A treasure island of piano music — Spiegel Online
The Grand Piano label continues to uncover gems of the piano repertoire. — Fanfare

GLASS, PHILIP (b. 1937)

Glassworlds • 5

Enlightenment: Mad Rush • Metamorphosis II • 600 Lines • The Sound of Silence

  • Nicolas Horvath, piano

The works in this programme demonstrate Philip Glass’s perpetual goal of connecting with his audience. Taking shape as something like a hidden sonata form, Mad Rush contrasts peaceful atmosphere with tempestuousness and mesmerizing beauty. The last of its kind in Glass’s oeuvre, 600 Lines, here receiving its première recording on solo piano, is an obsessive and hypnotically restless toccata that represents the zenith of his experiences while working with Ravi Shankar. These two monumental works ate joined by première recordings of the subtly transformed Metamorphosis 2, and Glass’s only transcription in the form of Paul Simon’s The Sound of Silence.


Mad Rush (1979) (00:21:48)
Metamorphosis II (revised version) (1988) * (00:07:08)
600 Lines (1967) (00:40:37)
The Sound of Silence (arr. P. Glass for piano) (2007) * (00:03:24)
* World Première Recording
Total Time: 01:12:57

The Artist(s)

Nicolas Horvath Nicolas Horvath is an unusual artist with an unconventional résumé. He began his music studies at the Académie de Musique Prince Rainier III de Monaco, and at the age 16, he caught the attention of the American conductor Lawrence Foster who helped him to secure a three-year scholarship from the Princess Grace Foundation in order to further his studies. His mentors include a number of distinguished international pianists. Known for his boundary-less musical explorations, Horvath is an enthusiastic promoter of contemporary music. He has commissioned numerous works and collaborated with leading contemporary composers from around the world including Philip Glass.

The Composer(s)

Piano is Philip Glass’ primary instrument (he also studied violin and flute); he composes at the keyboard. With its seemingly contradictory elements of lyricism and percussiveness, it is in some ways the ideal medium for Glass’ musical language. With its deep roots in tradition (spanning the Classical, Romantic and Modern eras), the instrument embodies the composer’s desire to merge new ideas with classic forms. It is perhaps via piano (and, by extension, keyboard) that performers and listeners can make the most direct and personal contact with Glass’ musical genius.


“Mr Horvath continues this fascinating survey of Glass’s piano music with performances that satisfy me completely.” – American Record Guide

International Piano

“There is a purity that is astonishing and Horvath’s concentration does it full justice.” – International Piano

“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. If you appreciate all of Glass’s styles, then this will provide great satisfaction.” – MusicWeb International

“…Horvath plays this music with considerable attention to the dynamic level of every note, …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.” – The Rehearsal Studio

“The piano of Glass in technicolor: certainly unusual for fans of Glass but certainly absolutely convincing.” – ResMusica.com