambos en trabajos del otro. Glass realizó una
brillante coda orquestal para la canción “The Late Great Johnny
Ace” que aparecería en el disco “Hearts and Bones” de 1983 del
cantante. En justa reciprocidad, Simon escribió algunos textos para
el ciclo de canciones de Glass titulado “Songs from Liquid Days”
poco tiempo después. En 2007, con ocasión de la entrega de los
Premios Gershwin que otorga la Biblioteca del Congreso de los Estados
Unidos, Glass realizó una transcripción para piano de “The Sound
of Silence”, la famosa canción de Paul Simon, galardonado en esa
edición. Horvath presenta aquí la primera grabación en disco de la
misma indicando que es la única vez que Glass ha hecho una
transcripcion de una composición ajena. Aunque este último punto no
es exacto (ya transcribió diversas piezas clásicas de música india
para orquesta occidental en la banda sonora de “Chappaqua”), la
versión es una curiosidad muy interesante por comprobar cómo Glass
se lleva a su terreno una melodía que ya forma parte de la memoria
colectiva de todo el mundo.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Existen
ahora mismo tal cantidad de discos con música para piano de Philip
Glass en el mercado que se hace realmente difícil recomendar uno.
Por su vocación completista habríamos de quedarnos con los extensos
volúmenes grabados por Jeroen Van Veen y con la serie “Glassworlds”
de Horvath por ser ambos una buena forma de tener (casi) toda la obra
del músico para ese instrumento aunque ni siquiera juntando ambos
conseguríamos tenerlo todo. Aún faltarían piezas sueltas o la
versión de Michael Riesman de la banda sonora de “Dracula”
además de varias obras que aparecen grabadas por uno de los
pianistas pero no por el otro. En todo caso, y dado lo reciente que
aún están los cinco volúmenes de “Glassworlds”, podrían ser
un buen punto de partida para hacerse con un Glass muy accesible. </span></span></span></span></span></span></span></span></span></span>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Infodad</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(1st December 2017 - transcentury blogspot) confirm Nicolas Horvath
as a first-rate interpreter of this material </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">+++</span></span></span></span></span></span></b></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">The
value of hearing Philip Glass’s music remains very much a matter of
personal opinion. The continuing Grand Piano releases called
Glassworlds do nothing to make Glass’s approach more congenial –
or less – but they certainly confirm Nicolas Horvath as a
first-rate interpreter of this material. The music itself, though,
remains distinctly unidimensional, its unending repetitiveness either
haunting or soporific, depending on each listener’s viewpoint. All
the works on the latest Glassworks release are world première
recordings, except for Mad Rush, but there is nothing particularly
revelatory here. Glass sounds like Glass – and nowadays like a
whole host of other composers who believe that hypnotic repetition
bordering on obsessiveness is a strong foundation for audience
communication. Mad Rush, for example, tries to contrast peacefulness
with drama, but it is the work’s lulling aspects that come across
most strongly. It is in the nature of Glass’s music that
Metamorphosis Two draws from the same wellspring of quiet
repetitiveness, and although there is indeed something metamorphosing
here, what changes does so with extreme gradualness. As for 600
Lines, much of it sounds like the noise made by old-fashioned piano
tuners (in the days before electronic tuning) as they tried to ensure
that an instrument was ready for a performance. The shortest and in
some ways most interesting piece here is by far the least typical of
Glass: it is his only transcription, of Paul Simon’s The Sound of
Silence. It is a nicely managed re-creation that, however, does not
really add anything to Simon’s original. There is nothing
especially enlightening about Glassworlds, Volume 5—Enlightenment,
which gets a (+++) rating but will, of course, be highly appealing to
those who cannot get enough of Glass’s musical approach.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Jean-Marc
Warszawski </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(musicologie.org
22 juin 2017) </span></span></span></span></span></span></span></span></span></span>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Après
le 4e cédé d’une série consacrée à l’intégrale des œuvres
de Philip Glass, voici avec un peu de retard (sorti en octobre 2016),
le 5e et dernier, pour les quatre-vingts ans du compositeur. On y
trouve son œuvre la plus connue, Mad Rush de 1979, sa pièce la plus
radicale, voir la plus dépouillée, proche de l’art brut, 600
Lines, de 1967, et la seule transcription qu’il a réalisée, d’une
œuvre d’un autre compositeur, The Sound of Silence, de Paul Simon,
créé le 22 mai 2007 au Warner Theater de Washington.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Gramola.at</span></span></span></span></span></span></b></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Grand
Piano hat mit dem monegassischen Pianisten Nicolas Horvath den ersten
Zyklus der Klaviermusik von Philip Glass aufgenommen, und auch auf
der fünften Folge der aufsehenerregenden Serie gibt es neue
Weltersteinspielungen. So spielt der preisgekrönte Pianist Glass'
Arrangement des berühmten Paul Simon-Songs The Sound of Silence
ebenso wie das wichtige, 40-minütige Stück 600 Lines. Nicolas
Horvath gilt als führender Philip Glass-Spezialist auf dem Klavier
und wird von seinem Endorser Steinway immer wieder für 12-stündige
"Glass-Marathons" gebucht.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Stephen
Smoliar </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(The
Examnier – 24 October 2017)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">A
little over a week ago, Grand Piano released the fifth volume of
Glassworlds, the project of pianist Nicolas Horvath to record the
solo piano works of Philip Glass. The title of the album is
Enlightenment. It features the longest uninterrupted track (a little
over 40 minutes) that Horvath has recorded to date. This is “600
Lines,” one of the first two pieces composed for the Philip Glass
Ensemble in 1968 and originally scored for winds and synthesizer.
This album is the premiere recording of the composition performed as
a piano solo.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">As
I have previously written, my own first contact with Glass took place
at a performance by the Philip Glass Ensemble at the Solomon R.
Guggenheim Museum in New York in the spring of 1970. There were three
pieces on the program, each about twenty minutes in duration; and I
have tried to reconstruct what they were. On the basis of sources I
have consulted, my current conjecture is that they were “Music in
Similar Motion,” “Music with Changing Parts,” and “Music in
Fifths.” This was my first exposure to Glass’ “music with
repetitive structures” technique. It did not take me long to “get
it;” and, back in those days when there was a serious threat that
making music might get taken over by abstract mathematicians (I was
writing a doctoral dissertation in applied mathematics at the time),
Glass’ music was a welcome breath of fresh air.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">I
wonder if I would have reacted to Glass quite as positively had my
very first experience been of the uninterrupted 40 minutes of “600
Lines.” I suspect that the mathematician in me would have been
fascinated with its almost obsessive approach to working with a bare
minimum of motivic material that is then subjected to extensive
permutation and combination. The question, however, is whether I
would have succumbed to enough-is-enough exasperation before the
piece had concluded; and that question would be coupled with just
when that sense of “enough” overtook my listening capacity.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">I
find it interesting that there is no mention about the signification
of the title “600 Lines” on the Philip Glass Web site, either in
Glass’ own notes for the Compositions section or in those by Ivan
Moody for the Alter Ego recording Web page. In contrast to the
rethinking of counterpoint and harmony that I had encountered at the
Guggenheim, “600 Lines” is obsessively monodic, consisting
entirely of what at least can be notated as a single line. I use that
hedge phrase because there is a plethora examples of how Johann
Sebastian Bach could write something that way that still embodied
elaborate structures of both counterpoint and harmony. Whether it is
possible to find 600 separate “lines” in “600 Lines” may be a
challenge for analysis; but I am not sure that the results would have
much impact on the listening experience.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">This
takes us back to the enough-is-enough issue. I think that age has
granted me a gift of greater patience when dealing with extended
durations. Those who have been following me for some time know of the
satisfaction I can get from listening to the symphonies of Anton
Bruckner; and, while there is no mistaking Glass for Bruckner, it may
be that the stance of the listener does not have to vary as much as
one might suspect. Both of these composers are best enjoyed by the
listener willing to let go of any “conventional” expectations and
just let things happen. If one simply accepts a rhetoric in which
repetitions are frequent but are consistently transformed into new
repetitions, one can actually settle rather comfortably into the act
of listening to “600 Lines” without succumbing to the
enough-is-enough syndrome. Some Zen monk might call this a state of
“enlightenment,” which might explain Horvath’s choice of title
for the album; but, personally, I see no reason to let verbal
semantics interfere with this particular approach to music-making.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">The
other major work on the album is “Mad Rush,” whose duration is
about half that of “600 Lines.” Grand Piano’s advance material
for this piece describes the structure as “something like a hidden
sonata form.” This strikes me as being more appropriate for a
graduate student in a desperate search for a thesis topic than for
setting a context for the curious and sympathetic listener. “Mad
Rush” may have had its origins in the classical concept of
preceding an opening allegro movement with an adagio introduction;
but, on the full twenty-minute scale of “Mad Rush,” structure
comes down to the tension of oscillation between two senses of pace.
(The noun “tempo” sounds a bit too dispassionate for music whose
rhetoric comes off as far more personal.)</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">This
is music most likely to resonate with anyone living in a major
metropolis. The title refers to the inevitable chaotic hustle and
bustle that a pedestrian is likely to encounter on just about any
street, and Glass captures that with repetitive arpeggios that almost
depict that street scene as Brownian motion. (Think of how many of
the visual images captured by Godfrey Reggio in Koyaanisqatsi,
accompanied by Glass’ music, can be taken, when seen from the
distance that Reggio establishes, as Brownian motion.) In that
“metropolitan” setting, the alternating adagio sections may be
taken as the quiet seclusion of solitude.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">All
of this unfolds as yet another instance of Glass working with
repetitive structures. However, Horvath plays this music with
considerable attention to the dynamic level of every note, even
within the thickest textures of superimposed arpeggios. 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. This may be what the writers of the
advance material had in mind for “a hidden sonata form;” but I
have my doubts!</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Not
too long ago I was fortunate enough to listening to Glass himself
play “Mad Rush” at a special Gala concert honoring the retirement
of Ruth Felt, founder and President Emeritus of San Francisco
Performances. Glass has observed that he has written piano music to
keep his hands in shape as he gets older. However, his performance of
“Mad Rush” was more than a “therapeutically” elaborate
five-finger exercise; and it did not take long for me to settle into
thinking about this music as a journey. Horvath’s recording seems
to be thinking along the same lines; and, for all of my preferences
for listening to music in a concert setting, the version of “Mad
Rush” on this album comes very close to being just as satisfying as
my recent “live” experience.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">“<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">Mad
Rush” and “600 Lines” are separated by the second of the five
“Metamorphosis” pieces that Glass composed for solo piano in
1988. Horvath had already recorded this as part of piano versions of
the complete set (all of which began as instrumental compositions) in
the third volume of his project. I am not sure that there is a need
for two separate performances of this piece (and, given the times on
the track listenings, they appear to be distinct performances); but
the idea of a “spacer” between the two long works on the album is
definitely appreciated. Somewhat more amusing is the “coda” for
the album, which is Glass’ own arrangement of Paul Simon’s “The
Sound of Silence,” whose primary objective seems to be to assure
the listener that Glass can be as comfortable with schmaltzy rhetoric
as any other composer! One might almost call the arrangement a
“remembrance of things Lisztian” (even if the point of reference
would probably be late Liszt)!</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">
<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;">Jean-Luc
Clairet</span></span></span></b></span></span></span><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(ResMusica - 24 October 2016) : A Emporter, "Le Piano de Glass
En Cinemascope"</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Ce
volume 5 de ce qui pourrait être une intégrale de la musique
composée ou transcrite pour piano du grand compositeur américain
par Nicolas Horvath fait voisiner, à l’instar des volumes
précédents, classiques et inédits, et fait entendre une approche
inhabituelle de pièces que l’on pensait figées à jamais dans le
marbre d’une esthétique.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">«
Je suis certaine qu’un jour il réalisera quelque chose de très
important dans le monde de la musique », prophétisa Nadia Boulanger
au sujet de son élève américain. Bien vu ! Philip Glass, à 79
ans, est aujourd’hui « le compositeur-pas-encore-mort » le plus
fêté par les spécialistes autant que par le grand public qu’il a
su toucher au moyen d’un style populaire et exigeant qui
n’appartient qu’à lui. La nuit blanche Glassworlds que Nicolas
Horvath a donnée le 1er octobre dernier à la Philharmonie de Paris
a vu, au terme de onze heures non stop, le public rappeler le jeune
pianiste durant plus d’une heure. De mémoire de mélomane, l’on
n’avait pas vu cela depuis la grande époque Chéreau/Boulez à
Bayreuth ! Cadeau pour les glassiens et pour le compositeur qui, s’il
avait été là, aurait vu défiler toute sa vie.</span></span></span></span></span></span></span></span></span></span></div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Le
style de Nicolas Horvath, en vrai comme au disque, est tout autre
autre que celui de ses devanciers (le compositeur, son alter ego
Michael Riesman, Paul Barnes, Maki Namekawa). Quand il n’est pas
d’une infinie douceur, confronté à la mélancolie récurrente de
cette musique, le doigté affiche une virtuosité qui évoque les
défis lisztiens. L’impression initiale d’un jeu un brin
démonstratif laisse ensuite place au sentiment que le pianiste,
amoureux fou d’un compositeur qui le bouleverse autant que Chopin,
veut offrir à sa musique née de l’intime (Glass dit avec humilité
que ses propres Études ont fait de lui-même un meilleur pianiste !
) le cinémascope des Steinways, des grandes salles de concert
(Horvath a joué en 2015 la première intégrale des Études à
Carnegie Hall). Le piano de Glass en technicolor : certes inhabituel
pour les gardiens du temple glassien mais assurément convaincant
dans l’absolu.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Après
avoir révélé le superbe Dreaming awake sur le volume 1,
l’irrésistible A secret solo et Piano Sonata n° 2, une pièce
d’avant le « grand coup de pied dans la fourmilière sérielle »
(ainsi que le dit avec humour le compositeur lui-même) sur le volume
3, fait tenir, moyennant quelques reprises et tempi, les 20 Études
sur un seul CD, Horvath ouvre le cinquième chapitre de Glassworlds
avec la matrice Madrush, dans une version idéalement maîtrisée et
plus longue que celle de 1989 sous les doigts du compositeur. Ayant
visiblement été très à l’affût des concerts solo de Glass,
Horvath enchaîne avec une nouvelle version d’un recueillement
extrême d’une de ses plus belles pièces, Metamorphosis Two, puis
avec le grand écart compositionnel d’une première mondiale : 600
lines, radicale composition de 1968 pour vents et synthétiseur
conçue comme exercice pour le frais émoulu Philip Glass Ensemble
d’alors mais qui n’est que jeu pour le pianiste français
d’aujourd’hui.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">En
conclusion une transcription très émouvante par Glass du tube de
Paul Simon The sound of silence achève de faire naître l’idée
que, sous les doigts de Nicolas Horvath, la France rend à Philip
Glass le statut qu’elle lui a longtemps dénié : le classique
qu’il est devenu.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">David
Barker</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
( Music Web International – November 2016) </span></span></span></span></span></span></span></span></span></span>
</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">I
encountered this series for the first time with the previous volume,
attracted by the piano version of the soundtrack of The Hours
(review). Having enjoyed that, it was logical to ask for this new
release to review. That the two major works were relatively early
ones made me somewhat reticent, because it is Glass of The Hours that
most appeals to me, the early hard-core minimalism less so.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">As
it eventuated, I was right to be wary but only in respect of one of
the two early works. Unfortunately it is the one - 600 Lines - that
occupies more than half the running time. It is described as an
“obsessive and hypnotically restless toccata” which does give
some sense of it. It came at the end of Glass’s studies with Ravi
Shankar and is constructed from five pitches, which very slowly
mutate. It may be of interest in terms of what can be done with such
limited resources but it is certainly doesn’t make for easy
listening. If I had been playing this as an LP, I would have
concluded that the stylus had become stuck but even so I checked that
the CD timer was progressing. Lest I be accused of being simply
intolerant of this type of work, I enjoy greatly the 160 minutes of
Simeon ten Holt’s Canto Ostinato, with which it has much in common.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Mad
Rush is described as one of Glass’s “keystone works”, showing
the direction that his music would take. Certainly, it is very clear
to see where The Hours music comes from. Yes, there is repetition but
there is also progression, melody and warmth; all things which
distinguish it from 600 Lines.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Metamorphosis
I-V were included in Volume 3, and the work here is described as a
further evolution, one that is very subtle. I have to admit that the
differences are hard to spot. Though nowhere in the notes for either
volume is it suggested that Metamorphosis II (or Two) share music
with The Hours, they surely do.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Finally,
we have what is believed to the only arrangement of another’s music
that Glass has made. It is fascinating to hear the much-loved Simon
melody thrive under the Glass treatment. I felt disappointed when it
finished so soon.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">If
you appreciate all of Glass’s styles, then this will provide great
satisfaction. If like me, your tastes run to the more melodious end
of the spectrum, ignoring forty minutes of the recording does make it
harder to justify.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Jean-Baptiste
Baronian</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(28 November 2016- Cescendo Magazine.be) </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">
Rating : Son 9 – Livret 8 – Répertoire 8 – Interprétation 10
</span></span></span></span></span></span></b></span></span></span>
</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Au
début du mois d’octobre dernier, le pianiste français Nicolas
Horvath s’est prêté dans la salle de la Philharmonie de Paris (à
la Cité de la musique) à une performance peu ordinaire : jouer
toute l’œuvre pour piano seul de Philip Glass en continu. Il a
choisi de l’interpréter par ordre chronologique de composition –
ce qui représente grosso modo douze heures de musique d’affilée.
On peut aujourd’hui en avoir un aperçu partiel grâce à ce CD, le
cinquième de la collection « Glassworlds » intitulé Enlightenment
(Illumination), où sont réunies quatre pièces : Mad Rush,
Metamorphosis Two, The Sound of Silence et 600 Lines. Il y va ici du
premier enregistrement mondial de la version pour piano de cette
dernière œuvre que Philip Glass avait écrite en 1967. C’est, au
vrai, une sorte de toccata à la fois obsédante et « hypnotique »,
pour reprendre le terme utilisé par Nicolas Horvath lui-même. Elle
représente, dit-il, « le zénith de l’ensemble des travaux et
expérimentation » du compositeur américain « avec Ravi Shankar et
des leçons particulières avec Alla Rakha » (considéré comme le
plus grand joueur de tablâ du XXe siècle). Comme elle dure quarante
minutes et qu’elle est « la réitération de cinq hauteurs de son
(do, ré, mi, fa et sol) en mutation constante », elle exige de la
part de son interprète non seulement une concentration de tous les
instants (ce qui va de soi), mais surtout un sens profond du rythme –
du rythme devenu en l’occurrence un mouvement perpétuel presque
magique. On se dit d’ailleurs que 600 Lines pourrait durer une
heure, ou deux, ou trois, et même davantage, et constituer une
pulsation infinie, inépuisable.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">
<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">Les
inconditionnels de Philip Glass vont sans nul doute adorer ce disque.
Ceux qui ne le sont pas risquent, eux, de s’en détourner dès les
premières mesures (à supposer que cette notion si classique ait
encore un sens dans la musique répétitive).</span></span></span></span></span></span></span></span></span></span></div>
</span></span></span></span></span></span></span></span></span><b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br /></div>
Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0tag:blogger.com,1999:blog-2209885747817700840.post-74766990098434752362016-12-12T07:40:00.002-08:002018-04-18T22:38:14.201-07:00Glass : GlassWorlds Vol. 4 reviews <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilJaRcMHAYUEHpa7JFo4oHe84Hs72IVtPhpK7gdL2ZHtNqxn3KHB-VDHzQImvP5nLhlnvwvaC9-5afjjpbOE4GPoWUVBy-k7avP_4-YfRMmzQ0Oi14qRswUAyvri_maESCEmzQlqVJZrc/s1600/GLass+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilJaRcMHAYUEHpa7JFo4oHe84Hs72IVtPhpK7gdL2ZHtNqxn3KHB-VDHzQImvP5nLhlnvwvaC9-5afjjpbOE4GPoWUVBy-k7avP_4-YfRMmzQ0Oi14qRswUAyvri_maESCEmzQlqVJZrc/s320/GLass+4.jpg" width="320" /></a></div>
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<span style="color: black;"><span style="font-family: "kozuka gothic pro m" , sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">International
Classical Music Awards : 2016 Nominee </span></span></span></span></span></span></b></span></span></span>
</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">International
Piano </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(September
2016) :</span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">
Rating : </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">★★★★★
</span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Glass
enthusiasts need not hesitate</span></span></span></span></span></span></b></span></span></span></div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Horvath’s
playing, always unhurried, ensures that the desolation of ‘Why does
someone have to die’ emerges as the emotional hub. It is
fascinating to hear Glass’s take on Viennese Waltz (the 1977 Modern
Love Waltz); and to have the world premiere of the composer’s own
2007 transcription of Notes on a Scandal, a fascinating, enigmatic
piece. …Horvath brings an unremittingly hard touch to the hypnotic
Music in Fifths. Glass enthusiasts need not hesitate</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">LesVeillesMusicales
"L’ÂGE DE GLASS" On a écouté toute la nuit l'album
"Glassworlds 4" de Nicolas Horvath</span></span></span></span></span></span></b></span></span></span></div>
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<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Quoi
de mieux qu’une bonne période glaciaire pour lutter contre la
canicule ? Quoi de mieux qu’une salle obscure pour retrouver un peu
d’enthousiasme dans un monde qui en manque cruellement ? Raté. «
L’Age De Glace 5 » nous a laissés froids (je me comprends).
Scénario approximatif et gags recyclés ne font pas un bon film.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Pourquoi
perdre tant de place à vous dire du mal des gens ? Parce que les
séries se suivent et ne se ressemblent pas. Et parce qu’il faut
que je justifie le titre de cette chronique. En juin dernier est
sorti le volume 4 de l’intégrale de l’œuvre pour piano de
Philip Glass, par Nicolas Horvath. Le volume 3 avait déjà été
chroniqué sur LVM. Pourquoi y revenir aujourd’hui ? Parce que
c’est très beau. Parce que même les réfractaires au minimaliste
américain peuvent y trouver leur compte. Et parce que, de nouveau,
le regroupement de pièces datées respectivement de 2002, 1977, 2006
et 1969 remet toute la carrière du compositeur en perspective. La
pièce maîtresse, ici, c’est la transcription pour piano de la
musique du film The Hours, de Stephen Dandry, avec Meryl Streep,
Julianne Moore et Nicole Kidman. Celle-ci y incarne Virginia Woolf,
jusqu’à son suicide en 1941.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Chez
Philip Glass, comme dans « L’Age De Glace », les personnages sont
toujours plus ou moins les mêmes : progressions harmoniques,
arpèges… Mais ici, ils n’apparaissent qu’en filigrane, au
détour d’une phrase, et je pense qu’une écoute en aveugle
réserverait bien des surprises aux allergiques. Nicolas Horvath joue
tout cela avec la même précision que dans le volume précédent, et
la même indifférence aux « canons » du minimalisme, qui rejette
l’ancienne vision, très mécanique, qui dominait dans
l’interprétation de cette musique. On dirait du Liszt,
quelquefois… Mais on aura l’occasion d’en reparler lors de la
publication d’une interview avec le pianiste. Pour compléter le
programme : Modern Love Waltz (une valse de Vienne à la sauce
répétitive, comme un réveillon de Nouvel An mis en boucle), Notes
On A Scandal et Music In Fifths (retour à la radicalité minimaliste
de la fin des années 60, tendance « Quand on me cherche, on me
trouve »). Gageons que, dans le volume 5, on ne trouvera pas les
signes de l’épuisement manifesté par Scrat & Compagnie dans
leur dernier opus. Adieu le machairodus et le rhinocéros laineux,
bienvenue au piano.</span></span></span></span></span></span></span></span></span></span></div>
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</div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Grego
Appelgate Edwards </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Gappelagte
- September 8th 2016) : </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Horvath
does a fabulous job, Bravo to Horvath</span></span></span></span></span></span></b></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">I
reviewed the second volume of Nicolas Horvath's Glassworks on
November 2, 2015. Horvath showed me then that he was a rather
brilliant interpreter of the "Etudes" that made up the
volume--and indeed his technical prowess and imagination made the
music come alive convincingly.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">
<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">Today
we have his Glassworks 4, On Love (Grand Piano 692) and it is very
well performed. There are four works, the lengthy 47 minute "The
Hours," a short "Modern Love Waltz," the World
Premiere of the short "Notes on a Scandal" and the earlier,
mesmerizing "Music in Fifths."</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">
<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">I
come off repeated listenings of this volume with the same general
feeling I get with much of his later work. Some seem a little
schmaltzy, some a little too simplistic, while others stick in my
memory as worthily wrought.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">
<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">Once
again Horvath does a fabulous job as the pianistic conduit, but at
times there</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">
<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">is
not a whole lot he can do with the music. When there is depth, all is
well. When no, less so. About half of this album attracts me. The
other half I can leave alone. Bravo to Horvath in any case! </span></span></span></span></span></span></span></span></span></span>
</div>
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<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Stephane
Godet </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(2nd
December 2016 - stephanegodet.com) </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Nicolas
Horvath, pianiste hors normes ! </span></span></span></span></span></span></b></span></span></span>
</div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Tout
prédestinait Nicolas Horvath à suivre une carrière de pianiste
classique à l’image de ses pairs et dans le sillon de ses
illustres aînés. Repéré très tôt, formé par les plus grands,
bardé de récompenses, il aurait pu « faire la carrière » du
concertiste parcourant la planète de salle de concert en salle de
concert, égrenant concertos et programmes solistes.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Tout
au contraire, il a choisi des chemins de traverses avec des projets
originaux qui s’inscrivent dans une démarche tout à fait
singulière qui en fait sa marque de fabrique.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Destinataire
de son opus 4 de l’intégrale des enregistrements de la musique
pour piano de Philip Glass qu’il me fit parvenir après avoir pris
connaissance de mon blog, j’ai réalisé la démarche originale de
son auteur.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Je
ne suis pas un grand connaisseur de la musique du compositeur
américain, formé à la Juilliard School, avant de recevoir
l’enseignement de Nadia Boulanger et d’être marqué par sa
rencontre avec Ravi Shankar.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Connu
pour ses opéras, cet enregistrement d’œuvres de Philip Glass
contient la transcription de la musique du film The Hours, complété
par trois pièces dont une enregistrée pour la première fois.</span></span></span></span></span></span></span></span></span></span></div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath restitue à merveille les ambiances de cette musique jugée à
tort minimaliste d’après son auteur.</span></span></span></span></span></span></span></span></span></span></div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Elle
peut susciter le rejet à qui ne prend pas le temps de se laisser
porter, et même transporter dans un labyrinthe dont l’issue n’est
pas connue à l’avance.</span></span></span></span></span></span></span></span></span></span></div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">C’est
tout ce qui fait le charme de cette expérience unique aux confins du
spirituel où le départ ne présuppose jamais la fin.</span></span></span></span></span></span></span></span></span></span></div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath donne régulièrement l’intégrale de l’œuvre de Philip
Glass en concert. Assurément, une expérience sensorielle unique,
sans doute proche des happenings musicaux auxquels on peut participer
dans églises en Allemagne, allongé pendant des heures. </span></span></span></span></span></span></span></span></span></span>
</div>
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<br />
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<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Chris
Morgan</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Scene Magazine, November 2016)</span></span></span></span></span></span></span></span></span></span></div>
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<br />
</div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">As
performed by acclaimed pianist Nicholas Horvath, these works are
evocative, cinematic and filled with a pathos that defies easy
definition. …Rather than simply reproducing incidental music,
Horvath’s naked arrangement shines a light on the score, allowing
listeners to appreciate the subtle aspects of the work, both on an
emotional and technical level.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<br />
</div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Gilles
Ribardière </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(L'Education
Musicale - octobre 2016) </span></span></span></span></span></span></span></span></span></span>
</div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath, né en 1977 à Monaco, est un habitué de répertoires qui
s'écartent des sentiers battus. Il se lance aussi dans des défis
étonnants, comme ce marathon Philip Glass offert le 1er octobre de
cette année 2016 au public de la Philharmonie : une nuit
complète consacrée à l'intégrale des œuvres pour piano du
compositeur de Einstein on the Beach ! L'enregistrement intitulé
« On Love » est lui-même partie d'un vaste projet
intitulé Glassworld dont c'est le quatrième numéro. Il est composé
de quatre œuvres. La première, The Hours, est la partition du film
éponyme qui évoque Virginia Woolf, mais arrangée ici pour piano
solo par Michael Riesman et Nico Muhly. Les trois autres
compositions, très courtes, sont Modern Love Waltz, Notes on a
Scandal et Music in Fifths. Il ne faut pas se laisser influencer par
l'idée que l'on peut se faire d'une musique dite répétitive qui
serait ainsi réputée ennuyeuse. Les œuvres de Philip Glass sont
tour à tour puissantes et délicates, évocatrices d'atmosphères
très diverses qu'il a le don de révéler ; il captive à tout
instant l'auditeur, aidé en cela par la sonorité d'un superbe
piano admirablement enregistré. Philip Glass a donc composé la
musique de The Hours. Mais ce qui frappe c'est que même ignorant sa
fonction d'illustration d'une histoire, nous sommes entraînés par
l'enchaînement de ses 14 parties. C'est une partition de musique
pure qui s'adresse à notre sensibilité, d'où un ressenti qui peut
varier d'une personne à l'autre. Si Nicolas Horvath qualifie la
pièce « Something she has to do » de sinistre, d'autres
pourront la trouver mystérieuse. Il applique ce même terme
« sinistre » à propos de « The Kiss », alors
que rien n'interdit d'y voir une évocation du destin. On peut aussi
admirer le talent de Philip Glass en constatant que la réduction au
piano de passages de l'opéra Satyagraha pour la pièce « I am
going to make a cake » n'édulcore en rien la force, la
violence de son propos. Soulignons la délicatesse de
l'interprétation de la pièce « Tearing Herself Away »,
suivie dans sa seconde partie d'une course à l'abîme
impressionnante. Les 47 minutes de The Hours nous entraînent dans
des mondes d'une variété infinie que le compositeur unifie par un
discours d'une grande cohérence stylistique magnifié par les doigts
subtils de Nicolas Horvath. </span></span></span></span></span></span></span></span></span></span>
</div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">La
brève composition Modern Love Waltz est étourdissante jusqu'à la
dernière mesure qui plonge l'auditeur dans un vide angoissant. Quant
à la musique de Notes on a Scandal, on peut oublier qu'elle a été
composée pour accompagner les moments souvent tragiques du film
ayant le même titre et trouver qu'en fait, elle traduit une
atmosphère mélancolique sans être pour autant liée à un
programme. Le disque se termine par une œuvre peut-être plus
radicale que les précédentes : Music in Fifths. Elle date de 1969
et annonce cet opéra qui constitue une étape importante dans
l'histoire de la musique au XXème siècle : Einstein on the
Beach, qui surgira dans le paysage musical huit ans plus tard. Un
enregistrement qui confirme l'importance de Philip Glass et le talent
original de Nicolas Horvath.</span></span></span></span></span></span></span></span></span></span></div>
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<br />
</div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">David
Barker</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Musicweb-international.com - july 2016) </span></span></span></span></span></span></span></span></span></span>
</div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">"In
some ways, this is a very easy review to write, as those immune to
the sound-world of Philip Glass won’t have clicked on the link.
Almost certainly I’m preaching to the converted, and I could simply
conclude “yes, go and get this” and not say any more. However,
our editor frowns upon brief reviews, so I need to find another two
hundred and fifty words or so to avoid his wrath. Fortunately, that
won’t be too difficult.</span></span></span></span></span></span></span></span></span></div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Surprisingly,
the first three volumes in this series (GP690, GP691, GP692) have
managed to bypass our reviewing team, myself included. I put my hand
up for this because of the presence of the piano arrangement of The
Hours, which I consider to be one of the finest film scores ever
written. This recording includes all fourteen movements of the
film-score. The only other recording to provide this is on Glass’s
own Orange Mountain Music label, with his collaborator Michael
Riesman playing (review). Valentina Lisitsa included eight of the
movements in a well-received double CD of Glass piano pieces from
last year (review). Horvath takes a much less emotional approach to
the work than these two. He shaves two minutes from Lisitsa’s time
in the final movement of The Hours, alone, and around ten minutes
from Riesman overall. I feel this works well; while the film-score is
highly emotional, which suits the lush orchestral scoring, the
inbuilt repetitive nature suits a more restrained approach when
played on the piano. This version doesn’t surmount the orchestral
one, but is an interesting alternative which I will certainly listen
to on a regular basis.</span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">
<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;">Of
the three other pieces, Notes on a Scandal is from a film-score, and
has much in common with music from The Hours, though less motoric.
This single movement is an arrangement by Glass of two parts of the
score. Modern Love Waltz was written to accompany a radio adaptation
of Constance DeJong’s novel Modern Love, and then employed in the
ballet score The Waltz Project. It is his only waltz, and is an
intriguing mix of his style and the Viennese dance. Music in Fifths
is something of an odd one out here. It is very much of his early
highly repetitive style and seems to have little connection to the
“love” theme of the CD.</span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Production
values are very good: the Fazioli piano sounds quite beautiful, and
the notes are informative, except in justifying the inclusion of the
early piece. Perhaps it would have been better to have omitted the
“On Love” sub-title. I will certainly be seeking out the earlier
releases in this series.</span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Jean-Baptiste
Baronian</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Crescendo Magazine) </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Philip
Glass arrangé et retranscrit Rating : Son 9 – Livret 8 –
Répertoire 8 – Interprétation 8</span></span></span></span></span></span></b></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">La
plus importante partition du CD, dont il est une question ici,
constitue un arrangement pour piano de la musique du film The Hours,
forme une subtile et étonnante musique d’atmosphère et, chose
paradoxale, donnent même l’impression d’être apaisantes</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Infodad.Com
</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(28
July 2016) </span></span></span></span></span></span></span></span></span></span>
</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">This
is a CD for fans of the film and diehard Glass advocates, one of whom
is the pianist, Nicolas Horvath.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Stéphane
Renard </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(L'écho
– 30 July 2016) </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Rating
: 4/5</span></span></span></span></span></span></b></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath poursuit l'intégrale des œuvres pour piano solo de Philip
Glass. Son quatrième album est une invitation à la méditation.
Ressourçant. </span></span></span></span></span></span></span></span></span></span>
</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Michel
Dutrieue </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(
klassiek-centraal - 17/08/16 ) </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Rating
:</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
★★★★</span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">
Glassworlds, pianomuziek van Philip Glass : Warm aanbevolen.</span></span></span></span></span></span></b></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">De
tijdloze melancholie van zijn met een BAFTA (British Academy of Film
and Television Arts) bekroonde muziek voor de film “The Hours”
uit 2002 vormt een organische suite aangedreven door drie krachtige
karakters in de film, hier vervolledigd met drie ongepubliceerde
bewegingen. De “Modern Love Waltz” uit 1977 breidt de grenzen van
het minimalisme uit door de combinatie van de typische Glass stijl
met de subtiele, Weense danstraditie. De transcriptie van de
filmmuziek voor “Notes on a Scandal” (2006) is een première
opname. Steve Reich beschreef de iconische “Music in Fifths” uit
1969 als de klank en energie van een voorbij razende goederentrein,
een typisch Amerikaans beeld.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Murielle
Fournier et Brigitte Dunwoody </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Le
BabillART - August 2016)</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Le
pianiste hors normes Nicolas Horvarth, 37 ans, est né à Monaco, a
commencé à jouer du piano dès l’âge de 5 ans et à 15 ans il
enseignait comme assistant de son professeur. Il a gagné 11 prix
prestigieux à ce jour.Connu d’abord comme interprète de Liszt
nous livre sur ce disque le projet de son intégrale de Philip Glass
Glasswords—4 On Love</span></span></span></span></span></span></span></span></span></span></div>
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</div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Jean-Marc
Warszawski </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(musicologie.org
10 octobre 2016) </span></span></span></span></span></span></span></span></span></span>
</div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath, pianiste et compositeur qui semble, heureusement pour lui et
nous, avoir un peu de mal à entrer dans le rang, continue,
avec ce quatrième album, à enregistrer les mondes pianistiques de
Philip Glass, dont on fêtera les quatre-vingts ans l’an prochain.
Nicolas Horvath, qui aime les expériences scéniques, a d’ailleurs
passé la nuit du 1er au 2 octobre 2016 à la philharmonie de Paris
pour jouer l’intégrale des œuvres pour piano du compositeur
américain. Que les nationalistes ne prennent pas ombrage, fin
juin 2015, le pianiste a passé la nuit à la Maison de la radio pour
interpréter les Vexations composées en 1893 par Érik Satie, qui
consistent en 840 reprises d’une phrase musicale, pour une
durée selon le tempo qui varie 12 et 24 heures.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Au
programme de cet album qui ne dure pas toute la nuit, mais qu’on
peut faire tourner plus de 840 fois, Nicolas Horvath a choisi The
Hours, œuvre en 14 numéros, composée en 2002 pour le film du même
nom de Stephen Daldry. À l’origine, cette œuvre qui fut remarquée
et applaudie a été composée pour un quatuor à corde (un seul
violon et une contrebasse) avec piano. Les arrangements pour
piano sont de Michael Riesman (le pianiste de la création) et Nico
Muhli.</span></span></span></span></span></span></span></span></span></span></div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">La
Modern Love Waltz date de 1977, n’est pas une musique de film, mais
une musique radiophonique, pour la lecture d’un roman de Constance
Dejong : Modern Love (elle sera la librettiste de l’opéra
Satyagraha, créé par Philip Glass à Rotterdam en 1980). C’est
une des premières œuvres de Glass restées au répertoire des
pianistes.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Notes
on a scandal, est également une musique (fêtée) de film, celle, en
2006, de de Richard Eyre, inspiré du roman de Zoë Heller. La
partition originale a été transcrite pour piano en 2007 par le
compositeur. Il s’agit ici du premier enregistrement mondial.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">La
musique de Philip Glass n’est ni minimaliste ni répétitive, il
serait difficile de dire par rapport à quoi elle le serait, même si
la répétition modulaire en est un élément de formalisation
essentiel. Personnellement nous préférons penser à la contraction
de la musique tonale qui commence à s’opérer avec Brahms puis
l’expressionnisme, une musique à l’image d’un monde qui ne se
développe plus et ressasse ses poncifs, une espèce d’indifférence,
comme les dernières notes de Wozzeck, l’opéra de Berg. Une
manière de continuer à planer après le camisolage de la fureur
bienheureuse des années 1968.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Pour
Nicolas Horvath, le thème de ce cédé est l'amour. Contemplatif ?
Routinier ?</span></span></span></span></span></span></span></span></span></span></div>
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</div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Mike
Shooter</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(La Vos de los Vientos – 15 march 2018)</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Continuando
con el errático repaso que venimos haciendo a la serie “Glassworlds”
del pianista Nicolas Horvath, nos centramos hoy en el cuarto volumen.
Como quizá recuerde el lector habitual del blog, hablamos de una
pequeña colección de grabaciones a cargo del pianista francés en
las que repasa una buena parte de la obra para piano de Philip Glass.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Entre
2015 y 2016, el intérprete publicó cinco discos, cada uno de ellos
con una temática diferente siendo la del que hoy nos ocupa el amor.
No busquéis en la obra de Glass muchas piezas con ese motivo como
punto de inspiración porque en muy pocas el músico habla de ese
tema como inspiración aunque sí que es algo que orbita alrededor de
alguna de las películas a las que el compositor norteamericano ha
puesto música. Esé es, de hecho, el origen de la mayor parte de la
música del disco. Horvath interpreta por un lado las transcripciones
para piano que Michael Riesman y Nico Muhly hicieron de la banda
sonora de “Las Horas”, lo que ocupa la mayor parte del disco. El
resto del programa lo compone música procedente de otra banda sonora
relativamente reciente y dos piezas antiguas de la etapa más
minimalista de Glass.</span></span></span></span></span></span></span></span></span></span></div>
<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Comenzando
por “Las Horas”, tenemos que decir que el pianista francés busca
una interpretación más apasionada que otras que hemos oído,
rescatando matices que nos pasaron desapercibidos en otras versiones.
Desde el primer corte (“The Poet Acts”) hay una vivacidad, un
ritmo diferente que probablemente estaba ya ahí pero que en manos de
Horvath se hace mucho más evidente. Algo muy similar pasa en el
resto del disco comenzando con la intensa “Morning Papers”. En
los momentos más reposados de la partitura, el músico no pierde
intensidad y aporta un interesante punto de vista a los compases más
tensos de “Something She Has to Do”. Particularmente interesante
es la visión del músico de las partes de la obra que no fueron
escritas para la película sino que adaptaban composiciones previas
de Glass, quizá porque en algunas otras grabaciones de piano estas
partes suelen ser obviadas. De entre estas destaca su versión de
“Tearing Herself Away”, transcripción de “Island” del disco
“Glassworks”. En todo caso, la interpetación de Horvath de toda
la banda sonora nos parece realmente interesante y está entre las
mejores que hemos oido de esta obra.</span></span></span></span></span></span></span></span></span></span></div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Continúa
el disco con una breve versión de “Modern Love Waltz”, pieza
escrita por Glass en 1977 para acompañar a una lectura radiofónica
de una novela de Constance De Jong y luego adaptada para una
adaptación de la obra al ballet. La pieza ha tenido multitud de
versiones que van desde escuetas formaciones de cámara hasta piano
solo, pasando por piano de juguete. Es una de las piezas más
extrañas de ese periodo del compositor ya que no es ya tan
“minimalista” como la mayoría de su material de entonces pero
tampoco termina de desplegar una melodía “glassiana” como las
que vendrían después.</span></span></span></span></span></span></span></span></span></span></div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Otra
de las bandas sonoras que Glass compuso para películas de cierta
proyección comercial fue la de “Diario de un Escándalo”. Como
ocurre con varias de sus obras para cine, esta tiene también su
correspondiente arreglo para piano solo escrito en esta ocasión por
el propio Glass y no por Michael Riesman. Horvath toma dos fragmentos
de la transcripción para unirlos en una sóla pieza que aparece aquí
bajo el título de “Notes on a Scandal”. El resultado es
verdaderamente notable y nos recuerda mucho a alguna de las piezas
del segundo libro de “etudes” para piano del compositor
norteamericano.</span></span></span></span></span></span></span></span></span></span></div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Cerrando
el disco tenemos “Music in Fifths”, clásica pieza del Glass
minimalista escrita originalmente para grupo pero que ha sido grabada
en distintas ocasiones por todo tipo de formaciones lo que incluye
versiones para órgano o piano solo. Aunque lo habitual es que la
interpretación abarque al menos unos veinte minutos, Horvath opta
por una mucho más amable versión de apenas seis, quizá con la
intención de agradar al oyente menos receptivo al minimalismo más
radical. El intento es de agradecer pero, en nuestra opinión,
desvirtúa el espíritu de la pieza.</span></span></span></span></span></span></span></span></span></span></div>
<br />
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Una
prueba de que Glass es ya un clásico en vida es la ingente cantidad
de grabaciones de su obra a cargo de diferentes intérpretes y
formaciones. En la década de los noventa hubo algunos pianistas que
se atrevieron con sus “Metamorphosis” y a ellos se unieron
formaciones de cámara que empezaron a grabar sus cuartetos y otras
piezas similares. Hoy hay multitud de versiones, no sólo de esas
obras sino de los dos libros de estudios de piano, de muchas de las
sinfonías así como de los distintos conciertos, sonatas, etc. que
el músico ha escrito en las últimas décadas. Esto es algo que
parecía imposible en los ochenta cuando Glass se lamentaba, por
ejemplo, de que ningún cantante de renombre quisiera participar en
una de sus óperas. El hecho de que hoy sea tan habitual (resulta
imposible seguir la pista a todas las grabaciones de sus obras que
todos los meses aparecen en el mercado) es un indicio claro del
estatus alcanzado por el compositor a todos los niveles.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">The
Naxos Chart - July 2016</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
: </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Naxos
Top 20 Bestsellers</span></span></span></span></span></span></b></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Gramola.at</span></span></span></span></span></span></b></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Die
inzwischen vierte Folge der Gesamteinspielung der Klavierwerke des
Komponisten Philip Glass durch den monegassischen Meistervirtuosen
Nicolas Horvath widmet sich ganz und gar dem universalen Thema Liebe.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Von
originären Klavierkompositionen bis hin zur Transkription von
Filmmusiksoundtracks ist wieder das ganze breite musikalische
Spektrum vertreten, das Glass' Klangrede beim Publikum so
außerordentlich beliebt macht.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Vierte
Folge der Gesamteinspielung der Klavierwerke des Komponisten Philip
Glass durch den monegassischen Meistervirtuosen Nicolas Horvath
widmet sich ganz und gVon originären Klavierkompositionen bis hin
zur Transkription von Filmmusiksoundtracks ist wieder das ganze
breite musikalische Spektrum vertreten, das Glass' Klangrede beim
Publikum so außerordentlich beliebt macht.ar dem universalen Thema
Liebe.</span></span></span></span></span></span></span></span></span></span></div>
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Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0tag:blogger.com,1999:blog-2209885747817700840.post-70999206327606191472016-04-26T04:28:00.002-07:002016-04-27T00:29:12.604-07:00"The" Way, or my little steps into the Santiago Pilgrimage Chapter 2 : 2016<div class="separator" style="clear: both; text-align: center;">
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"The" Way, or my little steps into the Santiago Pilgrimage Chapter 2 : 2016</h3>
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Le Puy-en-Velay - Saint-Foy de Conques </div>
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Yes, this time i don't wait a year before sharing all the pictures and the comments ! Like that i can still have some vivid memories ! </div>
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This year, the pilgrimage was very particular as i had to carry many persons in my bags, some friends, some people i love and some family too. My first Santiago journey was a revelation-like, and this time i knew how to do it. </div>
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Unlike the first time, were i was "almost like a tourist" , i really prepared seriously "The Way". For months i did running everyday . From a lazy 10 minutes , to 3 hours and a half ! Yep , the ones knowing me won't believe their eyes. I really do sport ! </div>
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As a result my body shape and condition were good. I also bought some very necessary things like a special water tank with a plastic tube, some new special socks too (2 pairs was not enough!) , a raining cape , a rain trouser , more shirts , "good" food for everyday (dry fruits , Bio Juice on separated little tanks and also some dry bred and cheese and ham , every time separated and ready for everyday). </div>
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Also some other knowing me very personally knows that this 2015-2016 was not a good one as i had to face metaphysical , psychological and personal questioning. So i also did many readings (gospels, philosophy, Tao, poetry ... ). And on top of everything , a close friend (the french composer Frederick Martin) was on terminal stade of cancer, and i spent my week before visiting him at his hospital... </div>
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So indeed, walking had this time a much much deeper meaning ! </div>
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I was walking for all of them. </div>
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This time, there was no "big" revelation like last time. I knew what i was going to get, i knew that i catch the walking or pilgrim virus. </div>
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As usual, everything was organised by the fantastic team of the <a href="http://www.rocestello.fr/" target="_blank">Roc Estello</a> monastery , and everything was simply perfect. </div>
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I was expecting a team of "young pilgrims" as Father Pierre Dumoulin told me last summer, but ..... I got the same team of last year !!!!! I was so happy !!!!!!</div>
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Yes i knew almost all of them, we had so much fun and so many great moments that i was so happy to do it with them again ! </div>
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But .... not sure they will be next year as most of them were simply missing "this" part of the Pilgrimage to Santiago di Compostella. </div>
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So, last year i arrived "at the end", but this year i started from the begining (almost) . Yes not completely the begining as the tradition said that one has to go "from his own door". Well .... a bit far away for the lazy me ! </div>
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This year we started from Le-Puy-en-Velay until Saint-Foy de Conques. It was more than 50 kilometers longer than last year !!!! Thank God i trained myself !!!! </div>
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It was also harder : many strong climbing ! </div>
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Unlike what i expected (last year it was SO WARM! but come on , we were in Portugal !!!) we faced : Cold , freezing winds , snowfall , rainfall , many mud , some small ponds , also high sun .....</div>
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Once again , the experience was similiar as the Satie 's Vexations : i encounter despair , sadness , happiness , bliss , joy .... Yes it was hard , sometime even very hard , but everyday we could reach the goals . And i was way way less tired than last year , and my body was not broke into pieces ! </div>
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Also, i had some revelation moments. Some big questioning i had got answered (i guess?) , and i really feel more peaceful in myself. I felt the strong desire to continue and to work hard ! I feel i am starting to be on the good path. </div>
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Yes .... this time , i really felt i did not want it to finish ... i wanted to stay on "The Way", but .... i am bringing it with me. Slowly by slowly things are changing ... let cross the fingers for the best ! </div>
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Also some very strange event took place : i was carrying one of my "lucky charm" that i had from more than 5 years from Japan. One night, as i was simply changing myself before sleeping, for the very very first time, it totally broke into pieces ! it was all around the room ! </div>
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Few hours after..... i received a text message, my friend Frederick had died ........... </div>
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Well ... also this time i took much more pictures too ! </div>
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Once again i am sharing them with you , and i will write some fun comments that will complete this article ! In a funnier way for sure ! </div>
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First vision of the Le Puy cathedral </div>
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With a huge and magnificent giant St Mary Statue </div>
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yep , we could not visit it , it was already too late T.T</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji66LSzdw9xMI6lKZi2EVT9r2N7GCNIT-f3hzyG-T3V15opryMuz6BPuk9NlgMjUCkxnUhTYmk6NRXi7uUdPUpf-Li8XoW6sE64-SGjVVR-ApUMV_ytkRz8lV2_Y0UWP_BSkRnFEyCjFE/s1600/DSC05387.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji66LSzdw9xMI6lKZi2EVT9r2N7GCNIT-f3hzyG-T3V15opryMuz6BPuk9NlgMjUCkxnUhTYmk6NRXi7uUdPUpf-Li8XoW6sE64-SGjVVR-ApUMV_ytkRz8lV2_Y0UWP_BSkRnFEyCjFE/s320/DSC05387.JPG" width="213" /></a></div>
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Old stones walls</div>
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As this year we are on the Year of Misericordia , some very special doors are open ( once every 12 or 20 years , i forgot ) . A very good omen for sure !!! </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_T45zRP-kIo0ac7Ue9VWjULaxrnbGCljO39EHrCN08TEkPy44JBp3hXD9p9FjUcgIoqkUbL6TV9l3o6CFh9lUjKgIdEgvwwx2V2fUVaP03p9pw_PBZHVIE5OCi87sLJlWJFE33IpucVM/s1600/DSC05390.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_T45zRP-kIo0ac7Ue9VWjULaxrnbGCljO39EHrCN08TEkPy44JBp3hXD9p9FjUcgIoqkUbL6TV9l3o6CFh9lUjKgIdEgvwwx2V2fUVaP03p9pw_PBZHVIE5OCi87sLJlWJFE33IpucVM/s320/DSC05390.JPG" width="213" /></a></div>
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the normal huge entrance </div>
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Father Dumoulin explaining the entrance meanings </div>
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Fresca from the Byzantine period , a time when Church was only one </div>
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A wooden door from a very remote medieval time </div>
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The so famous Black Mary ( black for mud, or earth) </div>
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A stone from the druidic period , were Mary appeared and asked for a church to be build (tons of miracle happens on this stone)</div>
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Yes ! we were able to see the so famous Needle from the Holy Crown of Jesus given my Louis the Saint (who bought from a wagon full of gold, the Holy Crown to the Venitians ) </div>
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a medieval baptismal , were Franc were baptised by thousands (after the baptism of Clovis , king of the Franc ( NB : the Franc and not the french !) </div>
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my good friend Ambroise ! we had so much fun (and strong debates) together ! </div>
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One of the mos important symbols in the Medieval time : two colombs drinking in the Holy Calice, one of the most known symbols to represent Eucharisty </div>
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The vegetals are also symbols of Eternity </div>
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Medieval tombstones of important monks </div>
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we entered the treasure room </div>
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It is said that this horse holder was cast with one of the Holy Cross Nail by Charlemagne. </div>
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A legend that even the monks there are not quite sure of its autenticity</div>
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The Cathedral </div>
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We did not even start that i got some answer there at the bottom of this special cross</div>
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By night the cathedral is wonderful </div>
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DAY 1</h3>
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In very early on the morning we have a special Santiago Pilgrim mass ! (with many presents!) </div>
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And only for us they open the bottom door ! </div>
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It is said that, it is the cathedral stomac and the pilgrim are like newborn passing by it ! </div>
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And "The WAY" starts !!! </div>
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the team is there ! </div>
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The Le Puy en Velay Cathedral is simply breathcatching ! </div>
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our Saint Patron ! </div>
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Le Puy from up the nearest mountain </div>
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We finally get out of civilisation and starts the dust road </div>
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A nice map ( there will be many of them, so you will be able to easily trace the road we walked on ) </div>
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Still upper </div>
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Still climbing </div>
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on a desert village we cross this adorable kid offering "for free" any drink to the pilgrims ! </div>
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The tradition of the village , as she said ! </div>
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And from now, everything will look like that </div>
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Wonderful mountains </div>
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We start to cross other slower pilgrim from the other days </div>
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a nice little bridge </div>
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And our first stop , for small food only (not yet lunch) , we have already walked 3 hours </div>
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and the group will start to meditate on the Holy scriptures </div>
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Romanian Style church </div>
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a castle like house </div>
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the team at work ! </div>
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Another little chapel , very very soon we will arrive at our first lunch stop ! </div>
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Sainte Rommette , i never heard about her before ! </div>
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A Madone from the XI Century</div>
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It starts to be very wild </div>
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It s hard to believe from this picture, but few hours before it was snowing !</div>
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It was cold cold , but all the snow movement was so beautiful to watch (even if we were under it) </div>
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curiously even if my hands were freezing, i felt so much warmth inside me, exactly as the poetry (i forgot the author) : it is snowing outside, but my heart is warm</div>
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Another fun thing : i got lost and loose 30 minutes walking on the mud in a middle of the forest for nothing </div>
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I could not go without doing such a pic there ! </div>
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Antique clothes lavatory </div>
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some ruins </div>
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the way is getting narrower and narrower </div>
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On this valley the nature was more beautiful </div>
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nice little bridge </div>
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we get nearer ! we arrived at Saint Privat-d'Alier </div>
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Tonight chapel for our mass (it was sooooooo freezing there .... ) </div>
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the garder near the church was so peacefull </div>
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Saint Liszt pray for us !!!! </div>
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DAY 2</h3>
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Saint Privat d'Alier from far ..... so lovely </div>
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today will be hard ! </div>
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we are getting on top of a first mountain </div>
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still wonderful scenery </div>
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upper ... </div>
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still upper ....</div>
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And we arrived to Rochegude ! </div>
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for some members it was difficult </div>
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little top cute chapel </div>
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such a gorgeous scenery , but .... next we have to go down the mountain and .... to get to the other one who is ..... taller !!! </div>
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a hard day i told you ! </div>
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and we go ! </div>
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a risky journey </div>
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the 10 am stop to enjoy some little food </div>
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we met some nice friends ^^ </div>
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we arrived all down </div>
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visiting the nice little town </div>
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with a lost factory </div>
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and we start climbing now ! </div>
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yes, in case you have some problem during the climbing , some emergency numbers are ready to take care of you ! a bad omen .........</div>
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a dream like view </div>
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lost in the middle of the mountain , a copy of the Santa Magdalena cave</div>
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still higher </div>
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Father Pierre Dumoulin </div>
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the climbing is still not finished </div>
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time to time we could meet some very nice locals :) </div>
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and we arrived ! </div>
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in fact this climbing is known as one of the 3 most difficult ones of "The Way". </div>
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At the end the team was mostly exausted (a lunch was planned on the top). </div>
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Also we could meet a woman (not from our group) that was was experiencing a traumatic shock. She could reach the top, but after it she could not move alone anymore, was down on her feet with extremely heavy and irregular breath. Yes .... for today and for her .... The Way was over. </div>
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We never crossed her, or her friend so ...we don't know what happened to them after this day .... </div>
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after our lunch, we returned on "The Way"</div>
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very inspiring to see all those sheeps, specially after the Holy reading of the Good Shepard </div>
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wilder and wilder </div>
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time to time we could cross town in the middle of nowhere</div>
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still climbing ...........</div>
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and finally the city is on view ! </div>
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there are those horrible candle statues .... </div>
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pretty hard to see, on this picture you have : the Gevaudant Monster, and Holy Mary ! </div>
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and playing the lazy on the village </div>
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a fun fact : as the church was cute (and the city) , i felt i really needed to take my camera . </div>
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It was 2 minutes before te Mass. </div>
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I did it but ..... i got myself totally lost ! i was running and returning to the starting point .... </div>
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some of my pilgrimage brother saw me from his room and was shouting to wonder what i was doing. Why after almost 10 hours of walking i was running on circle around the village ? (the church was only 2 min slow walk from the hotel)</div>
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Today Mass was dedicated to you Fréderick .... You who knows got all the answer ... you my dear friend .... may God welcome you in the best way you deserve</div>
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DAY 3</h3>
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Sunrise over the Saint Roch place </div>
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the Saint Roch chapel .... yes it was a veryyyyyyyyyyyy cold day ! </div>
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Here what we are doing ! our first step of the Santiago Way </div>
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The small but very nice Saint Roch chapel </div>
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a very sad legend : he was known to help all the sick people from "The Way" , once he also arrived in Santiago .... he could never see the Saint Jacques tomb as .... he was also sick and died at the city's door ... </div>
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the landscapes are pure dream, i am myself discovering the France center .... how beautiful</div>
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My brothers and Sisters are still full of force ! </div>
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we enter the forest </div>
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Yesterday most of the team got sunburn so .... we are obliged to put some cream. </div>
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I was stupid enough not to put any cream (my face and arms were burning like hell !!!) .... luckily it was the last days of sun , otherwise .... only God knows what could happen to me </div>
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Guy , my brother !!! we had so many meeningful talk. Last year he helped me to understand so many things in relationships (it was a family psychologist, couple councilor, and also was taking care of sportmen so thank to him there was things i could not understand). </div>
We have always so much fun together, a very young and full of energy spirit ! <br />
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I really hope he will join the team next year !!!! </div>
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On the way, you always find four legs friends =^.^=</div>
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and wonderful flowers</div>
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The Roc Estello team is on its way !!!! </div>
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Seems quite ridiculous those little water things, but .... this is a bad omen to what will happen next ! </div>
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Yes it was raining all night ! </div>
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the wonderful church of Saint-Alban sur Limagnole</div>
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so inspiring !!! </div>
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as usual we got tons of infos ! </div>
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Also we got our lunch stop there ! (not in the church of course, come on !!!! ) </div>
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héhé , time to time we have some very nice messages let by locals ! yes it really gives us strengh !!!! </div>
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and we continue ... </div>
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wonderful landscapes </div>
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Still on "The way" .... as Satie would write .... "Seul, pendant un instant" .... </div>
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the path is becoming harder and harder</div>
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our brilliant team is still doing wonders </div>
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rocks (not paved) way </div>
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another cute 4 legged friend was staring at us and not moving a single inch (it was not dead, simply so much used to see pilgrims ...) </div>
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Yes , time to time we still have some lovely message at the pilgrim attention ! </div>
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thank you so much who ever did it ! </div>
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Also, i remember the wonderful talk we had at this climbing. Some brothers and sisters life story is so inspiring and great. A real life lesson for the inexperimented youngling i am </div>
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Still wonderful landscapes</div>
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Yes, the neighbour grass is really greener !!! ^^ </div>
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Our so dear Mireille :) we love you :) :) :) </div>
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extremely cute 4 legged friends who visited us during our lunch break =¨^.^¨=</div>
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so cuuuuuuuuuute ! </div>
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like every wild cat, they are almost impossible to pet. </div>
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interested by humans, but with full of fear. One step ahead, and 3 steps back ... like some humans too ...</div>
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this one looks like "Mimine" a wild cat we could take care. </div>
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it took us years to give her full trust in us, but once we had it, she was one of the most wonderful cat, giving incredible hugs. </div>
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Unfortunately .... we lost her last year before my Carnegie Debut .... the animals doctor believed she might have eat or catch a mice that was poinsoned and then she was poinoned ...</div>
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It was for us a very sad lost .... </div>
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a brother of her ! (they were something like 6 or 7 wild cats). </div>
I was at this time too much tired to even think about catching all of them on picture .... <br />
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And we go !!!! </div>
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a bad thing for me : we start too fast and when i put back my shoes , i lanced the left feet one too tight .... after a little while my foot was too tense and i could walk only with difficulties .... how stupid i was ..... </div>
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Some cute caw :) yummyyyyyyyyyyyyy</div>
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"The" climbing .... </div>
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some other trees</div>
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a pilgrim (maybe?) hut </div>
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It was fully fonctionnal inside it ! </div>
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This woman story is quite incredible : </div>
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we met her during our lunch break and talk bit with her : </div>
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on the second day, as the "way down" was so abrupt , she felt and got a problem with her right leg (muscle problem, luckily no broken bones). She had to stop for 3 days , and after it, she would never stop for all the world gold ! She planned to walk 5 kilometers every day (she is walking very slowly as only one leg can work) and to do it until the end !!! She aims to reach Santiago for Christmas !!!! </div>
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one of the best exemple of courage ! </div>
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another nice chapel </div>
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i finally did a picture of myself ^^ </div>
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We are reaching La Truyere</div>
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a cute little town and the end of hell for me </div>
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another cute 4 legged friend, i was too much into walking with my painful feet to even think of stopping </div>
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some are taking a nice break before continuing ... i was stupid enough not to join them .... </div>
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the rest of the team is also on their way</div>
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this way was wonderful but .... difficult </div>
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and then i was alone for quite a long time ( 2 hours? ) , as i really feel the need to meditate on my life </div>
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it was still climbing, and very time we reached one high point, we could discover so wonderful and new landscapes </div>
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some nice greetings of friends :) </div>
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yes ..... again i love this Satie sentence that fitted perfectly "this" time : </div>
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"Seul, pendant un instant" ... (lonely, for a brief moment) </div>
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lonely</div>
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surrounded by wonders</div>
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and within the torments of my own problems </div>
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team is far, but curiously i still feel the need of loneliness</div>
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as life (and with this pain) , each step was harder </div>
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and the sun was very high and strong (we were up on the mountain so ... you feel it way stronger, it burns you) </div>
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when you see such wonders, how can you even dare complaining about life</div>
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but you do .... despair temptation ... </div>
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each feet step brings me nearer my goal, but also each steps reminded me that .... i still don't know my goal position ... even if i am each time closer to it, i am also reminded that ... it is more and more out of range ... </div>
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why continue then ? </div>
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why loosing so much energies</div>
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why spending how much strengh ? </div>
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hope of course</div>
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hope fuels you </div>
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and "The Way" reminds you something </div>
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even if the goal is wonderful </div>
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even if you hope so much to reach your dreams </div>
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to embrace it </div>
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The way to reach it is even more important</div>
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if you let Him do the work he planned for you </div>
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The way to reach it, shapes you</div>
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transforms you </div>
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metamorphoses you </div>
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So why even feel desperate because the goal is so much out of range? </div>
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You "should" be happy to be on the way</div>
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and ... being able to have such wonderful goals</div>
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as all your life you believed it was only "stupid kids" and fantasy dreams</div>
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Be joyful , your life has sense now</div>
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and .... never say never .... </div>
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maybe one day ... </div>
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one day ... </div>
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you will also be able to discover Prune </div>
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yes we arrived on top </div>
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i could barely walk anymore </div>
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even the car's road it nice ! </div>
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the team is there </div>
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yes !!!! going down finally !!!!! </div>
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Arrived finally at Aumont-Aubrac !!!! </div>
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ah .... we walked SO MUCH this day , i was so happy to arrive </div>
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Of course , our Beau-Gosse is always at full force !!! </div>
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unfortunately the town is big</div>
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><!!!!!! </div>
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still have to walk for 'the' break ! </div>
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and sun is still so high </div>
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discovering a nice little town</div>
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the church was great </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-7lNm54MrXCcz0SLX04uApcg7b3KszUVgdWjAnEeflZBibNZOKgONV10UXo_v2tWP8844vKty_6g3eKynUI4waIf_9UzJRTU9uVZo7u4KzZ8WFk6Z0IzKeYguz0D8UIcikKFMpHXGPzc/s1600/DSC05718.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-7lNm54MrXCcz0SLX04uApcg7b3KszUVgdWjAnEeflZBibNZOKgONV10UXo_v2tWP8844vKty_6g3eKynUI4waIf_9UzJRTU9uVZo7u4KzZ8WFk6Z0IzKeYguz0D8UIcikKFMpHXGPzc/s320/DSC05718.JPG" width="320" /></a></div>
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and yes , i did some little concert too ! </div>
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some of the team remembered my concert last summer at Roc Estelle and wanted to have their hears filled with some nice tunes ^^ </div>
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playing tourists ^^ </div>
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And here is a very nice picture of the whole team !!!!!! </div>
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tonight cheese !!!! handmade of course !!!!!!!!!</div>
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And .... the local speciality : ALIGOT !!!!!!!!!!</div>
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So good !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!</div>
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Yes we were talking about it for days !!!! </div>
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We finally ate "Marguerite" !!!!!!!!</div>
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So for the little running joke : </div>
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Marguerite is an Aubrac caw that won the price of the best caw from Paris "Salon de l'Agriculture"</div>
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one of the most important thing in France for rural products</div>
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So each time we crossed some Aubrac caw I was saying : "hooo you are so cute, i can't wait to eat you" !!!! héhéhéhé so mean !!!!!!!!!!!!</div>
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And ..... with Aligot we got Aubrac cow and ....... HO YES !!!!! this was SO GOOD !!!!!!!!!!!!!!</div>
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Those caws are very special, their milk is almost impossible to get as they will give it only to their "child" . And if one child unfortunately loose her mom , no other caw will give him milk .... </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR94itCisZsYwycui4zIor4kkTJvTflgtlnYtWM_Q_T7bbTHe64QyZbQFPCsCSvF76jLA1sBQbwZncx4vQYJIrZ1YPyBW-VSLgeMX7aTBsLfQu_bvgWZjt_5zPQxE9omUSjqfYCq48FxU/s1600/DSC05730.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR94itCisZsYwycui4zIor4kkTJvTflgtlnYtWM_Q_T7bbTHe64QyZbQFPCsCSvF76jLA1sBQbwZncx4vQYJIrZ1YPyBW-VSLgeMX7aTBsLfQu_bvgWZjt_5zPQxE9omUSjqfYCq48FxU/s320/DSC05730.JPG" width="213" /></a></div>
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here was the place ! we really recommand it to you !!! </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1sRTtGXUni1auNS-JFbawV-RVHu5MkI0FQtFmZwN_3QZiZbAmAY_NkZw9gbrnukyPXWJKjJhkAAApC2aoAiJFo11i6uXKzsl12pORZodu13Dvrl33knRMGUiV-YQ3ODterxOY9ep93c0/s1600/DSC05731.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1sRTtGXUni1auNS-JFbawV-RVHu5MkI0FQtFmZwN_3QZiZbAmAY_NkZw9gbrnukyPXWJKjJhkAAApC2aoAiJFo11i6uXKzsl12pORZodu13Dvrl33knRMGUiV-YQ3ODterxOY9ep93c0/s320/DSC05731.JPG" width="320" /></a></div>
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DAY 4</h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPPKYgrhA7_WCeQhLDrM79RCK22mj5k79bE8cJ6uRftVNAaCdAYZftAx6uy3Bm3l587xfrtc4VG3jbgHzqXVff5jkL1otbSUKsYa8ieRzjvgiO9X_PfT3vcK-Q4rWWQPM9YV8F3_DB9p4/s1600/DSC05732.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPPKYgrhA7_WCeQhLDrM79RCK22mj5k79bE8cJ6uRftVNAaCdAYZftAx6uy3Bm3l587xfrtc4VG3jbgHzqXVff5jkL1otbSUKsYa8ieRzjvgiO9X_PfT3vcK-Q4rWWQPM9YV8F3_DB9p4/s320/DSC05732.JPG" width="320" /></a></div>
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it was a very cold day ! </div>
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and also was raining all night once more </div>
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we all were freezing </div>
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walking in the middle of wild nature</div>
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time to time dealing with some problematic passages</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3J8b5Avj_HKd1SX9Cp0Ha91B5YbXqxec8bj9EqXpV4d2wyN1g4OY_ZDGyFdacexJr6NqyBMSH4GGqOQpI-Dk7xml8zFMAkJxCja18e1YXDicbzS4cTxkFEjTRFXGPCVnUagmS23ltjVg/s1600/DSC05737.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3J8b5Avj_HKd1SX9Cp0Ha91B5YbXqxec8bj9EqXpV4d2wyN1g4OY_ZDGyFdacexJr6NqyBMSH4GGqOQpI-Dk7xml8zFMAkJxCja18e1YXDicbzS4cTxkFEjTRFXGPCVnUagmS23ltjVg/s320/DSC05737.JPG" width="320" /></a></div>
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really in the middle of nowhere</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1QMzy8xB4KCmsTlSD2ztSU_PJAO1R29zQlHRA2dKK8QO5QAjEIF0vDylswzdctPI70plrqw3F3ylRdvgtFwagEbZoOKIw3byizWXHx5o71sGNagvEpvBNt_zsVpVVOWaU2z8K85INrFk/s1600/DSC05739.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1QMzy8xB4KCmsTlSD2ztSU_PJAO1R29zQlHRA2dKK8QO5QAjEIF0vDylswzdctPI70plrqw3F3ylRdvgtFwagEbZoOKIw3byizWXHx5o71sGNagvEpvBNt_zsVpVVOWaU2z8K85INrFk/s320/DSC05739.JPG" width="320" /></a></div>
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some passage were "very problematic"</div>
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thank to some pilgrims or locals (?) there were some woods on those ponds</div>
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but ... they were old and .... not very stable .... </div>
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if you felt from it , you would fall in the pond and get your feet watered </div>
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something you really don't want when you have to walk the whole day .... </div>
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more ponds .... </div>
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wild nature</div>
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returning into the forest</div>
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our lovely team :)</div>
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We had so many fun time with Odette ! She is a fabulous Icon painter</div>
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we were all the time joking together :) </div>
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a new member to the team, Christine is a classical music passionate</div>
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time to time we were talking about things related to that</div>
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no wood this time , trying to guess where was the best way </div>
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getting on top </div>
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some huge stones where there , in the middle of nowhere </div>
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as remanent of a time where men were none </div>
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nature wonders</div>
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a little house lost in nowhereland</div>
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a flower paradise</div>
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some strange megalith ? </div>
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still on the portraits</div>
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another pilgrim who could join this year the team (but an old member) </div>
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everyone in her family is doing music, also we had great talk about gardening and taking care of all plants and trees, that was really top interesting as .... i am so bad for that !!! </div>
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another very cute 4 legged friend</div>
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he was there , alone .... eating his grass </div>
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and very nice too :) </div>
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wild land dominated with very strong (and cold) winds ! </div>
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sometime you felt it could blow you away instantanetely </div>
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Yes , after such a climb and such a view , you really feel you are a caractere of the Wuthering Heights</div>
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Still the strange megaliths </div>
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a place where man has no place </div>
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really happy to get there ! </div>
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some muddy roads .... not very nice </div>
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walking into the wild </div>
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Not made for men for sure </div>
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nature is an almost depressing state</div>
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but .... the water is gently and silently following his path </div>
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whatever is around, life always goes on </div>
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Civilisation is back !!!!!!!!!</div>
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But no one in town ..... is it a ghost town ???? </div>
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we aimed for a small break </div>
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But </div>
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... </div>
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it was </div>
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TOO COLD !!!!!!!!!!!</div>
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so .... </div>
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we moved ! </div>
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no wonder why no one is outside , too cold , too windy ! </div>
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team is in good shape ! </div>
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nowhere land </div>
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silent nature </div>
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a lost house </div>
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héhé ! I could not resist !!!! </div>
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the team has more and more difficulties as the road is getting more and more difficult each day </div>
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At Nasbinals !!! </div>
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finally reaching our lunch break ! </div>
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a nice church </div>
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our Saint Patron </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbm8Tn2-EHwwaOIGeNgjsqG4l_j2g5qY1VykJ2e5rl5V3z55WzK3_TExalnQBY-zYUEf17mrdW2YI8hwGv3GLyA-P6hyphenhyphen7eEt2oeh_kQLdc1VN495XweiEUxvBdUGqxcLlpCztfHjZgHVI/s1600/DSC05828.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbm8Tn2-EHwwaOIGeNgjsqG4l_j2g5qY1VykJ2e5rl5V3z55WzK3_TExalnQBY-zYUEf17mrdW2YI8hwGv3GLyA-P6hyphenhyphen7eEt2oeh_kQLdc1VN495XweiEUxvBdUGqxcLlpCztfHjZgHVI/s320/DSC05828.JPG" width="320" /></a></div>
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It took me a while to understand the meaning of "this" engraving</div>
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It is not at all some depict of a war</div>
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but on the other hand the symbol of your own inner battle over all the materialistic things that are polluting one life</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibsfvAqgkv9M_M4Sz9f6rhjvLpz2l-7TLaI7rON8u3NntHKtONvW6zLUb_b34DwCTo9DVQ58XUVRnuSDd6qp-XkW0G2Ae78RsSrmG7gKJPlYP05eCGBKKTjIzFrqvjl0VMXcCQxFOXuhc/s1600/DSC05829.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibsfvAqgkv9M_M4Sz9f6rhjvLpz2l-7TLaI7rON8u3NntHKtONvW6zLUb_b34DwCTo9DVQ58XUVRnuSDd6qp-XkW0G2Ae78RsSrmG7gKJPlYP05eCGBKKTjIzFrqvjl0VMXcCQxFOXuhc/s320/DSC05829.JPG" width="320" /></a></div>
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And we arrived to Aubrac ! </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgntFh8g5RUsVd_Q2N4u9ZgC469qXHlqD2JoBeyQWJ2Wb1OhO7uLkqm4dFVaU5I2VzH0wMM7JAYFVvwoErhUee62kq2t_bD0SuVcYYEPIQ7yZVS3UF5lDwmmsROfJdpQUBKJegXt2e8aQE/s1600/DSC05832.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgntFh8g5RUsVd_Q2N4u9ZgC469qXHlqD2JoBeyQWJ2Wb1OhO7uLkqm4dFVaU5I2VzH0wMM7JAYFVvwoErhUee62kq2t_bD0SuVcYYEPIQ7yZVS3UF5lDwmmsROfJdpQUBKJegXt2e8aQE/s320/DSC05832.JPG" width="213" /></a></div>
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With the so famous "Tour d'Aubrac" who had a bell special to the lost pilgrim (because of the dense fog there) </div>
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Ha we were so tired .... we really could enjoy a very nice coffee !!! </div>
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a stone map ! </div>
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not as old as it seems : 1990 ! </div>
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the Tower inside is nice , but ... well ... we already saw much better </div>
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We arrived as Saint-Chely-d'Aubrac </div>
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a cute little old town </div>
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and his so famous "pont des pèlerins" ! </div>
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deserted house ... from a time i was surely not born yet </div>
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nice church with an ugly curtain ! </div>
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trying to figure out how the church organ is working </div>
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yes the team wanted their concert ! </div>
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it seems it became almost a tradition ^^ </div>
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on organ i could play only some Satie and Glass , as most of the piano repertoire is not quite fitting </div>
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Veronika is enjoying some gardening tools ! </div>
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we arrived to Saint-Côme d'Olt </div>
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it was after such a long day our night destination ... </div>
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an old town </div>
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with wonderful old streets</div>
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and his wonderful church </div>
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the Abbaye we slept held by some sisters </div>
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very cosy place</div>
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its garden is a pure dream </div>
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getting out to enjoy some drinks together </div>
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the city by "almost" night</div>
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the pictures render it as it looks like an airport , but it is much nicer that it seems ! </div>
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DAY 5 </h3>
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we leave the city , "The Way" here seem to have been put in a very remote city corner ! </div>
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a magnificent bridge</div>
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our team is in very good spirit ! </div>
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a greener nature there ! </div>
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more humidity is better, as we need to drink less </div>
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the team is still full of high spirit ! </div>
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The Saint-Hilarian Cross </div>
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arrived in Espalion ! </div>
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a very welcoming nature </div>
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L'Eglise de Perse</div>
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a wonderful medieval church who is not even on the map ! </div>
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Byzantine frescos </div>
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a pure jewel ! </div>
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highly inspiring ! </div>
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the best place for our 10 am Gospel (translated from Aramean) recitation </div>
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Bruno got highly inspired here !!! </div>
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Still the colombs drinking the Holy Calice </div>
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And the Inner Fight </div>
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Jesus in His splendor</div>
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everything from the XI Century </div>
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Judgment day ! </div>
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And we arrived in Espalion !!! </div>
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a nice and vivid town </div>
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luckily we arrived for the market day ! </div>
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OF COURSE ! i tried the local products !!! </div>
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Here the Pascades , some very yummy things ! </div>
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Le Pont Vieux </div>
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More delicious local products .... too bad we could not stay </div>
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Le Pont Vieux from far away </div>
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this part of the medieval city is very lovely ! </div>
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some old destroyed castle .... </div>
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Moussorgski would have been very inspired by it ^^ </div>
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The Way is nice there </div>
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And still some local hospitality !!!! </div>
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Free hot drink !!!!!! </div>
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YEAYYYYYY</div>
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Isn't it wonderful ? </div>
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another nice Abbaye lost in nowhere</div>
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Saint-Pierre de Bessuéjouls </div>
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we had to climb some pretty dangerous high stairs to discover the Church's real wonders</div>
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All the Chapiteaux there are just pure sculpting jewels </div>
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the original entrance : by outside ! </div>
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so when the monks were attacked , they simply bring up the ladder and no one could climd to get them !! (the "dangerous" stairs were added much much later) </div>
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so peacefull </div>
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our Father Pierre really looks like some Comandator here ! </div>
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and we finally reached out lunch place !!! Yaaaay !!!! </div>
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but .... no one knew what we had to face after it ..... </div>
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still spiritful ! </div>
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but .... not for long ! </div>
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yes ! a very hard climbing with a road totally full of deep mud !!!! </div>
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it had rained too much yesterday and the road is almost not practiable ! </div>
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the team is not very pleased </div>
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and Father Pierre is trying his best to cheer us up ! </div>
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forget your confort and clean clothes ! </div>
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whatever you will try , you will get drirty ! </div>
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a first step / stop </div>
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wth a wonderful view </div>
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beautiful nature </div>
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another step , i would have love to do the lunch break here !!! </div>
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it is so beautiful ! </div>
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eh .... path is getting more difficult ! </div>
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really slipery ! </div>
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so glad to see stones time to time ! means less mud !!! </div>
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but ... it never last long </div>
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><!!!!</div>
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on the most remote and difficult place, you always see the most beautiful things </div>
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is it a life allegory ? </div>
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some volcanic stones </div>
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or Basaltic organs </div>
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and we arrived to the top !!! </div>
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luckily it was only for 30 min long </div>
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very glad to be up ! </div>
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the rest of the team is also coming </div>
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but the break is never long</div>
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even if you wish to stay longer , it is not good for your muscles to stay inactive too long </div>
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some nice town </div>
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some achitectural explanations</div>
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Nature there is simply wonderful </div>
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something you would love someday to share ... </div>
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with someone you really love </div>
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returning to the forest </div>
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this is what we did ! </div>
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today i still can't believe we walked that much ! </div>
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is it always 'the way' ? </div>
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no place for men </div>
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men trace dissapear more and more </div>
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again mud ... and more mud ... </div>
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yes .... we forgot what clean was meaning </div>
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We arrive to Verrières </div>
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a very lovely castle </div>
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another 4 legs friend </div>
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i love those nice message that locals leave for pilgrims ! </div>
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a private chapel </div>
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not very safe to go there </div>
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a really lovely town ! </div>
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romantic at his best </div>
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still climbing </div>
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we met some other pilgrims </div>
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wild nature </div>
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We arrived to the wonderful Estaing city !!! </div>
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Ambroise , our BG ! </div>
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looks like some futur Facebook profile picture for Ambroise ^^</div>
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Once more , how could i resist ^^ </div>
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THE city of one of our very funny president ! </div>
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the famous d'Estaing bridge</div>
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its church </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiITKCT8k2T427mS651osDQRH9iLXRpgYReq5zufUpeJ-TAZJ4d32DyuYLV3hy0B1WZMoHv1kX4C-GPUeG0-o0WAiygpzS-1rnwox6t3gl3nFPPfc9PDpen4tcvIFeYvn_CgM0hHyjvXJ8/s1600/DSC06107.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiITKCT8k2T427mS651osDQRH9iLXRpgYReq5zufUpeJ-TAZJ4d32DyuYLV3hy0B1WZMoHv1kX4C-GPUeG0-o0WAiygpzS-1rnwox6t3gl3nFPPfc9PDpen4tcvIFeYvn_CgM0hHyjvXJ8/s320/DSC06107.JPG" width="213" /></a></div>
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looking very serious </div>
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Old lovely city </div>
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with a wonderful church </div>
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Saint-Fleuret reliquaire </div>
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extremely popular there ! </div>
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he is known to cure disease and to make straight back some distorted things</div>
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No, no he is not dead, simply sleeping and not paying attention anymore to pilgrim ! </div>
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and yes .... we made it !!!! </div>
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our night desination Golinhac !!! </div>
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very small and deserted town </div>
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a little nice church </div>
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where they have a mass every 2 months ! </div>
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So the locals were delighted that we were here ! </div>
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Yep , once again , i played organ for the mass ! </div>
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a very very old Hotel </div>
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It was the 81th birthday of our lovely Mireille ! </div>
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Can you believe that ??? she is doing so great !!!! </div>
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i really hope i can be as vigorous as her at her age !!! </div>
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having some fun </div>
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playing ninja </div>
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and our last night stop ! </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzw6DFVyvFA6jVXUz1iO52cWhR3cbizDMax3X-tO1NHrupySOLM1TgHVrsjnbwr3jJJyfnm3u9PasD_qfDQBtHv1wBl2ZVch03XWxKsPXvV9h1htdZYwDXxWadYN7cI4QvoCogxK27HX4/s1600/DSC06146.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzw6DFVyvFA6jVXUz1iO52cWhR3cbizDMax3X-tO1NHrupySOLM1TgHVrsjnbwr3jJJyfnm3u9PasD_qfDQBtHv1wBl2ZVch03XWxKsPXvV9h1htdZYwDXxWadYN7cI4QvoCogxK27HX4/s320/DSC06146.JPG" width="320" /></a></div>
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a nice little camping with a swimming pool (not open yet) </div>
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a fun fact : as they just bought the camping , they had some Holy water from northern France</div>
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and asked Father Pierre to baptise the camping ! </div>
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DAY 6 - last walking day </h3>
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the team is taking forces for the last day of walk ! </div>
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we met a nice team from Britany ! </div>
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i still can't believe they slept all night outside on their tent under the heavy rain ..... </div>
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a really creepy school ! </div>
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and we go !!!! </div>
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the climbing is hard </div>
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cold and rainy ! </div>
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ho gosh ! </div>
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and .... the fog is there ! </div>
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everything turns vaporous </div>
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we walk into nothingness </div>
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but our 4 leg friend do not care about this not good weather at all </div>
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into the forest </div>
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still cold and rainy </div>
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and full of muddy roads </div>
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this tree seems not to enjoy my presence </div>
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such a fantastic nature </div>
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yes , since i was 14 and discovered it in Venezia , i really DO love fog </div>
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me walking on the fog and the gentle rain </div>
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still me </div>
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where is the path ? </div>
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where is my team ? </div>
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here a very nice guest house (Le Soulier de Saint-Jacques)</div>
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with a little chapel and everything </div>
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and curiously , they know Father Pierre very well </div>
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too bad the team was so far away as we were offered some nice coffee ! </div>
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the team went far away us, so we stayed a long time together, Father Pierre and me</div>
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talking about various things, Life, religion, Faith , future ... </div>
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magnificent nature </div>
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a very nice bridge</div>
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after maybe 30 minutes , we could finally join the rest of the team ! </div>
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And we arrived at Espayrac !!! </div>
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a nice church </div>
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And our 10 am stop </div>
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everywhere i put my eyes on , is just wonderful </div>
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ha ! not a good omen ! </div>
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And we enter Sénergues </div>
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again a very nice town </div>
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After a lunch there .... we go to our final destination !!! </div>
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climbing again ... </div>
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mud and water ... we start to get used of it </div>
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ha ! the stones !!! </div>
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a looooooooooong way </div>
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and here a very funny fact : </div>
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we were 6 from the team all together</div>
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walking way before the other team members</div>
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we all had very intense discussion (3 groups of 2) </div>
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I was debating politics and school pedagogy with Ambroise </div>
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and .... </div>
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we .... </div>
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did NOT follow The path !!!!!!!!!!</div>
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we missed "one" little mark </div>
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and we .... </div>
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lost 30 minutes !!!!! </div>
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almost 3 kilometers more !!! </div>
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we arrived to a nice castle </div>
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and as there were no more Pilgrim indications we were top worried </div>
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There was one road sign to arrive to Conques, but 'by car', so the team was not very pleased to use it</div>
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one local arrived on his quad (with his wife on his back)</div>
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We asked him where to get to the GR 65 (the Pilgrim road)</div>
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and he told us to get back , and on top of the hill to turn right </div>
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Well .... that was not "that near" !!!!! </div>
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we had to walk and walk long on mud road again ... </div>
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after quite a while we arrived to the path again , the signs were very small </div>
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We crossed the guy back on the GR 65 , still on his quad with his wife , taking all the place of the road</div>
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we thanked him </div>
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but ... </div>
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later ... </div>
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the GR 65 joined the main road</div>
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and .... </div>
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yes .... </div>
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the "nice castle' was not far away from there .... </div>
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This bastard could have simply told us to turn left and follow the road sign !!! </div>
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It will have spare you a lot of kilometers !!!!!!!!</div>
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We were SO TOP ANGRY !!!!!!!!!!!</div>
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yes .... the GR 65 is still not at sight !!!! </div>
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back on The Way , we crossed a fantastic flower land </div>
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back on the road .... mostly silent as we started to be tired </div>
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and pissed off ! </div>
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still wonderful land ! </div>
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a nice little town </div>
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with its nice chapel </div>
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The Symbol of all the Saint Jacques Pilgrims</div>
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or the Jacquets ! </div>
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a 4 legged friend ... i was so tired that petting him did not even crossed my mind ! </div>
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more cows </div>
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a funny donkey </div>
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yes , it is just wonderful ! </div>
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yes , we get nearer ! </div>
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And here it starts !!!!!</div>
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the very very last way down ! </div>
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pretty hard to do , but Conques is just at our gasp !!!! </div>
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narrow and difficult ! </div>
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top slippery </div>
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we DID it !!!!!!!!!!</div>
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ENTERING CONQUES !!!!!!!!!</div>
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The city is simply splendid </div>
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i took tons of pictures as everywhere i put my eyes on was just a pure dream </div>
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Sainte-Foy Cathedral </div>
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and when you wonder if your choices are good ... a nice sign ! </div>
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A strange fact ! i did very well to take this picture as ... </div>
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when i showed it to Ambroise he wanted to see it by himself to take it on pictures</div>
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but ... </div>
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we looked for almost 10 minutes and we could not find it back !!!! </div>
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A heart-shapped red stone within a white stone ! </div>
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our sleeping place ! </div>
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some old monk stone tombs</div>
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the stair to our dormitory </div>
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a wonderful chapel </div>
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with Bizantine frescos </div>
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Inside the Cathedral </div>
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a pure wonder </div>
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also the monk there are musicians and sings wonderfully ! </div>
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plus the organ player is very good !! </div>
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here he is ! </div>
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he released some cds ! most of them at the organ , and one at the piano </div>
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the piano is a best off of various known things </div>
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and the organ albums have pilgrims music from the old times ! </div>
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Annunciation </div>
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from the Renaissance ! </div>
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The so famous Entrance ! </div>
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really wonerful </div>
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and equally wonderful , the monk very very funny explanation ! </div>
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yes even in tourist guide they are talking about it ! </div>
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The team is enjoying food after such a long and hard day </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8-fwdvJIpL6IHuRlXi1GVAb19tMjTAO3-0erEkQBmC6MCS2cZymb9AwQu4mRjKNecKo1MC8q6onQBFhp7M_YLlNWyaV8QhHY5bW1ZVwP7Mj_YxdQWxJPOo26ilasxiA97q_5NQ1xvX5Y/s1600/DSC06349.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8-fwdvJIpL6IHuRlXi1GVAb19tMjTAO3-0erEkQBmC6MCS2cZymb9AwQu4mRjKNecKo1MC8q6onQBFhp7M_YLlNWyaV8QhHY5bW1ZVwP7Mj_YxdQWxJPOo26ilasxiA97q_5NQ1xvX5Y/s320/DSC06349.JPG" width="320" /></a></div>
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The chapel at night .... mysterious at possible </div>
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we gathered here (as we were going to leave on the next morning) </div>
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to exchange what we will remind from this year Pilgrimage</div>
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And curiously .... </div>
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Like Satie Vexations ... </div>
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i really did not wish to end it .... </div>
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i really felt sad to leave the way this time </div>
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even with the hard time</div>
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the pain </div>
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the despairs</div>
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once again .... </div>
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there was .... </div>
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"something" </div>
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We could enter by the Misericordia door ! </div>
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And after the last mass , the pilgrims could visit all the Cathedral secrets for free !!!!</div>
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yes we were on top of it !!! </div>
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having access to place you can't normally go </div>
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and ... it s simply fabulous </div>
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Saint Jacques from above </div>
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This is Sainte-Foy reliquaire ! </div>
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Ambroise and our Saint Patron </div>
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a very nice lustre </div>
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LEAVING DAY - RETURNING TO NORMAL LIFE</h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6jasz4FHfiLt0HzjXKyN557qzm5QCSiqaCxQpAUuN34DZL_kRrX4PUgOX2gptXp7d7xS9eoIrXDU8KFjqBIzSrOS62VhNanFPmk0Pkz-Pr3D-FNjGC7eOC6Ik0WzIcsDwfOVyLMqe2m0/s1600/DSC06381.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6jasz4FHfiLt0HzjXKyN557qzm5QCSiqaCxQpAUuN34DZL_kRrX4PUgOX2gptXp7d7xS9eoIrXDU8KFjqBIzSrOS62VhNanFPmk0Pkz-Pr3D-FNjGC7eOC6Ik0WzIcsDwfOVyLMqe2m0/s320/DSC06381.JPG" width="320" /></a></div>
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Not very happy to go .... </div>
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a Sainte-Foy Fresca from the Medieval times </div>
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Saint Jacques </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifM6wfmt17zsw8rAVStk3jj3gMwfDRWaiYyvOKNY67_fuye2TGl5zrjPR8fTo-koH9IjUAHmnZUBeOuJVFfjtKWJ6HGD7tu_UziaUGcMfJXUCISSBpGNJSjAVLPAOq-PNZC_l0UKLOvfQ/s1600/DSC06388.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifM6wfmt17zsw8rAVStk3jj3gMwfDRWaiYyvOKNY67_fuye2TGl5zrjPR8fTo-koH9IjUAHmnZUBeOuJVFfjtKWJ6HGD7tu_UziaUGcMfJXUCISSBpGNJSjAVLPAOq-PNZC_l0UKLOvfQ/s320/DSC06388.JPG" width="213" /></a></div>
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and at his feet , a pilgrim , trying to get to him </div>
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in a way .... us ! </div>
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the team is having fun </div>
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bye bye Conques </div>
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On the way back , we crossed some very nice town </div>
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and this waterfall </div>
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pretty impressive and romantic </div>
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and once again , we could not resist with Ambroise to have some fun times ! </div>
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Arriving in Rodez , we visited the Cathedral </div>
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and .... it is very very impressive </div>
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too bad we had only 15 minutes to visit it ! </div>
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the Rodez city is nice , but .... cold and windy !!! </div>
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Near Rodez we visited a Basilica</div>
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very nice one </div>
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with fantastic vitrails </div>
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It is said that Holy Mary 's vail is here </div>
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but .... when the Basilica has no one inside , it is not possible to see it ! </div>
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too bad ... it will be then for next year !!!!! </div>
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Guy invited us to his house for a fantastic and delicious lunch !!! </div>
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And they prepared us ALIGOT !!!!!!!!</div>
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Yes, this year i really did many more pictures, and unlike what i did for the other event , i did not wait months before doing a blog entry , so i could still remember some very fun facts ! </div>
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I really can't wait to do it next year as well !!! </div>
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Maybe this little blog entry will give you also the desire to join us and all the pilgrims on "The Way" to Santiago !!!!! </div>
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ULTREIA !!!!!!!!!!!</div>
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<br />Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0tag:blogger.com,1999:blog-2209885747817700840.post-27744273982119241472016-04-13T04:43:00.002-07:002016-04-13T05:41:04.064-07:00"THE" Way, or my first steps into the Santiago Pilgrimage<br />
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THE Way, or my very first steps into the Santiago Pilgrimage</h3>
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Now, as i am preparing myself for a return, i just found out all those pictures from one of my most fantastic journey : the Santiago Pilgrimage. <br />
This journey totally changed me, but the change was slow , and is still in motion. <br />
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I will simply put all those pictures there "for memory" , with some of them with comments, and some not. <br />
I was (and i will be next week) with a fantastic team : Father Dumoulin that i know since i am a teenager, and other from the Roc Estello Monastery. <br />
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Also, i wrote just after it a little text "in French". I will not translate it (but you have a translate button somewhere there) , to win some little time , and also to keep "intact" the freshness of my testimony , as i wrote it one week after it<br />
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a little testimony written some days after i came back</h3>
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17 April 2015 : <br />
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“Le Chemin de Saint Jacques” ..... “The Way” ..... <br />
A la base un rêve d’enfant, pouvoir vivre ce quelque chose d’inconnu qui soit disant est si unique. <br />
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Quelques films curieux narrant une transformation au bout de ce chemin .... assez pour me titiller, mais ... Ne serait-ce pas qu’un simple effet d’annonce pour promettre je ne sais quoi à une société en manque de repères dont la Foi n’a plus qu’un lointain rapport (homonymique) avec une nourriture bientôt interdite. <br />
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Je suis parti sur le chemin, cela faisait plusieurs années que j’étais vraiment tenté, mais .... je ne trouvais jamais le temps. En effet dans nos vies surchargées, trouver 10 jours loin de tout semble quasiment impossible. Cette année était donc la bonne et je suis parti, très mal préparé autant physiquement (je suis l’antinomie même du sportif) qu’au niveau même des habits. <br />
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Je suis ainsi arrivé à Roc Estelle avec une très joyeuse bande d’amis/habitués au chemin. Ces derniers ont été vraiment adorable et m’ont tout de suite adopté. <br />
Après des heures de voitures, nous arrivâmes enfin sur les hauteurs de l’Espagne. Comme d’hab l’organisation était sans faute, le premier jour autour de 10 kilomètre , pour monter entre 25 et 30. <br />
Les paysages étaient merveilleux, mais ... sur le chemin ce n’est pas du tout ce à quoi on peut faire attention. Quelque chose de plus grand est là à nous attendre. <br />
En premier, les paysages .... Au bout de quelques heures ... le corps commence à comprendre que ... nous ne sommes pas tranquillement dans notre fauteuil à regarder Discovery Chanel ... Quelques courbatures arrivent, mais il faut continuer et passer le cap de la douleur le temps que les muscles puissent chauffer. <br />
Et le soir, nous nous écroulons dans des endroits d’un autre temps qui sont réservés à nous pèlerins (je pense au Monastère de Samos par exemple) et pouvons nous recueillir lors de messes spécialement dites pour nous accompagner sur notre chemin spirituel (et physique). <br />
Au bout de quelques jours le vrais chemin pointe le bout de son nez, les rencontres, les frères, la communion entre l’homme et la nature et celle entre les hommes. Oui nous devenons tous frère de Compostelle. <br />
J’ai eu “la chance” de commencer par la fin, j’ai pu ainsi voir l’arrivée à Santiago et la messe des pèlerins, le tombeau ... Au fur et à mesure que nous nous rapprochions, nos corps volaient et il était de plus en plus facile de parcourir de grandes distances. Non, nous ne prions pas à chaque croisée des chemins, à chaque vision magnifique, nous avancions, dépassant les limites de notre corps. Notre sac était lourd, lourd de ce que nous portions, au delà des affaires, les hommes, les prières et les attentes. Chaque pas, aussi douloureux soit il nous rendait plus léger et la fin .... n’est qu’un commencement. <br />
Non ce n’était pas Santiago et ses ors, le Tombeau et sa messe à quelques centimètres du disciple, le plus beau est le chemin. A l’image de notre chemin d’humain à travers la vie, la Foi vers Dieu .... <br />
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Je suis parti homme est suis revenu pèlerin. <br />
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Je ne sais pas encore quel sera le prochain chemin de terre que je prendrais et quelle sera sa route, mais ... contrairement à ce que je pouvais imaginer... je suis certain maintenant qu’il y en aura d’autres<br />
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Un petit mot pour remercier Lydia et le Père Pierre [Dumoulin] pour une organisation vraiment fantastique <br />
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The pictures : </h3>
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this bird being one of Hungary Symbol, i took it as a nice omen for the begining of our journey</div>
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Saint Jacques ! The Symbol of the Santiago Pilgrimage </div>
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visiting the first town</div>
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Our dear Father Pierre [Dumoulin] , introducing us to one of the pilgrimage history and goals</div>
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yes , in some Spain stores , you can find some nice hams ! </div>
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And El Mejor Café ! well ... it does not really stands near the Italian Esspresso ! </div>
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And the road is simply fabulous</div>
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At this place , used to sleep the pilgrims in the medieval times</div>
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the fantastic Samos Monastery </div>
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the road</div>
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sometime we did masses in middle of nowhere </div>
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Mass is ready ! </div>
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Just some fantastic landscapes</div>
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Some masses in underground basement ! </div>
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and sometime you get rain ! </div>
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my lovely team ! </div>
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it really goes in the middle of nowhere</div>
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And now for a little while you can rest your feet ! </div>
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How lovely, this guy we met , was doing "The Way" with his doggy ! </div>
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And the doggy had some "piligrimage" bags on him !! </div>
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Not nice moments , but ... it s part of it ! </div>
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More animals than humans ! </div>
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Very primitive Pilgrimage stone ! </div>
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Yes , you know me ... i am crazy about cats =^.^=</div>
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this is the place they used to store ... i forgot .... some food </div>
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This is really a private joke for my students ! </div>
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yes , i got some "Lait Concentré" ! So i can focus again !!! ^^ </div>
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You really see wonders lost in the middle of nowhere </div>
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Yes , i took many shot of them , but .... </div>
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i found them so cute ! </div>
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a couple doing "The Way" together </div>
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keep on holding hands </div>
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SOON !!!!!!!</div>
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I was able to catch them up and take a nice shot ( while walking , not that easy!) </div>
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Some says that doing it all the way with the one you love will bring eternal happiness ...</div>
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I would love to do it someday .... </div>
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some really primitive churches</div>
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In many places you can find love messages </div>
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This one was so much touchy that i really had to take a picture</div>
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As much as i remember it was like 50 km before the end ! </div>
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My whole team ! Yes !!! i was the younger</div>
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but ..... not the braver !!!! </div>
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Last day ! We went walking at 5 am to arrive for the 11.30 mass !!! </div>
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Sunrising on "The way" .... unforgettable moment ! </div>
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10 KM !!!!!!!!!!!!!!!</div>
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Nature is waking up slowly </div>
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First sun ! </div>
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And here ... we can see it from the very "last" mountain before Santiago !!!! </div>
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The Sun Majesty </div>
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Santiago first church </div>
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it is said that here , the city was checking all the people entering. </div>
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If you had a too big desease , they would have treat you there before continuing </div>
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(not to propagate it)</div>
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And here it is !!!!!!!!!!!</div>
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Some fun ! </div>
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wondering which bottle we will take </div>
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yes , being with priests does not mean being sad all the time and give up on all fun !!! </div>
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THE arrival !!!!!!!!!</div>
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We went to Finistere with a little van ! </div>
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And here it is ! </div>
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i was dreaming of that since i am a kid ! </div>
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FINISTERE !!!! </div>
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00 KM !!!!!!!!</div>
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(even if the "real" 00 km is the Santiago Cathedral) </div>
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The End of Earth ! FINISTERE</div>
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And then you can ask "something" to Him</div>
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I won't tell you what i asked , but beware of what exactly you will ask as</div>
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it will happen and the changes might be very deep </div>
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Back in Paris ..... </div>
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Morning Bus ..... </div>
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<br />Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0tag:blogger.com,1999:blog-2209885747817700840.post-24557472291270853422016-04-01T00:54:00.003-07:002016-12-12T07:37:18.542-08:00Glass : GlassWorlds Vol.3 reviewsMy dear friends <br />
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As the 4th Volume will soon appear, i just realised that it would have been time to make a blog entry about all the fantastic reviews i received so far on the 3rd Volume <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS0q9TiCM5dQS59y1FR8gO-Q2oc63nsZTwZTNpc_WT-Pgd-ME5zapvvPocog_V-eerzl0qltY86ayptdrKn2kfpqQJTezwf-q8ZEGHauCPHocIUzH5l43kA8eIcBANu_scFtfZkfXkwsE/s1600/51qmZD9jQmL.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS0q9TiCM5dQS59y1FR8gO-Q2oc63nsZTwZTNpc_WT-Pgd-ME5zapvvPocog_V-eerzl0qltY86ayptdrKn2kfpqQJTezwf-q8ZEGHauCPHocIUzH5l43kA8eIcBANu_scFtfZkfXkwsE/s200/51qmZD9jQmL.jpg" width="200" /></a></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">International
Classical Music Awards : 2016 Nominee </span></span></span></span></span></span></b></span></span></span>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Midwest
Tape,</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
February 2016</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">This
Nicolas Horvath program reverses time, revealing the metamorphosis in
Glass’s work from his 1980s film and theatre transcriptions,
through The Olympian composed for the Los Angeles Olympiad, to
rarities such as the dream-like Coda</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Patrice
Imbaud</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(L'Education Musicale - Mars 2016) </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">"A
découvrir absolument !" </span></span></span></span></span></span></b></span></span></span>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Sortie
sous le label Grand Piano du troisième volume d'un corpus regroupant
des œuvres pour piano solo, originales et transcriptions,
interprétées par le talentueux pianiste Nicolas Horvath. Au-delà
de ces considérations musicologiques, sans doute un peu vaines, et
de la place qu'il faut accorder à cette musique particulière dans
la grande histoire de la Musique, peut être faut-il simplement
goûter le plaisir et la beauté ressenties à l'écoute de ces trois
albums, un peu comme un « voyage à travers une œuvre qui ne laisse
pas indifférent, une impression nocturne de flotter sur des eaux
tranquilles d'un lac, sous un ciel étoilé… » (Nicolas Horvath).</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">
<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">Voilà
assurément trois albums admirables, magnifiés par l'éblouissante
interprétation de Nicolas Horvath. Un challenge pianistique qui nous
ouvre dans des conditions optimales le monde sonore si particulier du
compositeur américain. </span></span></span></span></span></span></span></span></span></span>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Métamorphose,
un maître mot dans l'univers compositionnel de Philip Glass, comme
dans celui du pianiste puisque s'appliquant à la composition comme à
l'interprétation, changement de forme et de structure si important
que l'être ou la chose qui en est l'objet n'est plus reconnaissable.
Un procédé bien connu en musique utilisé comme fil directeur dans
cet enregistrement. Un programme comme un « melting pot », un
retour dans le temps remontant jusqu'aux années de formation du
compositeur à la Juilliard School. Metamorphosis (1988) constitue
indiscutablement un tout, même si les différentes sections n'ont
pas été composées dans le même but. The Olympian (1984), pièce
écrite initialement pour fanfare à l'occasion des JO de Los
Angeles, est une sorte de chant à la gloire de la fraternité des
hommes. La Trilogy Sonata nous propose des transcriptions pour piano
de Paul Barnes (2000) de trois opéras de la trilogie des portraits
(Einstein, Gandhi et Pharaon Akhenaton) de Glass (Einstein on the
Beach, Satyagraha et Akhnaten). Coda (1980), issue de The Late, Greay
Johny Ace, s'élève comme une complainte élégiaque à la mémoire
du chanteur Johny Ace, de John Kennedy et de John Lennon. Two Pages
(1968) et Secret solo (1977) traduisent l'influence de la musique
indienne et de Ravi Shankar dans la musique de Philip Glass, tandis
que la Piano Sonatina n° 2 (1959) clôt ce superbe album sur un
aperçu surprenant du « Glass avant Glass ».</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Stephen
Smoliar</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Examiner.com, January 2016)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">The
most substantial part of Horvath’s album is the collection of five
pieces entitled “Metamorphosis”…</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">…<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">each
of Barnes’ arrangements stands up perfectly well when performed
independently…</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Rob
Haskins</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(American Record Guide - May 2016)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Performances
are fine and demonstrate as always Horvath’s intense, almost
romantic expressive choices for the music. Glass’s music benefits
from this approach very nicely. </span></span></span></span></span></span></span></span></span></span>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Lark
Review</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(February 2016)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">I
found this a very appealing recording</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">The
Naxos Chart - January 2016 : Naxos Top 20 Bestsellers</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Stephane
Godet </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(2nd
December 2016 - stephanegodet.com) </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Nicolas
Horvath, pianiste hors normes ! </span></span></span></span></span></span></b></span></span></span>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Tout
prédestinait Nicolas Horvath à suivre une carrière de pianiste
classique à l’image de ses pairs et dans le sillon de ses
illustres aînés. Repéré très tôt, formé par les plus grands,
bardé de récompenses, il aurait pu « faire la carrière » du
concertiste parcourant la planète de salle de concert en salle de
concert, égrenant concertos et programmes solistes.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Tout
au contraire, il a choisi des chemins de traverses avec des projets
originaux qui s’inscrivent dans une démarche tout à fait
singulière qui en fait sa marque de fabrique.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Destinataire
de son opus 4 de l’intégrale des enregistrements de la musique
pour piano de Philip Glass qu’il me fit parvenir après avoir pris
connaissance de mon blog, j’ai réalisé la démarche originale de
son auteur.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Je
ne suis pas un grand connaisseur de la musique du compositeur
américain, formé à la Juilliard School, avant de recevoir
l’enseignement de Nadia Boulanger et d’être marqué par sa
rencontre avec Ravi Shankar.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Connu
pour ses opéras, cet enregistrement d’œuvres de Philip Glass
contient la transcription de la musique du film The Hours, complété
par trois pièces dont une enregistrée pour la première fois.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath restitue à merveille les ambiances de cette musique jugée à
tort minimaliste d’après son auteur.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Elle
peut susciter le rejet à qui ne prend pas le temps de se laisser
porter, et même transporter dans un labyrinthe dont l’issue n’est
pas connue à l’avance.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">C’est
tout ce qui fait le charme de cette expérience unique aux confins du
spirituel où le départ ne présuppose jamais la fin.</span></span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath donne régulièrement l’intégrale de l’œuvre de Philip
Glass en concert. Assurément, une expérience sensorielle unique,
sans doute proche des happenings musicaux auxquels on peut participer
dans églises en Allemagne, allongé pendant des heures. </span></span></span></span></span></span></span></span></span></span>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">International
Piano</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;"> :
</span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">4
Stars </span></span></span></span></span></span></b></span></span></span>
</div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath continues his excellent series of Glass piano music. The
longest offering, Metamorphosis (four transcriptions of music used in
a soundtrack and a play) demonstrates Horvath's strengths in his
ability to capture Glass' stretching of time, and his sensitivity to
prolonged moods. The couplings are fascinating, with three opera
excerpts transcribed by Paul Barnes as the Trilogy Sonata. If the
Akhnaten Dance has to live up to ENO's recent staging of the opera,
it still holds dark intensity. The inclusion of the student Sonatina,
a premiere recording, opens a window on the pre-minimalist,
French-influenced Glass. Fascinating</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">David
Denton (</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">David's
Review Corner, January 2016)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Not
all of the disc was originally intended for the piano, and many
tracks sound that way, though the Glass specialist, Nicolas Horvath,
is always a potent advocate</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Bertrand
D</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(lesveillesmusicales - 23 février 2016) :</span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">
PHILIP AVANT PHILIP</span></span></span></span></span></span></b></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Si
les poules avaient des dents. Si Ponce Pilate ne s’était pas lavé
les mains. Si Christophe Colomb n’avait pas découvert l’Amérique.
Si la gauche était au pouvoir. Si Elvis était mort…</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Autant
de potentialités qui tournent dans nos têtes quand nous n’avons
rien d’autre à faire. L’uchronie a son charme et elle a produit
quelques pièces maîtresses : relisez Le Maître Du Haut Château de
Philip K. Dick. Les forces de l’Axe ont gagné la deuxième guerre
mondiale et une partie des États-Unis est occupée par les Japonais.
Un univers dans lequel un écrivain de science-fiction a écrit un
roman où l’Allemagne nazie a perdu la guerre… Tout ceci semble
n’avoir aucun rapport avec la sortie récente du troisième volume
que le pianiste Nicolas Horvath consacre aux pièces pour piano de
Philip Glass. D’abord les cinq Metamorphosis et puis, entre autres
et dans le désordre, The Olympian (composé pour la cérémonie
d’ouverture des 23èmes Jeux Olympiques d’été), la Trilogy
Sonata en trois mouvements (des transcriptions réalisées par Paul
Barnes à partir des opéras Einstein On The Beach, Satyagraha et
Akhnaten) et la Coda issue de The Late, Great Johnny Ace (conçue
comme une conclusion à la chanson de Paul Simon sur les morts du
chanteur de rythm and blues Jonny Ace, de John Fitzgerald Kennedy et
de John Lennon).</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Les
fans de Philip Glass y retrouveront ici tous les tics de langage du
musicien américain : répétitions, arpèges et polyrythmies. Le
plus : Nicolas Horvath traite tout ça comme de la musique de
répertoire, avec un jeu quasi-romantique, là où ses premiers
interprètes optaient pour une vision plus détachée et
métronomique. Mais la gestion du temps, ce pianiste sait ce que ça
veut dire : en 2012, il était à l’origine de la version de
concert</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">la
plus longue à ce jour des Vexations d’Erik Satie, une petite pièce
pour piano à répéter 840 fois. Avec Nicolas Horvath, cela dure 35
heures, tout seul au clavier. Avant Martine Aubry, aurait-il fait
encore plus long ? Mais ce qui nous rapproche de notre introduction,
c’est la pièce finale du disque : du Philip Glass d’avant Philip
Glass, une sonatine pour piano de 1959, écrite sous l’influence de
son professeur de l’époque, Darius Milhaud. C’était bien
difficile à l’époque de prévoir ce qui suivrait. Si Philip Glass
avait poursuivi dans cette voie, l’histoire de la musique
américaine ne serait pas tout à fait la même. Si
LesVeillesMusicales n’existaient pas, vous ne le sauriez peut-être
pas. Si Christophe Colomb n’avait pas découvert l’Amérique,
Kennedy serait peut-être encore vivant.</span></span></span></span></span></span></span></span></span></span></div>
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</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Michel
Dutrieue </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
( klassiek-centraal - 17/08/16 ) </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">****
Glassworlds, pianomuziek van Philip Glass : Warm aanbevolen.</span></span></span></span></span></span></b></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">De
duizelingwekkende puls patronen maken het tot een mijlpaal van het
minimalisme</span></span></span></span></span></span></span></span></span></span></div>
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<br />
</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Alain
Lambert</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(19 février 2016 – Musicologie.org)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;">Voici
donc le 3e disque de Nicolas Horvath consacré à l'intégrale pour
piano du compositeur américain. Et déjà un parti pris de ralentir
le jeu, pour le morceau titre, quand on compare celui enregistré par
le compositeur, hormis le 3e moment, plus rapide ici. Autre
différence notable, la lente apparition du 1er moment et la longue
disparition du dernier. Mais c'est le rôle de l'interprète de
recréer, et de ne pas chercher à reproduire ce qui a déjà été
donné à entendre.</span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Un
cédé riche et dense, pour redécouvrir l’œuvre (pour piano) de
Philip Glass</span></span></span></span></span></span></span></span></span></span></div>
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<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Klaus
Heymann</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Janurary 2016 - KLAUS HEYMANN REKOMMENDERAR!)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath’s Glassworlds project continues to impress as it assembles
a collection of Philip Glass' piano music which goes beyond being
comprehensive: new transcriptions, together with versions of works
that are both familiar and seldom heard, are generating a relatively
new branch of piano literature from this composer. Intriguingly
organised in reverse chronology, this third volume combines the
well-known Metamorphosis 1-5 with some genuine rarities that will put
collectors on high alert.</span></span></span></span></span></span></span></span></span></span></div>
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<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Dionys</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Inactuelles - 8 mars 2016) :</span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">
Une lecture transcendante de Glass</span></span></span></span></span></span></b></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Troisième
volume de l'intégrale des œuvres de Philip Glass, qu'elles aient
été composées pour le piano ou transcrites pour cet instrument,
interprétées par le pianiste Nicolas Horvath, Glassworlds 3
Metamorphosis confirme ce qui était déjà audible - et revendiqué
nettement - dans les deux précédents disques : le pianiste explore
« un univers dense, profond mais sensible et qui ne demande qu'à
être découvert ». Sa démarche, c'est une approche en effet
sensible, romantique, celle d'un homme libre qui s'aventure dans les
partitions pour en extraire les beautés. Pas de respect obligatoire
d'une interprétation qui serait intangible. Je rappelle que pour les
détails techniques ou les références des pièces, je renvoie à
l'excellent livret, aux notes du pianiste. Je me place du côté de
l'auditeur amateur, des effets produits.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">
<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">Comme
le disque s'ouvre sur les fameuses Metamorphosis, tout amateur de la
musique de Philip Glass ne manquera pas d'écouter la version que le
compositeur en a donné dans le disque Solo piano paru en 1989 chez
CBS. Les différences sont importantes. La plus extérieure est dans
l'écart de durée pour quatre pièces sur cinq. Trois sont plus
longues, comme la I : 5'39 chez Philip, 7'17 chez Nicolas. Une est
plus courte, la III : 5'30 chez Philip, 3'29 chez Nicolas. Ce n'est
pas une première dans l'histoire de la musique, bien sûr. Nicolas
prend son temps, le dilate ou le concentre, selon son humeur. Le
résultat, ce sont les différences intérieures : c'est qu'il nous
propose une lecture vraiment nouvelle de celles-ci. Philip Glass les
joue avec un dynamisme, une clarté, assez similaires, j'ai presque
envie d'écrire avec une neutralité brillante, à même de souligner
la virtuosité, les variations thématiques d'une écriture
combinatoire. Nicolas Horvath plonge dans la forêt des notes,
s'abandonne dans les allées du labyrinthe. Tout est plus mystérieux,
plus varié, plus imprévu. On se perd dans la forêt au long de la I
: tout baigne dans une pénombre reposante, et il faut aller cueillir
au détour des sentiers invisibles quelques fulgurances lumineuses
éparses. Il y a parfois une incroyable douceur, une indicible
langueur, comme s'il hésitait devant un Graal intimidant, qu'il faut
apprivoiser par des approches courtoises. À d'autres moments, la
fougue s'empare de lui, les notes sortent en torrent pressé ; une
énergie indomptable emporte l'auditeur, impressionné par la frappe
étincelante, acérée, comme dans la Metamorphosis IV,
magnifiquement bousculée, extraordinaire de clarté illuminante. On
se souvient que Nicolas joue Liszt, on comprend que Nicolas
transcende Glass, pour notre plus grand plaisir. Les contrastes sont
puissants sans être jamais brutaux ou vulgaires, car
l'interprétation reste constamment délicate, attentive, précise.
Après les envolées des pièces III et IV, la Metamorphosis 5
referme le cycle sur des brumes épaissies, peut-être parce qu'on ne
sort pas du cycle des métamorphoses, on plonge à nouveau dans les
mystères de la vie. Quelle lecture formidable, magistrale ! </span></span></span></span></span></span></span></span></span></span>
</div>
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">
<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">Le
disque propose aussi la Trilogy sonata, trois pièces transcrites
pour le piano par Paul Barnes, extraites de trois opéras «
portraits » du compositeur. La danse d'Akhnaten est éblouissante,
virevoltante, comme l'épiphanie de la lumière sur les pyramides. La
conclusion de Satyagraha bouleverse par le lyrisme de sa mélodie
ascendante, grave, irrésistible comme la marche du Sel de Gandhi,
inoubliable par sa beauté radieuse. Un antidote contre toutes les
morosités ! L'intermède "Knee Play n°4" extrait de
Einstein on the beach alterne une mélodie coulante simple et belle
avec des moments tumultueux d'arpèges enchevêtrés. Nicolas
distingue à merveille les deux strates qu'il entrelace avec une
incroyable subtilité, presque un brin de facétie et dans le même
temps un immense respect. </span></span></span></span></span></span></span></span></span></span>
</div>
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">
<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">À
ce programme ambitieux le pianiste a joint une de mes pièces
préférées de Philip Glass, "Two Pages" (1968), joyau de
la musique minimaliste dure. Fondée sur un processus additionnel de
groupes de croches, elle crée très vite un effet hypnotique
saisissant (ou de décrochement pour l'auditeur qui n'entend que le
faussement même...) avec lequel Nicolas Horvath semble très à
l'aise. C'est impeccable, "métronomique" et simultanément
flamboyant comme un tapis chatoyant de courtes flammes piquées de
pointes, véritable tapis volant de la grande maya, cette nature
illusoire du monde pour les Hindous, mais également incarnation de
la géométrie et de la sagesse éternelle. </span></span></span></span></span></span></span></span></span></span>
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">
<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">On
appréciera la générosité de ce disque, qui nous donne aussi à
entendre des pièces rares ou inédites : la petite pièce pour la
cérémonie d'ouverture des vingt-troisièmes jeux olympiques, petit
format pour une ode vibrante, grandiose, qui ménage pourtant un
passage introspectif avant l'ascension finale. "The Late, Great
Johhny Ace" appartient à la famille glassienne des ballades
élégiaques, presque transparentes de limpidité. "A Secret
solo" est au contraire une courte pièce effrénée, délirante,
inspirée par les transes des ragas indiens : superbe curiosité !
Enfin, la"Piano Sonatina N°2" de 1959, qui clôt l'album,
est un souvenir émouvant de l'itinéraire musical de Philip Glass,
alors élève de Darius Milhaud. Il se dégage de cette pièce mise
de rien savante un parfum post-debussyste délicieux, à mi-chemin
entre fantaisie et rêverie.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Inspiré
d'un bout à l'autre, Nicolas Horvath nous fait découvrir pour notre
plus grand bonheur un autre Philip Glass, plus humain, où la
technique n'est plus qu'un chemin vers les grandes sources
énigmatiques, mythiques et magiques, de la vie. Que nous réserve
Nicolas Horvath pour la suite de ces mondes de Glass ? </span></span></span></span></span></span></span></span></span></span>
</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Alex
Baran </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Keyed
In - April 2016) </span></span></span></span></span></span></span></span></span></span>
</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Young
pianist Nicolas Horvath has a very impressive reputation as a Liszt
interpreter. It’s no surprise then, that his approach to Glass in
Philip Glass – Glassworlds 3; Metamorphosis (Grand Piano GP691) is
strikingly different. His own liner notes to this recording reveal
his inclination toward analytical detail. At the keyboard he extracts
thematic material from the rotating structures that Glass sets
spinning like so many Buddhist prayer wheels. In doing so he compels
the listener to experience the music more melodically than its
hypnotic patterns might otherwise allow. This sets his performance of
the Metamorphosis I-V apart from most others. The melodic imperative
that seems to drive Horvath’s interpretation of Glass’ music is
even more powerful in Einstein on the Beach and the Piano Sonatina
No.2 (1959). There’s even a hint of programmatic interpretation in
the piano version of The Olympian – Lighting of the Torch and
Closing.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">By
contrast, however, Horvath completely abandons all classical/romantic
sensibilities in Two Pages (1968), choosing instead to favour the
dominant mechanical nature of the repeating figures, leaving only
Glass’ subtle changes to play with the listener’s mind. This kind
of versatility makes Horvath a compelling interpreter and presents
the repertoire in a deeply engaging and listenable way.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Salvatore
Pichireddu </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
( Artistxite, February 2016)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Der
französische Pianist Nicolas Horvath hat sich vorgenommen, Philip
Glass’ vollständiges Klavierwerk aufzunehmen. Dabei spielt er—im
doppelten Sinne—auf Zeit: Zum einen wird er noch eine Weile
beschäftigt sein, die insgesamt neun Alben aufzunehmen (das
vorliegende Album ist erst der dritte Teil der Reihe), zum anderen
lässt er bei seinen Deutungen den Kompositionen genügend Zeit, sich
frei entfalten zu können. Dafür verlangsamt er freilich nicht die
uhrwerkhaften Tempi, sondern lässt jeder einzelnen Note genügend
Zeit (und Raum), sich frei entfalten zu können. Das Ergebnis klingt,
bei aller Schlichtheit der Mittel, auch ohne die übliche opulente
elektro-akustische Instrumentierung geradezu überwältigend
raumfüllend, vielschichtig, fast schon symphonisch. “Glassworlds,
Vol 3” legt den Schwerpunkt auf Glass’ Kompositionen aus den
1980er Jahren: Neben dem fünfteiligen Zyklus “Metamorphosis”
(1989) enthält das Album einige (von Paul Barnes angefertigte)
Klavierauszüge aus seinen Opern “Einstein On The Beach” (1976),
“Satyagraha” (1980) und “Akhnaten” (1983), sowie die
Klavierfassung von “The Olympian” (1984), das anlässlich der
Olympischen Sommerspiele in Los Angeles komponiert wurde. Als
(erfreuliches!) Kuriosum enthält das Album die Coda aus “The Late,
Great Johnny Ace”, die Glass fürPaul Simons gleichnamigen Song
(auf “Hearts And Bones”, 1983) schrieb. Mit der
Weltersteinspielung der frühen “Sonatina No. 2” (aus Glass’
prä-minimalistischen Studienzeit, 1959) beschließt Horvath ein
spannendes und erstaunlich abwechslungsreiches Panoptikum, das jetzt
schon unbedingt neugierig auf den kommenden Teil macht.</span></span></span></span></span></span></span></span></span></span></div>
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<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Arkivmusic.com</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(April 2016) recommendation</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">In
his extraction of the thematic material from the composer's rotating
structures he compels the listener to experience the music more
melodically than its hypnotic patterns might otherwise allow. A
deeply engaging and compelling interpreter"</span></span></span></span></span></span></span></span></span></span></div>
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<br />
</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Gramola.at</span></span></span></span></span></span></b></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Glass
und Horvath, das ist für viele Rezensenten inzwischen ein
untrennbares Gespann:Die ersten zwei CDs aus Horvaths
Gesamteinspielung des Klavierwerks von Philip Glass haben enormes
Aufsehen erregt und wurden hoch gelobt. Der auf insgesamt neun Teile
angelegte Zyklus dreht diesmal die Zeit zurück bis an den Anfang der
1980er-Jahre. Glass realisierte damals u.a. "The Olympian",
eine für die Olympischen Spiele in Los Angeles 1984 in Auftrag
gegebene Komposition, aber auch seine bekanntesten Filmmusiken, wie
"Einstein on the Beach", "Akhnaten" und
"Satyagraha".</span></span></span></span></span></span></span></span></span></span></div>
</div>
Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0tag:blogger.com,1999:blog-2209885747817700840.post-15877805494769389482016-03-29T02:38:00.000-07:002016-03-29T02:38:05.049-07:002015 PhotoShoot My dear friends, <br /><br />
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i realised that all my photoshoots are only seeable via Facebook or Instagram and .... that is not really the best way for all of you to be able to see it </div>
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There is absolutely no problem in using all of them, but please do not forget the copywrite on it ! </div>
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And if you want to do a professional use of them, contact me and i can give you the HD files </div>
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This photoshoot was made with the great talented fashion photographer Perla Maarek </div>
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Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0tag:blogger.com,1999:blog-2209885747817700840.post-65409019866678224712016-03-29T02:31:00.001-07:002016-03-29T02:31:30.067-07:00GlassWorlds Photoshoot My dear friends, <br /><br />
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i realised that all my photoshoots are only seeable via Facebook or Instagram and .... that is not really the best way for all of you to be able to see it </div>
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<br /></div>
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There is absolutely no problem in using all of them, but please do not forget the copywrite on it ! </div>
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And if you want to do a professional use of them, contact me and i can give you the HD files </div>
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<br /></div>
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Those pictures were made by the greatly talented fashion photographer Perla Maarek ! </div>
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Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0tag:blogger.com,1999:blog-2209885747817700840.post-37989799811858463432016-03-29T02:24:00.001-07:002016-03-29T02:24:38.422-07:00My first own exhibit PhotoshootMy dear friends, <br />
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i realised that all my photoshoots are only seeable via Facebook or Instagram and .... that is not really the best way for all of you to be able to see it </div>
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<br /></div>
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There is absolutely no problem in using all of them, but please do not forget the copywrite on it ! </div>
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And if you want to do a professional use of them, contact me and i can give you the HD files </div>
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This photoshoot was made by a so dear friend , the multitalented Marianne Séjourné who dissapeared few weeks after she had the idea to make this photoshoot ..... We miss you so much Marianne ... </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiywJkPcUWeimoHMgRWhwIG45ZuawQQOstZPUomdwhRXSY4LO9i4xyaFdGiFmRkr-o77fEkcpzbH6HOw6F80Rdp8EuxuJlD84hyphenhyphenic4sv9QsHNY682Zq_JDZTdPCsPGT6WObjp3YbZk6UxI/s1600/Nicolas+Horvath+%2528c%2529+Marianne+S%25C3%25A9rjourn%25C3%25A9+8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiywJkPcUWeimoHMgRWhwIG45ZuawQQOstZPUomdwhRXSY4LO9i4xyaFdGiFmRkr-o77fEkcpzbH6HOw6F80Rdp8EuxuJlD84hyphenhyphenic4sv9QsHNY682Zq_JDZTdPCsPGT6WObjp3YbZk6UxI/s320/Nicolas+Horvath+%2528c%2529+Marianne+S%25C3%25A9rjourn%25C3%25A9+8.jpg" width="320" /></a></div>
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Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0tag:blogger.com,1999:blog-2209885747817700840.post-80194872840680203612016-03-29T01:11:00.003-07:002016-03-29T01:11:53.586-07:00Old PhotoshootMy dear friends, <br /><br />
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i realised that all my photoshoots are only seeable via Facebook or Instagram and .... that is not really the best way for all of you to be able to see it </div>
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There is absolutely no problem in using all of them, but please do not forget the copywrite on it ! </div>
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And if you want to do a professional use of them, contact me and i can give you the HD files </div>
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Here are picture made by for my very first parisian recital at 18 (concert was cancelled...)</div>
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i forgot the photograph name and .... no HD files for those ones</div>
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And here some pictures made by my friend Olivier Forest</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjad5ZAww3wWbdvsRVjTHERKw1wJIyI642903pbf8LxlxEEojkkiMEOgx-UbH30n74dwao3Db7o5ya6_ZBgZSw5TTqw1hoVajaUvKdwpvLlDfUbc1p2QY9KRn4f6O9alDqWF38g6-mvgkI/s1600/Nicolas+Horvath+%2528c%2529+Olivier+Forest+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjad5ZAww3wWbdvsRVjTHERKw1wJIyI642903pbf8LxlxEEojkkiMEOgx-UbH30n74dwao3Db7o5ya6_ZBgZSw5TTqw1hoVajaUvKdwpvLlDfUbc1p2QY9KRn4f6O9alDqWF38g6-mvgkI/s320/Nicolas+Horvath+%2528c%2529+Olivier+Forest+2.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXG0BWVdsKceD1enHB9Wv-pO70lfSLiKryLXrln2LWS5t_nGSPfzzk_oQpbb2CqwHuJHL4bkvzDL7ogodwJVs_GblPgBNSjery7JC5qSa0wuRyYwH3DoTPDV_eML1P6CTSCCR72tfqJcg/s1600/Nicolas+Horvath+%2528c%2529+Olivier+Forest+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXG0BWVdsKceD1enHB9Wv-pO70lfSLiKryLXrln2LWS5t_nGSPfzzk_oQpbb2CqwHuJHL4bkvzDL7ogodwJVs_GblPgBNSjery7JC5qSa0wuRyYwH3DoTPDV_eML1P6CTSCCR72tfqJcg/s320/Nicolas+Horvath+%2528c%2529+Olivier+Forest+3.jpg" width="213" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvUY7n80xW9pXTx3XU8babOusLk7qmUQ5GEJGlsIPZkdb3ldFhcr7sXf_DUsVNQNFUzm-7vMfN0LWiNgt1RT6e2QjedRVNIUUis48wAviepbmvuTrCUCaaSM7tZ31KBuNIsA7iig668lg/s1600/Nicolas+Horvath+%2528c%2529+Olivier+Forest+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvUY7n80xW9pXTx3XU8babOusLk7qmUQ5GEJGlsIPZkdb3ldFhcr7sXf_DUsVNQNFUzm-7vMfN0LWiNgt1RT6e2QjedRVNIUUis48wAviepbmvuTrCUCaaSM7tZ31KBuNIsA7iig668lg/s320/Nicolas+Horvath+%2528c%2529+Olivier+Forest+4.jpg" width="213" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOreGJV_ItnQ704-Be2UjnggKOAaUnchFOTzEgzvti6xEdvU2oUUO4EIzLzxiNojAlGeMImIX-mjzz-q-B3HCCSx1N4U9-cnjVLDfVM-Z1Hx7vcS_703J4hOHsmazMGOujh9jDEmthtkw/s1600/Nicolas+Horvath+%2528c%2529+Olivier+Forest+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOreGJV_ItnQ704-Be2UjnggKOAaUnchFOTzEgzvti6xEdvU2oUUO4EIzLzxiNojAlGeMImIX-mjzz-q-B3HCCSx1N4U9-cnjVLDfVM-Z1Hx7vcS_703J4hOHsmazMGOujh9jDEmthtkw/s320/Nicolas+Horvath+%2528c%2529+Olivier+Forest+.jpg" width="213" /></a></div>
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Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0tag:blogger.com,1999:blog-2209885747817700840.post-75388724784512181382016-03-29T01:03:00.000-07:002016-03-29T01:03:22.372-07:00Christus album Photoshooting My dear friends, <br /><br />
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i realised that all my photoshoots are only seeable via Facebook or Instagram and .... that is not really the best way for all of you to be able to see it </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
There is absolutely no problem in using all of them, but please do not forget the copywrite on it ! </div>
<div style="text-align: justify;">
And if you want to do a professional use of them, contact me and i can give you the HD files </div>
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This photoshooting was made by Sakuya Okayasu for my very first solo album : Franz Liszt Christus </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-hkdxu71B14S9F3qpa99db8t9VZI5GNbDcblSRqLB73PDkmujJu4Yxjzwz-6DEI8kssYmSooZ0KJ-4TKSuGtLRYfZcQ4c0xvh8zWL7axnhRnv_oJBqWbdrPKaxinRdVHKODC5rRKIc-o/s1600/Nicolas+Horvath+%2528c%2529+Sakuya+Okayasu+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-hkdxu71B14S9F3qpa99db8t9VZI5GNbDcblSRqLB73PDkmujJu4Yxjzwz-6DEI8kssYmSooZ0KJ-4TKSuGtLRYfZcQ4c0xvh8zWL7axnhRnv_oJBqWbdrPKaxinRdVHKODC5rRKIc-o/s320/Nicolas+Horvath+%2528c%2529+Sakuya+Okayasu+2.jpg" width="213" /></a></div>
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Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0tag:blogger.com,1999:blog-2209885747817700840.post-67798404505849480392016-03-29T00:55:00.001-07:002016-03-29T01:03:42.135-07:00Steinway Artist Photoshoot by Yuki KatoMy dear friends, <br />
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i realised that all my photoshoots are only seeable via Facebook or Instagram and .... that is not really the best way for all of you to be able to see it </div>
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There is absolutely no problem in using all of them, but please do not forget the copywrite on it ! </div>
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And if you want to do a professional use of them, contact me and i can give you the HD files </div>
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this blog entry is all the pictures made for my entry as a Steinway Artist (yes very meaningfull) in 2010</div>
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All the pictures have been made by (c)Yuki Kato , please do not forget the copywrite !</div>
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Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0tag:blogger.com,1999:blog-2209885747817700840.post-31689621298703473312016-02-13T11:57:00.000-08:002016-02-13T11:57:09.196-08:00Interview with David Sanson <br />My dear friends <br />
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A little nostalgia post as i just found a very nice interview i did in early 2011 while i was on my way to give the very first Complete Philip Glass in Paris. Intelligently realised by David Sanson, it is nice to see the eve of the GlassWorlds projects ! <br />
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(by the way ... sorry , it's in french) <br />
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// Entretien avec Nicolas Horvath :<br />
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Que représente pour vous la musique de Philip Glass ?<br />
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Nicolas Horvath : « La musique de Glass est liée à un souvenir très particulier. Quand j’étais étudiant, vers 16 ans, il y avait une émission sur France Musique dont la musique de générique était justement le Deuxième Quatuor de Philip Glass, avec des bruitages d’enfants. J’étais complètement hypnotisé par cette musique. Il m’a fallu très longtemps pour savoir qu’il s’agissait de Company. Ça a été là ma première vraie approche de cet univers. Le problème de la musique de Glass – et c’est aussi l’une des raisons pour lesquelles j’essaie de la défendre le plus possible – est qu’elle est vraiment détestée par les professionnels, par une partie du monde de la musique classique. Alors que l’on considère Steve Reich comme de la musique savante, il y a presque une omerta sur Glass. La mélodie est l’un de ses points forts, et il rencontre un fort succès commercial et public : je pense que ce sont deux des raisons pour lesquelles il ne plaît pas – parce que cela ne correspond tout simplement pas aux normes de la “musique contemporaine”.<br />
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Ce « marathon Philip Glass », c’est pour donner tort aux détracteurs de cette musique ?<br />
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« C’est en premier lieu, pour permettre au public d’avoir vraiment une vision d’ensemble de tout ce que peut faire Glass. On l’assimile trop souvent aux Metamorphosis, qui sont certes de très belles pièces, mais qui datent du début des ann.es 1980, et qui correspondent un peu à l’image d’Épinal qu’on peut avoir de Philip Glass, avec cette main gauche qui se répète, ces accords qui moulinent, cette mélodie qui vient. Alors que dans les années 1970-80, il a fait des choses très avant-gardistes, vraiment formidables. Après, il évolue avec plus ou moins de bonheur. Si la Sonate pour violon et piano est réussie, j’aime moins les Huitième et Neuvième Symphonies ; le Premier Concerto pour violoncelle est incroyable – beaucoup mieux celui pour violon – et les Études pour piano sont sublimes… Elles datent d’il y a une dizaine d’années, et depuis, Glass n’a quasiment plus composé pour cet instrument.<br />
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Comment avez-vous architecturé votre « récital » ?<br />
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« Après une heure introductive, je jouerai pendant deux heures les “tubes” de Philip Glass, avant d’en venir à sa musique la plus difficile – y compris techniquement. Car jouer au piano des œuvres initialement destinées au synthétiseur, musculairement, c’est monstrueux, notamment dans une pièce comme How Now. Un peu comme avec les Vexations d’Érik Satie, ce sont les nuances qui vont s’imposer d’elles-mêmes, avec les répétitions, la fatigue… Car outre le fait que c’est une musique destinée au synthétiseur, avec lequel les nuances sont difficiles, il y a aussi un phénomène qui s’impose à l’interprète : à partir du moment où il rentre dans un système qui se répète sans aucune modification, l’interprète, qui est un être humain, va faire des nuances malgré lui. On se rapproche alors presque de la démarche d’un La Monte Young : il y a un tel travail sur le son que finalement, l’auditeur est happé par la musique. Il n’écoute plus la mélodie, il rentre dans le son. »<br />Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0tag:blogger.com,1999:blog-2209885747817700840.post-30484655206228414052016-02-04T17:09:00.001-08:002016-12-12T07:38:31.105-08:00 Glass: Glassworlds, Vol. 2 : reviews <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWkZUyY-4rchIsPQ-FtdIQ2WnIcpdGIQkiyPEQrrGBpaFoz4fz6pI_xFeLWbJFjX_9T6_ulDU_Avg51jSQWyd4Qnd5DS1DGlFuSYni5kxB04jj3n3tNEpt7Sz13kwga7KBg0W5SgzE2lI/s1600/Glass+Vol+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWkZUyY-4rchIsPQ-FtdIQ2WnIcpdGIQkiyPEQrrGBpaFoz4fz6pI_xFeLWbJFjX_9T6_ulDU_Avg51jSQWyd4Qnd5DS1DGlFuSYni5kxB04jj3n3tNEpt7Sz13kwga7KBg0W5SgzE2lI/s320/Glass+Vol+2.jpg" width="320" /></a></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Scott
Noriega </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Fanfare
- March 2016)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Horvath
performs the works…the way that Glass would like to himself. And
there is hardly a higher compliment that one could pay to a
performing musician.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Rob
Haskins</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(American Record Guide, January 2016)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">[Horvath]’s
a fine pianist with a virtuosic charisma and a thoroughly romantic
view of these pieces. That’s perfectly appropriate… The approach
works especially well in the extroverted 15, and Horvath’s
formidable technique serves the much more minimal 10 just as
effectively. On the more lyrical side of the emotional spectrum,
Horvath’s fine use of rubato gives Etude 2 an expressive immediacy
that other performances I’ve heard lack.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Glass’s
etudes are a bedrock of his keyboard music, and with advocates as
compelling as Nicolas Horvath, I suspect they will become extremely
popular works with concert pianists.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Stephen
Smoliar </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Examiner.com
– September 2015) </span></span></span></span></span></span></span></span></span></span>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Horvath
should be recognized as a pianist capable of bringing rich
expressiveness to Glass’ music without compromising “the letter
of the text,” so to speak. If the etudes were initially conceived
primarily for technical proficiency, Horvath has found a way to endow
them with a far more subjective approach that frequently borders on
the visceral.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">
<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">Horvath
can perform these etudes in a way that brings intense expression to
their abstract qualities without ever overplaying his hand, so to
speak, that one can, indeed, listen to these twenty etudes in a
single sitting as a “virtual concert experience.”</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Glass
Notes - Richard Guérin </span></span></span></span></span></span></b></span></span></span>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvarth's hyperactive version of the etudes</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Patrice
Imbaud </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(L'Education
Musicale - Mars 2016) </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">"A
découvrir absolument !" </span></span></span></span></span></span></b></span></span></span>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Un
cycle polymorphe, véritable climax dans les compositions pour piano
solo de Glass. Nicolas Horvath, éminent spécialiste de Glass, donna
la première création mondiale de l'intégrale de ce cycle à
Carnegie Hall en janvier 2015, un marathon pianistique, une
expérience sans doute unique que l'on retrouve dans cet
enregistrement enchainant les vingt études dans un flux continu nous
plongeant dans le monde mouvant et tourmenté du compositeur
américain. Un cycle reconnu comme une des pages les plus belles et
les plus inventives de Glass, « premier corpus où je convie
pleinement le monde des pianistes dans le mien » déclare le
compositeur….</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">John
Dyer Baizley</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(aperfectmonster.com - 24 june 2016) </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Album
du jour </span></span></span></span></span></span></b></span></span></span>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">I
can’t help it, I always jump straight to Etude 5. I know it’s “on
trend” to give Philip Glass big-ups; there’s a reason for that.
These compositions, played exclusively on piano, are incredible,
whether you’ve studied classical in some stuffy institution, or you
simply enjoy melodramatic, atmospheric music. “Etude no. 5” is
such a crushingly sad song; Lydia Deets would no doubt love writing
and trashing suicide while listening. And it’s helped me get into
the headspace i require to make art. There are dozens of versions of
the etude i’m focusing on, all worth listening to. Put down your
grindcore mixtapes for a few minutes and get with it!</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Steve
Holtje</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Culture Catch, January 2016 - Best Classical Albums 2015)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Not
to slight Glass’s own considerable talents, but Horvath has a
richer tone, and the Etudes really blossom under his fingers; as he
plays them, there is no denying their place in the Etude tradition</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Emilie
Munera </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(En
piste ! 28 Avril 2015) </span></span></span></span></span></span></span></span></span></span>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">On
vient de recevoir la suite d'une intégrale signée Nicolas Horvath
dont on vous avait dit beaucoup de bien l'année dernière et vous
allez vois que ce nouvel opus ne déçoit pas dans l'interprétation,
on peut discuter de la musique mais pas de l'interprétation, et ce
sont les études que l on entend ici, 20 études au total reparti en
deux livres. . </span></span></span></span></span></span></span></span></span></span>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Et
c 'est toute la difficulté quand on écoute les 20 études , elles
sont écrite dans la même veine , il y a un socle commun , mais avec
toujours des différences, et j'imagine que pour les identifier ou en
tout cas donner une personnalité une identité , ça doit être très
difficile . </span></span></span></span></span></span></span></span></span></span>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath , c'est le deuxième volume qu'il consacre à l œuvre pour
piano de Philip Glass , et c'est certainement une intégrale de sa
musique qui va devenir une référence . </span></span></span></span></span></span></span></span></span></span>
</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Paul
Muller </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Sequenza21.com,
November 2015)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Etude
12…opens with strong repeating figures that impart a complex,
questioning feel along with cross currents and a swirling, unsettled
aspect. Etude 13 is a frantic, slightly out of control piece, filled
with powerful scales running up and down that seem almost disoriented
at times. By contrast, Etude 16 is smooth and restrained, with a
calm, reflective feeling that is beautifully brought out by the
sensitive playing of Nicolas Horvath. Number 19 is slower with a
series of single, deliberate notes in the bass line combined with
nicely articulated counterpoint in the upper registers that produce a
more contemporary feel</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath, with precise playing and imaginative interpretation has made
Glassworlds 2 an indispensable reference for the serious enthusiast
as well as marking an important milestone in the evolution of the
music of Philip Glass.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Piano
Bleu</span></span></span></span></span></span></b></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Cela
agrandit aussi le "répertoire" des auditeurs, chacun
pouvant apprécier pus particulièrement des études différentes.
Ainsi Nicolas Horvath indique que la sixième du livre 1 est son bis
préféré... mais on peut lui préférer celle qui précède et
offre un beau moment de calme tout comme la 16ème, la huitième plus
lyrique, la onzième très prenante, ou la ballade qu'offre la
quatorzième et la dernière, vingtième, la plus longue et plus
originale/ aux autres, et offrant de très belles lumières...</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Remy
Franck</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Pizzicato, November 2015)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Bei
Grand Piano ist ‘Glassworlds 2’ erschienen. Nicolas Horvath
spielt sämtliche zwanzig in zwei Büchern erschienenen ‘Etudes’,
Stücke, die zwischen 1991 und 2012 komponiert wurden und von der
Fantasie des Komponisten zeugen, das nicht zuletzt wegen einen
breiten Spektrums von Dynamik und Tempi. Während im ersten Buch mehr
die Technik des Klavierspiels im Fokus steht, geht es Glass zufolge
im zweiten Buch mehr um die Sprache der Musik, mit neuen Strategien
von rhythmischer und harmonischer Bewegung. Wie schon auf der 1. CD
investiert sich der monegassische Pianist Nicolas Horvath voll und
ganz für diese Musik und bleibt den 20 Stücken technisch und
ausdrucksmäßig nichts schuldig </span></span></span></span></span></span></span></span></span></span>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Loïc.P
</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Silent
City, October 2015)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath ne dénature pas les études, il leur en donne une nouvelle
dimension. Habitué à être dans une bulle envoutante, presque un
cocon, en écoutant du Glass, cela est complètement balayé pour
laisser place à un ensemble impétueux. Comme si N.H. voulait nous
sortir de l'image monotone et simpliste que peuvent avoir les
détracteurs du compositeur.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">C'est
un album puissant, qu'il vaut mieux écouter dans l'ordre, pour
observer l'évolution du compositeur au fil du temps (le livre I et
II ayant des années d'écart). On y retrouve du romantisme, de la
mélancolie, du drame, de la passion... Un panel d'émotions
changeant toutes les 4 minutes. Si je devais résumer grossièrement,
le Livre I est plus tourné vers l'émotion, le II étant plus
fougueux.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Je
pourrais vous en faire l'éloge encore longtemps, seul le fait que
vous l'écoutiez me rendra heureux. Heureux d'avoir pu vous faire
découvrir le talent de deux grands artistes réunis le temps d'une
collection, les Glassworlds.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Grego
Applegate Edwards</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Gapplegate Classical-Modern Music Review, November 2015)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">The
brilliant Lisztian-Rachmaninovian virtuosity that Nicolas Horvath
brings to the cycle generates a good deal of bravado and even
excitement. It makes of the Etudes a series of grand flourishes, of
tumultuous outbursts that become something more than a sort of rote
attention to the motifs would give you.So it all comes across as
music with powerful impact. In Horvath's hands these are convincing
torrents of pianistic energy! Bravo! </span></span></span></span></span></span></span></span></span></span>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Stephen
J. Nereffid </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Music is Good) -</span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">
Favourite classical albums of 2015 #12</span></span></span></span></span></span></b></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">the
two sets of etudes from 1995 and 2012 add a dash of romanticism to
his familiar style.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Michel
Bosc </span></span></span></span></span></span></b></span></span></span>
</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Il
faut s'appeler Nicolas Horvath pour mener à bien des entreprises
aussi passionnées et ambitieuses ! Un CD incontournable pour les
amateurs de Glass</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Michel
Dutrieue </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(
klassiek-centraal - 17/08/16 ) </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">****
Glassworlds, pianomuziek van Philip Glass : Warm aanbevolen.</span></span></span></span></span></span></b></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">De
étuden vormen de perfecte balans tussen repetitieve virtuositeit en
poëzie</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">David
Denton</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(David's Review Corner, September 2015)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">The
French-born pianist, Nicolas Horvath, has these works in his
repertoire, and it shows with the natural flow of his performances,
his range of colours being the key to the disc’s success. Somehow
they have shoe-horned almost 84 minutes onto the disc, and the sound
quality remains in the premiere league.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Dionys</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Inactuelles) </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">
Dans le fleuve impétueux des métamorphoses de la Vie</span></span></span></span></span></span></b></span></span></span></div>
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">
<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">Pour
le deuxième volume de son intégrale des œuvres du compositeur
américain Philip Glass, le pianiste Nicolas Horvath a choisi de
présenter l'intégralité des vingt études pour piano.Pour avoir
moi-même, voici quelques mois à peine, écouté en concert Philip
Glass interpréter en concert quelques-unes d'entre elles, j'étais
"préparé" à ce choc qu'est l'écoute de ces vingt
pièces, mais je ne m'attendais pas à l'ampleur de la
révélation.C'est une musique qui emporte, qui touche, sans se
soucier des étiquettes : minimaliste, romantique, classique, elle
jaillit avec une naïveté et une force que rend à merveille son
interprète. Nicolas Horvath porte cette musique de toute sa fougue,
de tout son amour pour le compositeur, et cela s'entend. Il est ce
qu'il joue, passionnément, entièrement. </span></span></span></span></span></span></span></span></span></span>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">La
première étude sonne comme du pur Glass, à la fois par la mélodie
et le flux. On reconnaît sa marque de fabrique, mais on est séduit
par la variété mélodique, la complexité du contrepoint. Menée
allègrement, c'est une étude virtuose, presque étourdissante,
dansante. La deux m'a surpris : les premières mesures m'ont rappelé
irrésistiblement l'une des plus belles pièces pour piano du
vingtième siècle, "In a landscape" de John Cage. Hasard ?
Réminiscence ? Je ne sais. Elle réussit à concilier la veine
mélancolique avec la force de sa partie centrale. La trois est
travaillée par des répétitions insistantes, des grondements
graves. Pièce orageuse, sombre, fracturée, d'un dynamisme quasiment
rageur, éclairée d'une envolée dans les médiums. La quatre est
plus noire encore au début, mais l'amoncellement de nuages est
touché par des éclairs de grâce, des enroulements magiques
ébouriffants avant une coda d'une brièveté sévère. La mélancolie
revient avec la langoureuse étude cinq, d'une immense douceur pour
décliner les accords glassiens les plus reconnaissables.
Autoportrait sans fioritures en homme sensible, c'est une pièce
bouleversante, une halte dans ce premier cycle souvent agité,
tumultueux. La six renoue avec une virtuosité étourdissante,
chantante, orchestrale, puissamment découpée par des attaques
vigoureuses, tandis que la sept, tout aussi vigoureuse par moments,
semble plus inquiète, tirée vers une intériorité qu'elle masque
par des fanfaronnades mais qui s'affirme sur la fin de la pièce tout
en demi-teintes, prélude à la belle numéro huit, aux mélodies si
naïves, que Nicolas Horvath détaille avec une grande sensibilité
et dont il souligne les passages les plus complexes d'un phrasé
clair, limpide. La fin élégiaque en est superbe.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">
<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">Pourquoi
changer de paragraphe alors que le livre I n'est pas terminé ? C'est
que pour moi, l'autre Philip Glass commence ici. Dès les premières
mesures de l'étude neuf, j'ai frémi, soulevé, STUPÉFAIT, par la
beauté confondante de cette pièce inattendue, nettement en dehors
des mélodies et motifs du compositeur. Philip Glass se laisse aller
à une poésie incroyable. C'est étincelant, vigoureux, et en même
temps mystérieux, intrigant. La dix, dernière du Livre I, joue des
boucles jusqu'à créer des amas sombres traversés de fulgurances.
Quelle puissance ! Et dire qu'on trouve parfois la musique de Philip
Glass mièvre, douceâtre !! Rien de tout cela : voilà du magma
brut, décoré de médiums ou aigus survoltés, ça roule, charrie
jusqu'à la dernière seconde. La onze continue dans une veine
grandiose, voilà du Beethoven minimaliste, déchaîné, lyrique
jusqu'à la transe. Magnifique, je tombe à genoux, j'embrasse
compositeur et interprète, terrassé par la beauté terrible, ombrée
d'une belle fin sombre, une des plus belles du cycle, annonciatrice
d'un troisième Philip Glass, qui sait ? Si la douze paraît plus
glassienne sur le plan mélodique, elle multiplie les variations
internes, se gonfle d'une énergie irrésistible, d'une verve
opératique indéniable. Le flux des boucles serrées est d'une
incroyable densité, laisse éclore des bulles mélodiques
magnifiques, se charge aussi d'une émotion intense sur la fin. La
treize carillonne, joyeuse, débridée, tel un cheval décidé à
sauter tous les obstacles qu'on a l'impression d'entendre hennir de
plaisir. La quatorze semble un flot soulevé par une houle profonde.
La musique de Glass prend une dimension océanique confondante.
Certains s'attendaient peut-être aux piécettes d'un vieux monsieur
un peu gâteux et on découvre au fil du cycle l'univers d'un
créateur en pleine possession de ses moyens, qui creuse
magistralement ses sillons et élargit de surcroît nettement son
cercle ! La quinze en est l'illustration flamboyante, sorte de marche
triomphale à la parure somptueuse, qui se permet des pirouettes
narquoises par-dessus le marché. Avec la seize, on revient à la
veine élégiaque, ou plutôt contemplative : simplicité du chant,
recueillement touchant, mais la musique de Glass ne s'y attarde
guère, bouillonne à nouveau, d'une jeunesse pétillante qui secoue
le voile mélancolique dans la partie centrale de la pièce. La
dix-sept oscille entre atmosphère voilée, retenue, et grandes
envolées martelées de fortes frappes. C'est l'une des plus longues
du recueil, dépassant les six minutes. L'ampleur des développements
est impressionnante, le sens du contraste saisissant. La suivante,
qui revient autour de trois minutes, est agitée, crescendo ondulant
qui reprend à peine souffle. L'avant-dernière, plus longue,
s'abandonne à cette seconde veine, minoritaire dans le recueil,
d'une introspection plus sombre, d'une lenteur très relative, encore
parcourue de frissons mélodiques liquides et agités. À nouveau
l'esquisse d'un troisième Philip Glass ? L'étude vingt, magistrale,
n'en annonce-t-elle pas aussi la venue ? Accents déchirants, beauté
voilée, quelque part du côté de Schumann et Scriabine, un Glass
moins éblouissant, libéré de lui-même en un sens. </span></span></span></span></span></span></span></span></span></span>
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">
<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">Précisons
que Nicolas Horvath a choisi de quasiment enchaîner les vingt
études, nous plongeant dans ce monde dynamique et mouvementé par
une coulée pianistique ample, loin de certaines interprétations
compassées, trop sages (et l'on en trouve sur la toile !! Je ne
citerai personne...). Oui, Glass est un hyper lyrique, un romantique
dans le meilleur sens du terme ! Que la prise de son du Steinway est
formidable : on est dans le flux ! Que le livret trilingue (anglais,
français, allemand) est vraiment intéressant : on y trouve
notamment le parcours de Glass retracé à grands traits, les
réflexions et analyses du pianiste sur ce qu'il joue et la manière
dont il le joue, bref ce qu'on ne trouve plus que trop rarement.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">
<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">Un
second disque déterminant pour changer l'image de Philip Glass qui,
à bientôt quatre-vingt ans, montre qu'on peut être à la fois
populaire, voire (ô le gros mot !) commercial, et l'un des plus
grands compositeurs d'aujourd'hui, en perpétuelle métamorphose,
insaisissable, pour notre plus grand plaisir.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Melanie
Garrett</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Primephonic - 09 February 2016) </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Rating
: 5 Stars</span></span></span></span></span></span></b></span></span></span></div>
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<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;">Horvath
applies a Romantic interpretation of the Études, which greatly
emphasizes their expressive nature and brings the etudes to life. The
recording successfully captures his full, versatile sound. His
creative interpretations of the Études provide an essential addition
to both piano music, and the recordings of Philip Glass’s
compositions.</span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><em><span lang="fr-FR"><span style="font-style: normal;">Études
1 opens with four powerful chords followed by alternating passages
that ebb and flow like waves. Horvath’s performance is powerful and
he</span></span></em></span></span></span></div>
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<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;">is
able to create a tremendous range of dynamics and expression despite
the virtuosic technical demands. </span></span>
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<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;">Étude
2 is gently performed, nearly creating a lullaby atmosphere. Études
3 and 4 are much more dramatic and intense, with much variety and
turmoil while Horvath and Glass return us to a brooding sense of
serenity in Études 5. </span></span>
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<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;">Étude
6, commissioned by the Sydney Festival in 1996 is an emotional study,
and begins the transition to more and more aggressive-sounding
études, which Horvath builds up with ease. Étude 8 begins with
alternating half-steps which gradually speed up, reminiscent of the
music from Jaws. This idea returns throughout the Études, the
precursor to a simple, recognizable melody. By Étude 10, an
unsettling energy prevails, with many surprising outbursts in the
bass. </span></span>
</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">The
first numbers of Book 2 are quite dark and frantic, however by Étude
13, a sense of calmness begins to take over. Étude 20 is gently
performed and much slower than the previous etudes, creating a large
cycle, perhaps representing the cycle of life.</span></span></span></span></span></span></span></span></span></span></div>
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Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0tag:blogger.com,1999:blog-2209885747817700840.post-32437156242601632172016-01-30T08:30:00.004-08:002016-03-28T15:52:59.173-07:00my meetings with composers <div style="text-align: justify;">
Recently, i realised that i totally forgot to update my blog as i had so many things happening, many concerts and crazy projects ... </div>
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And also to keep in touch with a very close friend, i used to post a very lot of pictures on Instagram. </div>
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Yes it was fun, but after a while , well like all social medias (Facebook too) a bit boring as its directness miss some content too. </div>
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As most of you already knows, i really enjoy performing new music, meet new composers. And only recently i started to take pictures with them ! </div>
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So here some nice pictures i did with them (the list might get bigger when i will do more pictures) </div>
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The pictures are put there in no special order </div>
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Denis Levaillant , Regis Campo and me </h3>
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(at Denis Levaillant recording studio) </div>
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This is the last (up to Jan 2016) that i did with my 2 French favorite composers / friends </div>
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Denis Levaillant is the first composer that really trusted my piano playing. It goes back to one of my very first concerts in 2010 when i was invited in Italy to do a Chopin Recital and did .... 1 hour Chopin and 1 hours of French Avant Garde ! Denis was so happy of my idea that he gave me some piece to world premiere !! </div>
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Regis Campo on the other hand, i met him later. It was thanks to the fantastic pianist Jay Gottlieb. I was in touch with Jay as i was "supposed" to do a Philip Glass Festival in Monaco in 2011. Unfortunately the Festival (who was on its very last stage of preparation) totally failed for extremely stupid reason (well it's serious unfortunately). But, as i did not want to loose 3 months of work, i used my most crazy idea for other festivals such as the 3 Glass Concertos in a row or the Glass Marathon. </div>
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What Régis has to do there ? Well , Régis loved my ideas andwhile we were talking we got a very "strange" idea ........ and ............ if i was going to ask composers to write hommage to Glass ? </div>
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Yes ! GlassWorlds very first concept came from this discussion ! </div>
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Of course Régis did a fantastic piece. He has a very fun and nice musical style ! </div>
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Danny Elfman (and me) </h3>
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Last october 2015, i agreed to play in an orchestra (no, not on concerto, but the pianist waaaaaaay back in the orchestra). I really never wanted to do that, but .... here it was too much attractive : Danny Elfman was there !!!!! And , come on .... everyone loves Tim Briton movies ! and ... it was on a huge huge hall (Grand Rex) and many concerts too. Well , i had my solo moment (you know when there is the piano moment in the Corpse Bride, and .... i could see myself on the giaaaaant projector ! amazing!!!) but more interesting : i was able to work directly with Danny Elfman as time to time i had solo moments with him singing ! Yeah !!!!!!! </div>
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Jaan Rääts (me) and Ebba Rääts </h3>
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As many might have understood, Jaan Rääts is really my big discovery. It goes back to 2012 when i discovered his music by total luck (no words can describle that better). First the little pieces that i found on internet were not that fantastic. But once they invited me to their place, and gave me a total access to all his archives .... ho my gosh !!!!!! What i had under my eyes was so amazing ! I can easily said that i am one of the few real Rääts enthusatc (i even did his only official website!) </div>
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Here we were working on some Sonatas. It was video recorded (in case i forget), and ... it was so funny to see Ebba and Maestro agruing about Maestro own music ! Also i was so touched by their hospitality. After the piano parts , we used to talk (with a nice bottle of red wine and a candle) until very very late in the night ! </div>
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I am performing his music quite often, always with a lot of success ! There will be some very interesting projects in the near futur with this composer. So .... stay tuned !!!! </div>
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Fabien Saillard (and me) </h3>
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This time it was in Menton, as we just ended visiting the Cocteau museum there (it happened after the "last minute" cancellation of my BIG concert with the OPMC : the 5 Liszt concertos in a row.... That was hard time ...... </div>
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Anyway, i am glad Fabien was there as we had very nice time together ! I met him in 2010 as i was jury in an international competition near Lyon. We were both jury there and liked each other very well ! </div>
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Fabien is a very great electroacoustic composer, i like his style very much . We have some projects together and i can't wait for them to happen ! </div>
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Frédérick Martin (and me) </h3>
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A french composer that i met a long time ago. I don't remember exactly how, but once, as i was digging out of a lot of contemporary pieces and found out his 1st Piano Sonata who was pretty amazing. In Prague i performed its 2nd Movement and after posting a video on YouTube, the composer contacted me. We had some very fantastic discussions together and he also wrote me 2 pieces : his incredible 6th Sonata , and a Prelude. I am glad that slowly by slowly he is getting more and more recognition ! </div>
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Jean Michel Damase (and me) </h3>
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In 2011 i had the honor and pleasure to meet JM Damase during a masterclass course. As a teenager i was not very much found of his very "french music" (at this time i was really much into late romanticism) , but i was very please to meet this lovely man, who actually was the only one (in the big list of maestro who's i worked with) who gave me advices on Erik Satie music ! We also had a nice talk and .... he was really looking forward the releases of my albums.... too bad i could never gave any of them to him .... </div>
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Another picture with Régis Campo and Denis Levaillant (and me)</h3>
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This one was made after a recital i did for the launch of my Liszt Christus album. It was in Paris ' American Church and my program was ... a little too long. But both of them loved it !! </div>
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Frédérick Martin was also there (as i premiered his 6th Sonata) , but too shy to take a picture with me. </div>
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Ludmilla Yurina (and me)</h3>
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This was taken in Kiev last November 2015 after a fantastic 2 pianos recital of all Jaan Rääts 2 pianos music with the great Lorenzo Meo. My Kiyv friends told me for a long time about this composer, and after some talk on internet , i was really extremely pleased to meet. She also gave me some very interesting piano music scores and now i am looking forward having an opportunity to perform them </div>
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(me and) Masashi Hamauzu </h3>
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I had the pleasure to meet this legendary video game composer after a concert he did in Paris with his band. I was invited by my friends from Wayo that introduced him to me. In his hand you can see my Liszt Christus album , and i played (as i was not aware that i would meet him) Scriabin Vers la Flamme. Hamauzu compose a very nice piano music , very much inspired by Ravel. He had a very interesting talk, and i am looking forward his newer compositions (and specially his etudes) </div>
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(me and) Michel Merlet </h3>
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One of the composers i was really looking forward to meet. As a student i always regarded Michel Merlet as a great french figure. And i was so happy to be pretty well matching. I am looking forward playing his music when it will be possible. We had some talk about possible projects , but ... well ... we will see. </div>
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(me) David Chaillou and François Nicolas</h4>
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Here enjoying a very nice talk involving many topics about music , mysticism, russian avant garde, electroacoustic ..... and who knows .... new projects as well ? </div>
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Was very surprised to learn that David knew i was doing electroacoustic compositions when... i am so silent about it ... </div>
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Paul E. Epstein (and me) </h3>
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One of the minimalist who really has his own touch. We have been talking for quite a lot of time , and we have some projects together. I really like his bell like technique (no , nothing like the Pärt thing ! luckily for us ! ) . He wrote me 3 pieces so far : One hommage for the GlassWorlds project , one short piece for my Carnegie Premiere and also a very long piece that should be recorded (by me) soon. </div>
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Jaan Rääts congratulating me after a concert were a played some of his pieces</h3>
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Well everything is in the title ^^ </div>
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Too bad Maestro could not come to Milan for the World Expo Closing day Recital ... i am sure he would have been extra touched by the success his music has ! </div>
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Terry Riley (and me)</h3>
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YES !!!!!!!!!!!!!!!!!!! i was able to meet the Legend !!!!!!! </div>
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And also i was SOOOOOO much touched, when ... as i introduced myself he replied : "ho yes i know you, what you do is wonderful, when you come to the US, please come to see me, i want to listen to you" </div>
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Well ..... i think there is no word able to describe the state of bliss i was at this time (and still is!) </div>
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(me and) Valentin Silvestrov </h3>
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Yes, i was also very honored to meet this Ukrainian Legend ! </div>
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It is very fun because at first ... well .... he was like "impossible to get near" . But as some of you know, when the Maydan revolution and bloodbath happenned , i did not cancel any of my tour concerts in Kyiv (and had blasting success). Also i performed some of his music at those time. So ... after hearing what i did, he was so much touched that he started to gave me almost everything he had (musically speaking) : all his personal recordings (40 hours of piano by himself !!!) , his scores , some manuscripts .... as much as i understood it was presents for other personns , but ... well ... he really wanted to give all that to me , with an open invitation to see him at anytime in Ukrain ! </div>
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Unfortunately last time i was there, i was too much over busy with the Rääts tour, but next time .... you can count on me !!!!! </div>
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Steve Kornicki (and me) </h3>
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A nice picture taken on september 2015 in Orlando one day after i just performed my GlassWorlds there. Steve had written me a fantastic mix (piano + electroacoustic) piece , and i was really happy to finally meet him (yes i was there when i performed the piece). Public really loved it as it is energetic and powerful ! I am looking forward more of his pieces ! </div>
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William Susman (and me) </h3>
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A nice picture taken after my Carnegie debut where i performed a nice piece he wrote for my GlassWorlds project. He is a "kind of" minimal composer, but not in the way we can imagine it. He composed a fantastic cycle of pieces "Quiet Rythms" . </div>
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Also i was so happy to have finally met him as we are pretty well fitting ! Nice intense and interesting talk ! </div>
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We have some great projects for a near futur ..... stay tuned !!! <br />
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Laszlo Horvàth (me) , Melaine Dalibert & Giuliano D'Angiolini </h3>
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Yes not a composer on the photo ! Well Laszlo and me are not family related at all ! This great Abstract Photograph and me will do some verrrrrry nice things in a near futur ! </div>
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Also Melaine is a very nice composer i know for year. He is doing some very abstract minimalist music , imagine Jean Catoire or Morton Feldman but ... more abstract !!!! He says to use some fractal technique .... but his style tends to be bit more lyrical on each new composition</div>
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Giuliano is a great italian composer , there should be some very nice things coming soon with him too </div>
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Robert Sarrade (and me) </h3>
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Robert Sarrade is a pretty famous composer of Sardanes (a very special danse from South West of France) , i premiered one of his and we performed it couples of times (with danser and even once with a cello and him doing the flute ! ). It was always very fun, specially with those music , there is extremely few on the scores and everything has to follow the dansers themselves (with their strange beats ) </div>
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LP Duo , Sandra & Jeroen Van Veen (me) and Antonio Correa </h3>
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This pictures had been taken during a Canto Ostinato XL Festival where we performed all together for the grand finale (Simeon Ten Holt 's Canto Ostinato) </div>
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I know Jeroen van Veen for couples of years as he was one of the very very early birds to compose a Glass Hommage, he also wrote a 2 pianos pieces. Unfortunately i could never play it (as i don't do often 2 pianos concerts unfortunately). He was always kind and introduced me to a lot of very strange minimalistics pieces and composers. It is great to see his evolution thought his great numbers of Minimal Preludes. I am really looking forward the pleasure to see his new music and also to perform with him ! </div>
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Antonio Correa was met during this festival. It was for me quite a stunning shock. It would be difficult to describle his style. Maybe a mixture of late Morton Feldman and John Cage 's Dreaming ? </div>
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I really liked his music and as a result he wrote a very nice piece to me. I am still hopping for a Glass Hommage as he promised it since quite a lot of time now ! </div>
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Craig Shepard , Paul A. Epstein (me) and William Susman</h3>
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Yes again a group picture ! I will this time talk only about Craig Shepard nice and peacefull music. He is one of the newest composer i met, and curiously , while i was aware (and liked his style) , and was on my way to ask him if he would be interested to be part of my GlassWorlds project, he just had finished a brand new piece that was exactly meeting my expectation ! Fate ! </div>
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When we met (unfortunately he could not stay for diner with all of us) , he gave me his latest (well on early 2015) album and i was very surprised by his newest compositions , the walking in NYC ... </div>
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Again, i can't wait to have more of his music ! </div>
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Anna Korotkina (and me)</h3>
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It was after my recital at the House of Composer in Belarus that i had the pleasure to meet Anna Korotkina. She is at the head of the Composer Union in Belarus and has a very strong and personal style, a nice mixture of spectralism and graphic notation (but not too orthodox in both way). I received a nice package of scores and cds and i am looking forward having an opportunity to perform them. Unfortunately it is very difficult to get music from this country as their musical editorial system is purely catastrophic. A whole world to discover ! </div>
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Olivier Innoncenti (and me)</h3>
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A wonderful picture made by Olivier 's wife Florence Innoncenti. Olivier is a very gifted electroacoustic composer from Monaco (like me). He is most famous for his ballet. I have the luck to have me Olivier since i am a kid in the Monaco Academy of Music. He was like a big brother to me as he was the very first in Monaco to have won an international competition (he is also a very talented Bayan / Accordion / Egenhard player) , study abroad, having a teacher position in a conservatory .... etc etc .... Now we see pretty often and we collaborate as much as we can (he also participate time to time in my S.A.I. Ensemble). </div>
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Kanstantsin Yaskou (and me) </h3>
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Kanstantsin is a very great composer from Belarus, i am very happy that he wrote one of the most interesting (in its conception) hommage for my GlassWorlds Project. In fact he was able to see the similarties of Glass harmonic evolution with the Moonlight Sonata and then recreated a Philip Glass version of this cult piece. While i was in Belarus we exchanged a lot and really matched very well. His piece is always very successful and this is why i chosen it to be part of my Carnegie Hall debut ! </div>
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I am really looking forward his new evolution and chances to meet again ! </div>
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More to come .... when i will find the pictures !!! <br />
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<br />Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com2tag:blogger.com,1999:blog-2209885747817700840.post-85044586651872409382016-01-30T04:36:00.001-08:002016-01-30T08:31:26.059-08:00Milan Expo Closing day Recital ! All Rääts recital ! <h3 style="text-align: center;">
2016 Milan World Expo : Closing Day Recital </h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcyYqFgNTb7ZTVR90U1EjpZBHMr4pr5LI76NVCknGQmeCbqClzO4hXcyzek5umEOwtjIbLLGzLWeMraRy6GHeCuImxLQZLRK34QQdW9GkVH-JGsKNYOHOHkLpuGWyfJOXHHy-C5f5ckjw/s1600/Nicolas_Horvath_ENG.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcyYqFgNTb7ZTVR90U1EjpZBHMr4pr5LI76NVCknGQmeCbqClzO4hXcyzek5umEOwtjIbLLGzLWeMraRy6GHeCuImxLQZLRK34QQdW9GkVH-JGsKNYOHOHkLpuGWyfJOXHHy-C5f5ckjw/s320/Nicolas_Horvath_ENG.jpg" style="cursor: move;" width="243" /></a></div>
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Last 31st October 2015 , for the very last day of the World Expo in Milan , I was extremely honored to be invited by the <a href="http://estonia.eu/expo2015/en/#home" target="_blank">Estonian Pavillon</a> to give a recital for the Closing Day. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEineIs42e4HmiE27gNskAwNi8GU2VD4hHA3QExdB5NYzc_OCDqBKEW10IX_6fTvMvrjSWM9dB4zcm62A8ZdUS0_fgK_FZFANyOg9SWMEkeCLADjZdhNCSI6zBdCehTJWf528hS6LX9vt7M/s1600/milan+expo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEineIs42e4HmiE27gNskAwNi8GU2VD4hHA3QExdB5NYzc_OCDqBKEW10IX_6fTvMvrjSWM9dB4zcm62A8ZdUS0_fgK_FZFANyOg9SWMEkeCLADjZdhNCSI6zBdCehTJWf528hS6LX9vt7M/s320/milan+expo.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEineIs42e4HmiE27gNskAwNi8GU2VD4hHA3QExdB5NYzc_OCDqBKEW10IX_6fTvMvrjSWM9dB4zcm62A8ZdUS0_fgK_FZFANyOg9SWMEkeCLADjZdhNCSI6zBdCehTJWf528hS6LX9vt7M/s1600/milan+expo.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>Since this Month was exactly the very same as Jaan RÄÄTS birthday month , my idea was to make a kind of musical birthday present. And then ... i programmed a whole recital dedicated only to his music. </div>
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For amateur of contemporary music, the recital was very interesting as it displayed music from all his creatives periods : from the begining until the very last piece he composed for my Carnegie Hall recital. </div>
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Here is the complete program : </div>
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Variatsioonid Op.6 (1958)</div>
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Sonaat n°1 Op 11 n°1 (1959) [world premiere]</div>
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Prelüüd n° 4 Op.33 (1968)</div>
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Tokaata (1968)</div>
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Bagatelli n°3,4,8,15,22 Op.50 (1973)</div>
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Marginaali n° 1,19 Op.65 (1979-80)</div>
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Sonaat n°9 Op.76 (1985 rev.2014)</div>
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Eesti Prelüüdi Cm, F# Gm, Op.80 (1988-89)</div>
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Autogram Op.110 (1999)</div>
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Sonaat n°10 Op.111 (2000 rev.2014)</div>
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Radio 4 Op.124 (2004 rev.2014)</div>
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Prelüüd Op 128 (2014)</div>
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some pictures of the concert </div>
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Succes was just amazing. It started peacefully, as few understood that a concert was really going on. But after 20 minutes and the crazy Tokaata, a huge croud started to gather all around me ! Also many reporters. As much as i remember there were like 3 different huge pro camera (you know the very big ones) , and i don't remember how many people did ZOOM recordings.<br />
But after 40 minutes, as i was into the very strong pieces such as the Sonatas 9 & 10 , Radio 4 and the last Prelude, I had to ask my page turner really to look after me as the public was dangerously too near me (i still need some "space" around me to be able to keep the focus), there were people staring at me who were on the piano itself and also (more dangerous) people trying to take the scores ! <br />
Yes many of the scores were manuscripts and as you know composers .... when they gave you a manuscript .... if you loose them , they will never give you another one back !!!! <br />
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At the end i had a huge applause, and did 3 Encores : <br />
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Satie : Gnosienne 1 </div>
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Rääts : Sonata 1 2nd movement (as i was not really happy with my first rendition) </div>
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Glass : Etudes 2, 1, 16 & 6</div>
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After it , well , spent a long time to meet the public who wanted to know much more about Jaan Rääts music , and also answered to some short interviews. <br />
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The concert was filmed with my little cam, but .... the croud was so big and the space so tinny that ... no one cared about the cam and so many people were standing front of it ..... <br />
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Such an amazing moment i will remember all my life . As a child i was staring as World Expo books, and i still remember when my father visited Barcelona World Expo and told me how fantastic it was. <br />
Never at this time i would have dream to be invited to perform in one and .... for a Closing Day ! <br />
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<br />Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0tag:blogger.com,1999:blog-2209885747817700840.post-44905484615803321732016-01-30T02:06:00.003-08:002016-02-05T14:54:35.653-08:00Portrait and live interview at France Music ! <span class="fsl"></span><div class="text_exposed_root" style="text-align: justify;">
<span class="fsl">My so dear friends</span><br />
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<span class="fsl">This Monday 1st Feb 2016 at 9.30 pm , I have the pleasure and the extreme honor to have been invited by "Les Lundis de la Contemporaine" at France Musique, who wish to do a live interview and a portrait of my implication toward the contemporary and actual musical scene. </span></div>
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I had the possibility to organise my own 30 minutes playlist totally freely , so .... as you will see on the pr<span class="text_exposed_show">ogram ... it will be full of surprise and ... with many fields that i do not have the opportunity to really promote </span></div>
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For the one who can't attend it , you will be able to listen to it live , or for 3 years at this link : </div>
<a href="https://www.blogger.com/goog_38430608"></a><br />
<a href="http://www.francemusique.fr/emission/le-magazine-de-la-contemporaine/2015-2016/l-invite-nicolas-horvath-02-01-2016-21-30">http://www.francemusique.fr/emission/le-magazine-de-la-contemporaine/2015-2016/l-invite-nicolas-horvath-02-01-2016-21-30</a><br />
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Some pictures of it : </div>
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My Playlist : <br />
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Claude DEBUSSY Canope<br />
03:05:00<br />
(piano : Nicolas HORVATH)<br />
The French Avant-Garde In The 20th Century <br />
Label: LTM – LTMCD 2571 <br />
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Philip GLASS Orphée's Bedroom (Orphée Suite: II)<br />
01:32:00<br />
(piano : Nicolas HORVATH)<br />
Philip Glass : Glassworlds 1 <br />
Label: Grand Piano – GP677 <br />
HD mastering<br />
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Philip GLASS Etude n°11 (Book 2)<br />
04:02:00<br />
(piano : Nicolas HORVATH)<br />
Philip Glass : Glassworlds 2 <br />
Label: Grand Piano – GP690<br />
HD mastering<br />
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Philip GLASS Sonatina n°2<br />
02:40:00<br />
(piano : Nicolas HORVATH)<br />
Philip Glass : Glassworlds 3<br />
Label: Grand Piano – GP691 <br />
HD mastering<br />
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Jaan RÄÄTS Tokaata<br />
(piano : Nicolas HORVATH)<br />
03:44:00<br />
Live recording<br />
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Erik SATIE Vexations (extrait)<br />
01:38:00<br />
(piano : Nicolas HORVATH)<br />
Complet(ed) Erik Satie Edition Vol.1<br />
Label: Sheva Collection (2016 TBR) <br />
Pre-mastered version<br />
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Marcel DUCHAMP Erratum Musical<br />
01:14:00<br />
(piano : Nicolas HORVATH)<br />
The French Avant-Garde In The 20th Century <br />
Label: LTM – LTMCD 2571 <br />
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"a little surprise" <br />
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Cornelius CARDEW Treatise <br />
(pages 22 à 28 - harsh noise version)<br />
01:59:00<br />
Nicolas HORVATH<br />
Cornelius Cardew : Treatise (harsh noise version) <br />
Label: Sublime Recapitulation Music – hoof070 <br />
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Terry RILEY In C (extrait)<br />
ENSEMBLE S.A.I. (Live recording)<br />
04:59:00<br />
Guitares: <br />
Laurent JAMES<br />
JUDICAËL<br />
Florian LENIAUD<br />
Eigenharpp: Olivier INNOCENTI<br />
synthétiseur: <br />
Nicolas HORVATH<br />
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Nicolas HORVATH Electroacoustic Prelude XXIV<br />
(yes my own music!)<br />
04:02:00<br />
N.Horvath 24 Electroacoustic Preludes <br />
Label: Demerara Records (2016 TBR) <br />
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Nobuo UEMATSU ( 植松 伸夫 ) / Hiroyuki NAKAYAMA Biggu Burijji no Shitō (ビッグブリッヂの死闘)<br />
02:42:00<br />
(piano : Nicolas HORVATH)<br />
Live recording<br />
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ENJOY !!!!!!<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0tag:blogger.com,1999:blog-2209885747817700840.post-9411977824947963772016-01-07T01:35:00.000-08:002016-01-07T01:35:09.489-08:00Happy Birthday Scriabin !!!! <div class="text_exposed_root text_exposed" style="text-align: justify;">
Happy Birthday Alexander Scriabin ! (version française plus bas)</div>
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With all the contemporary music I am performing, most of the people hardly belive when i say that my favorite composer is Alexander Scriabin (i am still sad that a Scriabin album i was supposed to do is postponned to ..... an unknown time). <br /> Anyway, this is my oldest live recording available. It was made years before i started to work with my first real maestro Gerard Frémy and one week before my meeting with Br<span class="text_exposed_hide">...</span><span class="text_exposed_show">igitte Engerer (for extremely stupid reasons i could never work with her, as she really wanted to take care of me). I was then 18<br /> It is also the very first time i performed with orchestra and of course i choose ? The Scriabin Concerto ! <br /> Yes my technique at the time was perfectible, but i like this recording, it reflect a naive time of me, right before i was going to come in Paris and face my first huge personal deceptions<br /> Next week in Monaco, I will perform after 20 years one of my warhorse of the time the Etude Op.8 n°12 aka "Patetico" (and what Jean Yves Thibaudet used to tell to all his friends "the best version i ever listen ot this étude") </span></div>
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Yes i can still say it : i love you Scriabin , i always did and will always do ! Happy Birthday ! ! ! </div>
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Heureux anniversaire Alexandre Scriabine ! </div>
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Il est toujours curieux de voir que, malgré toute la musique contemporaine que je joue et soutiens, à chaque fois que je mentionne le nom de Scriabine comme étant mon compositeur favori, cela génère de l'étonnement (on s'attend plus à Glass, voir Liszt ou Satie, rah quelle tristesse que mon album Scriabine ai été repoussée aux calendres grecques ....) <br /> Voici donc le plus vieil enregistrement Live disponible sur ma page YouTube . Il a été réalisé de nombreuses années avant que je commence à travailler avec mon tout premier maître : Gerard Frémy et une petite semaine avant ma rencontre avec Brigitte Engerer (malheureusement pour des raisons d'une stupidité affligeante je n'ai jamais pu travailler avec elle, malgré le très vif intérêt qu'elle avait envers moi). J'avais 18 ans. <br /> C'était la toute première fois que je jouais avec orchestre et qu'avais-je choisi ? Le concerto de Scriabine ! <br /> Oui ma technique était à ce moment là perfectible, mais j'aime cet enregistrement qui est un peu pour moi ma madeleine de Proust, un temps qui n'est plus , il reflète le monde naïf dans lequel je me trouvais pour quelques derniers moments , quelques années avant de monter à Paris et d'affronter mes premières grandes désillusions personnelles. <br /> La semaine prochaine à Monaco, je vais jouer, après 20 ans, un de mes chevaux de bataille : l'Etude Op.8 n°12 aka "Patetico" (à l'époque, Jean Yves Thibaudet avait dit à tout ses amis que ma version était "la meilleure version que j'ai jamais entendu" ) </div>
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Oui je peux toujours le dire : J'aime Scriabine, je l'ai toujours aimé et l'aimerais toujours ! Heureux Anniversaire ! ! !</div>
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Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0tag:blogger.com,1999:blog-2209885747817700840.post-83166348988754325082015-07-21T01:38:00.003-07:002015-07-21T01:53:20.830-07:00Siloti's daughter on ScriabinMy dear friends<br />
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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 ...</div>
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Not really a peacefull vacation !</div>
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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 ... )</div>
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Anyway , until this time , i wanted to share with you a great discovery . Specially if you are a Scriabin lover.</div>
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As few might know, Scriabin is my fav composer ! Yes ! Scriabin and not Liszt or Glass or Satie or i don t know whom</div>
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And .... honestly .... he is also the reason i worked with Gerard Frémy (assistant of Heinrich Neuhaus) and Oxana Yablonskaya (who studied with Alexander Goldenweiser) .<br />
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Maybe i was dreaming about that ? </div>
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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 ....</div>
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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<br />
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myself at 18, unfortunately only the end was taped : ) </div>
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a little juveline with a not strong technique at all , but ... very romantic and masculine approach of this fantastic music </div>
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So what is my discovery about ?</div>
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Well today i read an article from the incredible label Arbiter records (<a href="http://arbiterrecords.org/music-resource-center/alexander-and-kyriena-siloti/" target="_blank">link to article here</a>) where a wonderful letter from Siloti's daughter describle Scriabin ! Yes !!</div>
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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)</div>
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the letter : </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4d0lvTOfFAvfVfKRat4O5qpnzyH-t4kFpre3b_OuOw3J8Mfk0lkv9VMjB-st7k5wABiyRmAHLoCO3W-BIfrNw4gzoEgGvZTJFNjf9gn0Etu8KdC8nCr2ckOPmfCxAMjFiSOopVgfUzkk/s1600/Siloti+%2527s+daughter+about+Scriabin+letter+in+russian+%2528see+translation+on+block+notes%2529.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4d0lvTOfFAvfVfKRat4O5qpnzyH-t4kFpre3b_OuOw3J8Mfk0lkv9VMjB-st7k5wABiyRmAHLoCO3W-BIfrNw4gzoEgGvZTJFNjf9gn0Etu8KdC8nCr2ckOPmfCxAMjFiSOopVgfUzkk/s320/Siloti+%2527s+daughter+about+Scriabin+letter+in+russian+%2528see+translation+on+block+notes%2529.jpeg" width="236" /></a></div>
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it s translation ! </div>
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Kyriena on Scriabin</div>
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Scriabin was a very delicate and sensitive person.</div>
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His eyes often bore an expression as if he was “in a different world” as it were…</div>
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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.</div>
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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.</div>
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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…</div>
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translated by Dmitry Rachmanov</div>
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And to finish ... the wonderful Scriabin performing himself<br />
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<br />Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0tag:blogger.com,1999:blog-2209885747817700840.post-47248501564552551162015-05-19T00:51:00.001-07:002015-05-19T00:57:45.347-07:00Electroacoustic releases ! <h3 style="clear: both; text-align: center;">
<br />2 MORE ELECTROACOUSTIC RELEASE !!! </h3>
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My dear friends </div>
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I am very happy and honored that 2 of my electroacoustic compositions will be soon released !!! </div>
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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. </div>
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So now those are the great news !!! </div>
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This Sat 23 May 2015 :</h3>
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<br />LBDLC AHA</h3>
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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 </div>
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Also it includes a Jean Degottex 's Hors Sphere facsimile </div>
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it will be release by <a href="http://www.ahahah-editions.fr/" target="_blank">AH AH AH editions</a> and available only during the MAD#1 - Multiple Art Day in Paris </div>
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Also 7 of them (tirage de tête) are signed by both Maurice Benhamou and me ! </div>
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AUGUST 17th 2015 </h3>
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THIS IS TOMORROW CALLING</h3>
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my own composition "Electroacoustic Prelude XVII" will be part of the 2 CD digital release album from <a href="http://demerararecords.com/" target="_blank">Demerarra Records</a>. </div>
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It will feature many young and promising composers and .... i am honored to be part of the selection !!! </div>
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Also the same label should release in 2016 my "24 Electroacoustic Preludes" on album (both digital and "normal") !!!! </div>
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<br />Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0tag:blogger.com,1999:blog-2209885747817700840.post-66762181404210980162015-04-19T17:01:00.003-07:002016-12-12T07:47:29.123-08:00Glass: Glassworlds, Vol. 1 : reviewsMy dear friends<br />
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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. </div>
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Unfortunately my website "review" section is very exaustive , but ... not very practical. </div>
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I hope in this way, it will be then way easier for everyone </div>
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Reviews : </div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Seth
Colter Walls </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Rhapsody.com)
- </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">RHAPSODY
- TOP 10 CLASSICAL ALBUMS, APRIL 2015</span></span></span></span></span></span></b></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath has launched the first volume of a planned series,
Glassworlds, with an album that includes a buoyant performance of
Glass' Orphee Suite.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Remy
Franck</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Pizzicato.lu)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Die
technische Herausforderung an den Pianisten ist gewaltig, bereitet
aber dem monegassischen Pianisten Nicolas Horvath keine Probleme.
Seine Virtuosität ist stupend</span></span></span></span></span></span></span></span></span></span></div>
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<br />
</div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">International
Piano </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(june
2016) </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">5
Stars</span></span></span></span></span></span></b></span></span></span></div>
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">‘<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">Expert
performances.’</span></span></span></span></span></span></span></span></span></span></div>
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<br />
</div>
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<br />
</div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">C.
Michael Bailey</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(All About Jazz, April 2015)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></span></div>
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</div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Patrice
Imbaud</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(L'Education Musicale - Mars 2016) </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">"A
découvrir absolument !" </span></span></span></span></span></span></b></span></span></span>
</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></span></div>
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</div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Dionys</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Inactuelles)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;">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 ! </span></span></span>
</div>
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<span style="color: black;"> <span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;">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". </span></span></span>
</div>
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<span style="color: black;"> <span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;">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.</span></span></span></div>
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<span style="color: black;"> <span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;">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. </span></span></span>
</div>
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<span style="color: black;"> <span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;">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 !!</span></span></span></div>
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</div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">David
Denton</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(David’s Review Corner)</span></span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></span></div>
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</div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Piano
Bleu</span></span></span></span></span></span></b></span></span></span></div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></span></div>
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</div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Seth
Colter Walls </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Rhapsody.com)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></span></div>
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<div style="margin-bottom: 0cm;">
<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><b>Rodolphe
Bruneau-Boulmier</b> (En Piste ! 8 Février 2015) </span></span>
</div>
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<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;">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. </span></span>
</div>
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<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;">C'est
le début d'une belle intégrale en tout cas c'est le premier volume.
</span></span>
</div>
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<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;">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 </span></span>
</div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">On
a là en plus une très belle prise de son. </span></span></span></span></span></span></span></span></span></span>
</div>
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</div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Infodad.com
</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(March
2015)</span></span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Nicolas
Horvath brings as much care and sensitivity to the piano version of
How Now…as to the much more dramatic Dreaming Awake …</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">JPC.de</span></span></span></span></span></span></b></span></span></span></div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></span></div>
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<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Stephen
Smoliar</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(Examiner.com)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></span></div>
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<br />
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">La
Nuit Magazine –</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
18 Septembre 2015</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Le
brillant pianiste français Nicolas Horvath nous propose une plongée
dans l’univers feutré du compositeurs américain Philip Glass.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></div>
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<b><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">cdconnection.com</span></span></span></span></span></span></span></b></div>
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<span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Top
100 Classical - Fastest Selling Classical CDs April 23, 2015 :
GlassWorlds #19</span></span></span></span></span></span></span></span></div>
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<b><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">AudioNec</span></span></span></span></span></span></span></b></div>
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<span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></div>
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<b><span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">fnac.com</span></span></span></span></span></span></span></b></div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: blue;"><span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Top
50 Classical Best Selling Classical CDs May 6, 2015 :
GlassWorlds #42</span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Chris
Morgan </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Scene
Magazine, July 2015)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">Pianist
Nicolas Horvath exhibits skill and inventiveness in his performance,
qualities which allow him to go wherever the music leads</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Rob
Haskins</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(American Record Guide, July 2015) </span></span></span></span></span></span></span></span></span></span>
</div>
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<span style="color: black;"><span style="color: blue;"><span style="color: black;"><span style="text-decoration: none;">…<span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="font-weight: normal;">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</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Christian
Williams </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Utne
Reader, May 2015)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></span></div>
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<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Mike
Shooter</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
(La Vos de los Vientos)</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Michel
Dutrieue </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(Klassiek
Centraal - 30/05/15 ) </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">ranking :
</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
****</span></span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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”.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Colin
Clarke </span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">(
International PIano n°31 May-June 2015 ) </span></span></span></span></span></span></span><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">ranking :
</span></span></span></span></span></span></b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">*****</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></span></div>
<div align="JUSTIFY" style="line-height: 90%; margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><b><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;">Gramola.at
</span></span></span></span></span></span></b></span></span></span>
</div>
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<span style="color: black;"><span style="font-family: Kozuka Gothic Pro M, sans-serif;"><span style="font-size: medium;"><span style="color: blue;"><span style="color: black;"><span style="font-size: xx-small;"><span lang="fr-FR"><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">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.</span></span></span></span></span></span></span></span></span></span></div>
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Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0tag:blogger.com,1999:blog-2209885747817700840.post-39158193558570641792015-03-31T03:54:00.002-07:002015-03-31T04:42:30.868-07:00S.A.I. Ensemble , Live in Paris (Cardew/Riley) <div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqIEp3dl-S5x04o_LlSnamMjz2hYFT_tRP37VSQohmZbPiZIrltsGlqy3DH9f98n61Xs_HYPUt2h-mCGmg6E3xt71SG23kJo937SssEMbQh8Wtt3Obj76j7XjoKXQMw3YVPOBH6Fmn6GA/s1600/Concert+Ensemble+SAI.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqIEp3dl-S5x04o_LlSnamMjz2hYFT_tRP37VSQohmZbPiZIrltsGlqy3DH9f98n61Xs_HYPUt2h-mCGmg6E3xt71SG23kJo937SssEMbQh8Wtt3Obj76j7XjoKXQMw3YVPOBH6Fmn6GA/s1600/Concert+Ensemble+SAI.png" height="320" width="226" /></a></div>
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Last friday 27th March was the very first concert of my S.A.I. Ensemble in Paris ! </div>
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Needless to tell you that i was very exited about it. </div>
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For most of you that does not know S.A.I. means : Saturated and Amplified Instruments. </div>
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To sum up a little bit , imagine saturated instruments such as guitars , synth , or even accordion performing contemporary music . </div>
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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. </div>
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Anyway, so far we did concerts in Brussels, Monaco, Nice and Perpignan. </div>
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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 ! </div>
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And to complete it, they wanted to see also an electroacoustic improvisation of me. </div>
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The program was to be like this : </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4VRep3RUlqbpa_rEMXoTlIpqjcJROCB0aKpo_qTWjLkk12gz5UVU0_1YefvIhYyC-idrUGISCoZBHGCppcHBeErQDzpnFf8v1cW3DF4gIRgmGFFxlLdOqID9a8nufPNPZv32btSd5a-4/s1600/11096947_10153182303519120_1527332902_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4VRep3RUlqbpa_rEMXoTlIpqjcJROCB0aKpo_qTWjLkk12gz5UVU0_1YefvIhYyC-idrUGISCoZBHGCppcHBeErQDzpnFf8v1cW3DF4gIRgmGFFxlLdOqID9a8nufPNPZv32btSd5a-4/s1600/11096947_10153182303519120_1527332902_n.jpg" height="320" width="180" /></a></div>
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As i prepared my material, i discovered that my idea for the improvisation was not working at all ! </div>
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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). </div>
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I guess you can't wait one more second, so this is (so far) the only vidéo that i received : </div>
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<iframe allowfullscreen="" frameborder="0" height="344" src="https://www.youtube.com/embed/1DZk-zdMN-Q" width="459"></iframe></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9AgfCl0gkzCs7ONqTabT7tcYsLxOgbx-95zKvdc_gJN6CpxcMeoDUYA8PqHXtxHPILl25m8VDKwHIHfYi6jr5S7DXBSWmtWUZZzqxonD7BUtcw4P6XwecpXsTPsnvHO9DkbarjhI76HU/s1600/Treatise+SAI+.mp4" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9AgfCl0gkzCs7ONqTabT7tcYsLxOgbx-95zKvdc_gJN6CpxcMeoDUYA8PqHXtxHPILl25m8VDKwHIHfYi6jr5S7DXBSWmtWUZZzqxonD7BUtcw4P6XwecpXsTPsnvHO9DkbarjhI76HU/s1600/Treatise+SAI+.mp4" height="240" width="320" /></a></div>
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I really hope you will like our version of Cornelius Cardew 's Treatise </div>
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For the recording, i heard that the organiser did a recording of everything and maybe there is a longer video of the Treatise piece ! </div>
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Now let's return to the pictures and to the concert organisation. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_ykwr26jgXSHryJhDUK0nCiUPTEMOorxTUWYCM9IfK4X1yosOsZVsl5PFN7hnSQGPdM6KFkvF_bxLZG_3tA5yI0oWYMYupyiFXBZwsTOBSVR7Fk77SRk0DOkz3vMYgwE7opdW9SZyWCw/s1600/11088254_10153182303369120_935896223_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_ykwr26jgXSHryJhDUK0nCiUPTEMOorxTUWYCM9IfK4X1yosOsZVsl5PFN7hnSQGPdM6KFkvF_bxLZG_3tA5yI0oWYMYupyiFXBZwsTOBSVR7Fk77SRk0DOkz3vMYgwE7opdW9SZyWCw/s1600/11088254_10153182303369120_935896223_n.jpg" height="180" width="320" /></a></div>
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this is the concert hall from the platform </div>
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i bet you understand why it 's nammed "Les Voutes" </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMVtz6iNs_SJ0AZifZXS7plW76UHFaSE98kZV_lgOMm6Jqku7mvvw4GjN-w4icgau1KSQtti9ieUvUwMExE_hWJ37ZCc39iTTy5Vb1WndsSGRfDr7GZZxojHl4bzf7pSu12D0Hw_tQj28/s1600/11079730_10153182303544120_1008877271_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMVtz6iNs_SJ0AZifZXS7plW76UHFaSE98kZV_lgOMm6Jqku7mvvw4GjN-w4icgau1KSQtti9ieUvUwMExE_hWJ37ZCc39iTTy5Vb1WndsSGRfDr7GZZxojHl4bzf7pSu12D0Hw_tQj28/s1600/11079730_10153182303544120_1008877271_n.jpg" height="320" width="180" /></a></div>
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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 !!! </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPhX8HnjQCT4pdFozzZgKH3ZXsaACV2jZulCf3hFYO7oDNOOdqjryL5bN2YU2uofvHvslGHpCi8hLuQHgv77B7OnyaAEa8lfRpZ7g0pjhQFU3l3_lC0KTELHYuERMgp-nKoTeiuL_u5I8/s1600/11081871_10153182303429120_460827535_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPhX8HnjQCT4pdFozzZgKH3ZXsaACV2jZulCf3hFYO7oDNOOdqjryL5bN2YU2uofvHvslGHpCi8hLuQHgv77B7OnyaAEa8lfRpZ7g0pjhQFU3l3_lC0KTELHYuERMgp-nKoTeiuL_u5I8/s1600/11081871_10153182303429120_460827535_n.jpg" height="320" width="180" /></a></div>
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Buffet from another point of view </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAzBU1Z3gU7UeNs0r4GQitoS_HVwAhbJB7W7Ag77B0ZDNIueUpX8_S7HgKQ1bB8kCyO8N00paFBDqfWo4qj4zv8jlhwRoP1Sti6Zs2yIH0L6p1rIe-caaCTmJxpkx8sWXzzTh81sSZBjo/s1600/11081569_10153182303609120_112043057_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAzBU1Z3gU7UeNs0r4GQitoS_HVwAhbJB7W7Ag77B0ZDNIueUpX8_S7HgKQ1bB8kCyO8N00paFBDqfWo4qj4zv8jlhwRoP1Sti6Zs2yIH0L6p1rIe-caaCTmJxpkx8sWXzzTh81sSZBjo/s1600/11081569_10153182303609120_112043057_n.jpg" height="320" width="180" /></a></div>
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backstage was a little thin, but well .... just to store some material. </div>
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it was safely guarded and nothing at all happened </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEU3bcBFMPVN9Inem0agCVBpHjhgrH40d5I1zGhmfR-VpYqwpSUKMWPV7pU5CqxSGBBb7aKBuyaOyMN9Y5UbFt0syBoAF4hb7eO1Hg4kq5Y3MPMUzVVJMwsnDCAW1XFHCv9DJw9OYi0Bc/s1600/11084323_10153182303479120_1146421425_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEU3bcBFMPVN9Inem0agCVBpHjhgrH40d5I1zGhmfR-VpYqwpSUKMWPV7pU5CqxSGBBb7aKBuyaOyMN9Y5UbFt0syBoAF4hb7eO1Hg4kq5Y3MPMUzVVJMwsnDCAW1XFHCv9DJw9OYi0Bc/s1600/11084323_10153182303479120_1146421425_n.jpg" height="180" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGRgWSqO2TPLPlSvNFAlxOcBFYrQm36CO6DqdGtxW33FmD1cdyJTL-28zTugO8nyIYjWSNQQuFNERX4k-l4U_608F8g3b7RT5Re8Jcr6uMLoSX-c_e45yoeL_UFPpqJ5C8PAehlZrSxUU/s1600/11104269_10153182303269120_842713_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGRgWSqO2TPLPlSvNFAlxOcBFYrQm36CO6DqdGtxW33FmD1cdyJTL-28zTugO8nyIYjWSNQQuFNERX4k-l4U_608F8g3b7RT5Re8Jcr6uMLoSX-c_e45yoeL_UFPpqJ5C8PAehlZrSxUU/s1600/11104269_10153182303269120_842713_n.jpg" height="180" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHFhBK9Kd1EEVaUUgiUIbWhdua97rZMXv9QuxCQZKDcRbp2NR7dE-XwQCtSHajcvl8Bec-Ee_eMjhRwhYZKFEojXIZjpL0lSHbK0weE5sTRgBqQES-apZWaF7wH4HzmxsB0x0dfKTjrq8/s1600/11087427_10153182303189120_1279018507_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHFhBK9Kd1EEVaUUgiUIbWhdua97rZMXv9QuxCQZKDcRbp2NR7dE-XwQCtSHajcvl8Bec-Ee_eMjhRwhYZKFEojXIZjpL0lSHbK0weE5sTRgBqQES-apZWaF7wH4HzmxsB0x0dfKTjrq8/s1600/11087427_10153182303189120_1279018507_n.jpg" height="180" width="320" /></a></div>
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Now we are working on the tech point of the performance ! </div>
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Unfortunately not all the members could be here </div>
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Again all thumbs up for the organisation ! </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifAxJvQb6ATiIjl5Bjogl-dsIiauKAk4BAvGm8_EgisTIXMbaDBOBN7kq53ilmk68h-tztM-qOK5P2sbvlk-hMqGaJRyChEg1L-OzpgKHNmepWWnHG3Ws9niH23EyzyNj37pN7-M7r9hk/s1600/10008423_10153182302929120_2095021617_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifAxJvQb6ATiIjl5Bjogl-dsIiauKAk4BAvGm8_EgisTIXMbaDBOBN7kq53ilmk68h-tztM-qOK5P2sbvlk-hMqGaJRyChEg1L-OzpgKHNmepWWnHG3Ws9niH23EyzyNj37pN7-M7r9hk/s1600/10008423_10153182302929120_2095021617_n.jpg" height="320" width="180" /></a></div>
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Finally my friend, the wonderful composer and accordion / Eigenharp player Olivier Innocenti joined the crew !!! </div>
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This time we performed with 5 members : </div>
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Me on Synth (MiniBrute) , Laurent James (Guitare) , Judicael (Guitare) , Heimoth (Guitare) and Olivier Innocenti (Accordion) </div>
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Now some concert pictures : </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikNA2JyOFP9XwJp97CSeESgxzFEPFoIwOvsN1aSBM6Zc4Y3VeA7NV4_G2lL6Myt_hFjprsd-NJZCY_-PP3e7rIYHwSgPPjvU1ataKDSzr8zC3AWx2cJnpiyLL6QJe4wfoLSFNPaT-d4xg/s1600/11088976_1592206301036027_527120672_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikNA2JyOFP9XwJp97CSeESgxzFEPFoIwOvsN1aSBM6Zc4Y3VeA7NV4_G2lL6Myt_hFjprsd-NJZCY_-PP3e7rIYHwSgPPjvU1ataKDSzr8zC3AWx2cJnpiyLL6QJe4wfoLSFNPaT-d4xg/s1600/11088976_1592206301036027_527120672_n.jpg" height="320" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtuQMqiQVnM9GEtFOQeoUKK-nXihVhg25pbPQgfkjU49egefesgX2SVrkRSf87ACC-kH0SI_jO-9e0zF1jBKz-5_FTJ2UPZtcLqiytLJHthd8nfZLsGWA8mYNSfRyIJwH0HbWmwsU2xDs/s1600/11081407_1592206384369352_1545926610_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtuQMqiQVnM9GEtFOQeoUKK-nXihVhg25pbPQgfkjU49egefesgX2SVrkRSf87ACC-kH0SI_jO-9e0zF1jBKz-5_FTJ2UPZtcLqiytLJHthd8nfZLsGWA8mYNSfRyIJwH0HbWmwsU2xDs/s1600/11081407_1592206384369352_1545926610_n.jpg" height="320" width="240" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE3GA7vpdjoFJxnNNGarmUEMeIoIWw-d59zcAfEFoYN__AottPfXPTVvkdNKN315jsZh6xjgQqrqQyCAxbNfT-JODpC926hTInuJt2ZbXzNaTfmMHEXPKR5pONwmUWW3_qDwPyY3ZeJQM/s1600/11091363_10153182303114120_2052884732_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE3GA7vpdjoFJxnNNGarmUEMeIoIWw-d59zcAfEFoYN__AottPfXPTVvkdNKN315jsZh6xjgQqrqQyCAxbNfT-JODpC926hTInuJt2ZbXzNaTfmMHEXPKR5pONwmUWW3_qDwPyY3ZeJQM/s1600/11091363_10153182303114120_2052884732_n.jpg" height="320" width="180" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnry9AOHvb0SWA5DsiEKVp86MMWEpKh1VABvnvaNlUBopU2q-mRetJxgK5EBXjitf57uQst2Dbe6nCtTpRp-vdYksy1CsOO4pIVAE5-znFbBBYk5dRH7S3kQm-mfGD5V0ssbIuGM06ECk/s1600/11101292_10153182303164120_2135713915_n.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnry9AOHvb0SWA5DsiEKVp86MMWEpKh1VABvnvaNlUBopU2q-mRetJxgK5EBXjitf57uQst2Dbe6nCtTpRp-vdYksy1CsOO4pIVAE5-znFbBBYk5dRH7S3kQm-mfGD5V0ssbIuGM06ECk/s1600/11101292_10153182303164120_2135713915_n.jpg" height="320" width="180" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj57EImrL5arNRhY4rAFD5tXGl1113bl79ukqRLpd5L8OI-Cr2EftYoOaBrVxb3QSiafzruGkackK4VGUELaZ4qrhg4_jynIicSg1eo9h09loizCvRHxid5uvBNKtJZABwTwLASLgWKwjY/s1600/11092740_1592206351036022_1997064164_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj57EImrL5arNRhY4rAFD5tXGl1113bl79ukqRLpd5L8OI-Cr2EftYoOaBrVxb3QSiafzruGkackK4VGUELaZ4qrhg4_jynIicSg1eo9h09loizCvRHxid5uvBNKtJZABwTwLASLgWKwjY/s1600/11092740_1592206351036022_1997064164_n.jpg" height="320" width="240" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKuMT1v8J43qrDtAmRi1qWi0noQw2KillSJhq7gzfG5arhPz145tH8UHJsuje-aqK8pvkkwV6rr3WULEXtogZ-5wckdtffbL0_lGQnTIMF8JZHRAeqbaDM0XvG9Ox0m6l9pfDZEsAnOQY/s1600/11103865_1592206357702688_1899551487_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKuMT1v8J43qrDtAmRi1qWi0noQw2KillSJhq7gzfG5arhPz145tH8UHJsuje-aqK8pvkkwV6rr3WULEXtogZ-5wckdtffbL0_lGQnTIMF8JZHRAeqbaDM0XvG9Ox0m6l9pfDZEsAnOQY/s1600/11103865_1592206357702688_1899551487_n.jpg" height="320" width="320" /></a></div>
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<br />Nicolas Horvathhttp://www.blogger.com/profile/16192543734382718690noreply@blogger.com0