Nathan, as introduced by Weronika (W.P.)”

“When I first met Nathan, it turned out that I was the only student who had answered his open invitation for a session of sightreading together. So on a wintry afternoon, we sat together by two excellent harpsichords in a small concert hall with dimmed lights, and spent hours ploughing through piles of Bach and laughing, discovering new „early music” composed by him and his friends, and challenging each other with improvisations. This day set a precedent for our future direction, for years to come.

Nathan is wholeheartedly committed to the pursuit of daring innovation. I find a lot of confidence in his readiness to take on any creative challenge - to know that even the craziest ideas won’t go without an earnest attempt to make them work. At the same time, his seemingly inborn fluency in operating with the aesthetics of the early music, his profound expertise in styles and idioms of the past, have always inspired, even astonished me. Hearing him play when he thinks no one is listening can be breath-taking.

Nathan’s superpower is his wild, bursting creativity, and the absolute ease with which he blends all the studied knowledge of early music with the humour and fancy of the moment. He can make any music of the past feel most urgently relevant to modern ears. But he can do the witty magic the other way round, too - just play whatever and make himself sound like early masters, blending the borders between Bach and Nathan.

Whoever says that nowadays early music is done has clearly never met Nathan. I have had the pleasure and now I’m convinced that doing early music our (modern) way is just as relevant as doing modern music the „old” way.”

Weronika Paine