Nicolas Pierre Alexandre (NPA) Roudier

France, Netherlands (residence), France (citizenship) °1994
research interests: Horn, Early music, early music performance, Early Music research, historically informed performance, historical horn, natural horn, instrumental teaching, instrumental technique, instrumental manufacture, history of music
en

After winning first prize at the Artistic Competition of Epinal in France, his homeland, Nicolas studied with Phil Myers and completed in 2018 a Master degree on modern horn in Lausanne, Switzerland. He subsequently turned to historical horns and in 2020 he graduated from the class of Teunis van der Zwart at the Royal Conservatoire of The Hague with a second Master’s in Early Music, and in 2021 with the Artist’s Certificate. Still based in the Netherlands, he is today one of the leading historical horn players from the new generation of early music musicians : his collection brings together horns from the late XVIIIth century to the present, that he plays with many of the most renowned ensembles in Europe. He was awarded several academic prizes and appeared as a lecturer in symposiums. Nicolas is also co-founder of the ensemble Harmos Winds, co-organizer of the concert series Les Concerts du Temps Retrouvé and founder of the music publishing company Artescripta.

research

research expositions

  • The horn of Leutgeb and Mozart : investigation and experimentation (2021) author(s): Nicolas Roudier published in: KC Research Portal
    A lot of researches have been conducted on Mozart's work and how to play it, including by myself. Eventhough those works helped our comprehension of this music, we still don't know what particular horn did Leutgeb (the composer's hornist friend) play at the time ; and never have I ever encountered a practical experimentation on such an instrument yet. XVIIIth century horns are rare and never played : every recorded performance of Mozart’s music on hand-horn is played on a copy or a XIXth century horn, which is historically inaccurate. We know a lot of theory ; but no one has gone any further yet. My goal is to step in the unknown : first, to get as close as possible to the horn Leutgeb and Mozart knew ; then, find and play a historical horn from Mozart’s time, and see what impact it has on the playing and the music.
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