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David Pyatt

  • Horn Player


David Pyatt press reviews

BENNETT: Actaeon (Metamorphosis 1) for Horn and Orchestra, BBCSO/Brabbins, Barbican Hall, 8 April 2006

‘…and what a virtuoso the horn player David Pyatt showed himself to be.’ - Daily Telegraph

'The 1977 horn concerto, Actaeon, was a dazzling instance of [Bennett’s] athletic early style that gave continental modernism a British, distantly Waltonian flavour (David Pyatt a magnificent soloist)”.' - Sunday Times

 ‘[Actaeon] is a tone-poem on the legend recounted by Ovid, involving a solo horn, brilliantly played by David Pyatt, being hunted down and ripped to shreds by the might of the orchestra.’ - Financial Times

‘Actaeon (Metamorphosis I), from 1977, takes the legend of huntsman- becomes-stag as the basis for a tautly-argued concertante work for horn and orchestra – its three short and finely -contrasted movements (played continuously) relating the story in generalised but immediate terms, and framed by brooding adagios that set the scene and reflect on events accordingly. David Pyatt showed no hint of caution in music written for the artistry of Barry Tuckwell, and the work itself was a reminder of the contribution Bennett has made to the concerto genre over several decades.’ -

Strauss Horn Concerto No 2, LSO/Pappano, Barbican Hall, February 2004
David Pyatt gave an exuberant, lip-tingling performance of the work with which he had made his Proms debut as a BBC Young Musician.

Strauss Horn Concerto No 2, LSO/Pappano, Barbican Hall, February 2004

The performance was outstanding with Pyatt producing beautifully subtle playing, rich in colour and secure in intonation… Pappano drew from the LSO richly Mozartian textures that contrasted beautifully with Pyatt’s honeyed playing.
Barbican Chamber Concert with Gordan Nikolitch and Eric le Sage, December 2002

That dazzling young horn-player David Pyatt presented both the Wood and Brahms as a handsome frame to the latest Barbican chamber evening by lead players of the LSO. If the Wood received a performance of careful polish, the same players were ready to live dangerously in marvellously spontaneous accounts of Brahms’s galumphing scherzo and headlong hunting finale…

Trio Concert with Gordan Nikolitch and Eric le Sage, Edinburgh Festival, August 2002

His opening performance of Beethoven’s Op 17 Horn Sonata yesterday said it all: flawless rapid tonguing, miraculously soft bass notes and an exquisite control of line and colour.

Edinburgh Festival Trio Concert with Gordan Nikolitch and Eric le Sage, August 2002

What really sealed the success of yesterday’s electrifying, edge-of-the seat performance of the Brahms, is …the wild, go-for-it, almost buccaneering style of playing, in which technical control is offset by tremendous extroversion and spontaneity. The Brahms sizzled under the impact of the playing unleashed by the three musicians.

Salzburg Mozarteum Orchestra/Bolton, November 2000

…All of which did not eclipse the playing of David Pyatt, whose sheer quality was marked from the first note of Haydn’s Concerto No 2. Taking the solo role to exotic places that few horn players could, his stunning control remained consistent throughout this and the two Mozart concerti with each phrase lovingly articulated. Pyatt’s playing, indeed, carried with it a disarming impression of leisureliness; not that he was lagging in any sense, but such was the charm of the easy, unhurried manner in which he delivered the line.