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

Nicolas Roudier was born in 1994 in Besançon, France. As the son of a pianoforte player, he grew up in an early music environment, surrounded by period instruments. He began modern horn at age 4 with Walter Bellagamba. In 2007, he won first prize at the Artistic Competition of Epinal, and then studied with Pierre Moragues (former solo horn at Paris’ Opera) from 2009. In 2012, Nicolas became a student of Phil Myers (former principal horn of New York Philharmonic) in Lausanne’s HEMU, Switzerland, where he completed a Bachelor degree in 2015 and a Master degree in 2018. He then turned to historical horns and went to the Royal Conservatory of The Hague to study with Teunis van der Zwart. In 2020 he graduated with a second Master’s in Early Music, and in 2021 with the Artist’s Certificate. Now based in the Netherlands, he is starting a career as a historical horn player and teaching privately. He played with ensembles such as Haydn Philharmonie, Freiburger Barockorchester, Apollo Ensemble, and the Orchestra of the EighteenthCentury. His instrumental collection brings together horns from the late XVIIIth century to the present ; he is fascinated by their history, diversity, and impact on historically informed performance. As a researcher he was awarded several special academic prizes for his works, and appeared as a lecturer in REMA’s 2020 Early Music Summit and the 2021 Historical Brass Society Symposium. Nicolas realized in 2019 the first recording of a reconstructed piece on a horn from Mozart’s time, and is currently compiling an inventory of a private collection of rare music scores, which eventually lead to the creation of his own music publishing company, Artescripta. He was supported in his research and musical production by the Adriana Jacoba Fondation, the Countess of Bylandt Fondation and the Fonds Podiumkunsten.


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