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 • 6

  • Nicolas Horvath, piano

In weaving America’s native culture and history, Philip Glass has created his own musical lineage. This album explores these ideas through his single most demanding piano piece, the ferocious, but lyrically meditative Piano Concerto No. 2 (after Lewis and Clark), as well as one of his most neglected, the mysterious A Secret Solo 2. Wichita Vortex Sutra, a joyful and transcendent study, is also heard in the version for narrator, with words by the poet Allen Ginsberg. From his experimental years comes Music in Contrary Motion with its mesmerising variety of pulse patterns.


Piano Concerto No. 2 (after Lewis and Clark) (arr. P. Barnes for piano) (2004) (00:29:00 )
I. The Vision (00:10:18)
II. Sacagawea (00:10:18)
III. The Land (00:07:59)
Wichita Vortex Sutra (1988) (00:06:25)
Music in Contrary Motion (1969) (00:10:11)
A Secret Solo 2 (1978) * (00:13:52)
Wichita Vortex Sutra (version with narration) (1988) (00:08:37)
* World Première Recording
Total Time: 01:07:40

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.


“This music requires a fine pianist and as has been said previously Nicolas Horvath plays it wonderfully well. This is a remarkable collection of music.” – MusicWeb International

“Hearing the piece on solo piano seems to underline its monumentality and grandeur. This series continues to illuminate. Recommended.” – International Piano