Repertoire + Media
Small Ensembles / Large Orchestras
Nicolas has a thorough and extensive knowledge of orchestral repertoire.
Repertoire includes, but is not limited to, the following:
L .v. Beethoven: Symphonies (1, 3, 5, 7) Overtures (Leonora No. 3, Egmont, and Coriolan), Piano Concertos (3, 4, 5)
J. Brahms: Symphonies (2, 3, 4), Select Hungarian Dances
R. Schumann: Symphonies (4), Overtures (Manfred), Violin Concerto, Cello Concerto
R. Wagner: Siegried Idyll, Overtures (Tannhäuser, Lohengrin)
M. Ravel: Pavane pour un infante défunte, Trois Poèmes de Stéphane Mallarmé
G. Fauré: Pavane
C. Debussy: Prélude à l'après-midi d'un faune, L. 86
J. Strauss II: Kaiser Walzer, Op. 437, arr. A. Schoernberg
W.A. Mozart: Symphonies (29, 38, 40), Piano Concerti (14, 15, 16, 20, 22, 23), Overtures (Die Entführung aus dem Serail, Die Zauberflöte, Le Nozze di Figaro), Divertimento in D K. 136
E. Elgar: Serenade for Strings, Cello Concerto
F. Schubert: Symphonies (2, 3, 5, 8)
P.I. Tchaikovsky: Symphonies (5, 6), Overtures (Romeo and Juliet), Elegy for Strings in G Major
F. J. Haydn: Piano Concerto in D Major, Hob. XVIII: 11
E. Grieg: Piano Concerto
S. Rachmaninov: Piano Concerto (2)
“People are apt to prize a clean and accurate reproduction of what’s written in the score above everything else. Can one do justice in a line drawing of a work whose significance lies in its vision of color? The duty of the performer is to go back continually to the style of the work itself and base oneself on that.
The stronger the structure of a work is, and the greater the composer’s mastery of form, the more clearly defined this interpreters’ task. It is only when we have studied and mastered the details that the real task begins: the weaving of a particular into an organic whole.”
