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The
Magic of Satie
| Performer: |
Jean-Yves
Thibaudet
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| CD
Title: |
The
Magic of Satie |
| Composer: |
Satie |
| CD
INFO: |
Decca
289 470 290-2 |
| Reviewer: |
Ward_FM |
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On This Album
| Gymnopédie
No.1 (1888) Gnossiennes (1889-1897)
No.1
No.2
No.3
No.4
No.5
No.6
No.7
Verset
laique & somptueux
(1900)
Gymnopédie
No.2 (1888)
Je to veux (1897)
Jack in the Box (1899, arr. Darius Milhaud 1926)
Prélude
Entr'acte
Finale
The Dreamy Fish (1901)
Le "Piccadilly" (1904)
The Angora Ox (?1901, arr. Johny Fritz 1995)
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Gymnopédie
No.3 (1888)
L’Enfance
de Ko-Quo (1913)
I Ne bois pas ton chocolat avec tes doigts
II Ne souffle pas dans tes oreilles
III Ne mets pas ta trite sous ton bras
Sonatine bureaucratique (1917)
I Allegro
II Andante
III Vivache
La Diva de I'Empire (1904, arr. Hans Ourdine 1919)
La Belle Excentrique (1920)
I Marche franco-lunaire
II Valse du mystarieux baiser dans I'ceil
Cinq
Grimaces pour "Le Songe d'une nuit d'ete" (1915,
arr. Milhaud 1928)
Préambule
Coquecigrue
Chasse
Fanfaronnade
Retraite (pour sortir)
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Satie
was a French/Scot who was born in 1866 and died in 1925. He was – if you will – Eccentric
with a cap E. But his music stands by itself as creations of
simplicity and effortless
joy.
Just as Debussy and
Ravel were reactions against Wagner, Satie was a reaction against
them. Impressionism was not on his musical
palette. The very titles of his works – Three Pieces in the
Form of a Pear, A Bureaucratic Sonatine – typically exemplify
Satie’s work.
The program note writer
for this set – Ornella Volta – says
with both poetry and accuracy that,
… many pianists
have turned to the music of this odd composer, who appeals less
to any virtuoso technique than to a certain state
of mind in the interpreter. To judge by the increasingly wide audiences
that Satie has gained through recordings, it is clear that this
is a particularly suitable medium for hearing his unique music,
which seems to speak to one listener at a time.
Since many – if not most! – Pianists are by definition
virtuosi it is not hard to understand why Satie was all but forgotten
in the last hundred years. The first recording of his work – according
to these notes – was in 1950 by no less than Frances Poulenc
who was a friend of Satie.
In the seventies and eighties Aldo Ciccolini recorded almost all
of Satie for VSM, some of which are still available on CD. It was
good to have because of its completeness but I for one never savored
the playing which was far too percussive for the music. Now we
have Thibaudet who plays with velvet paws.
It is ‘easy’ music to play. That is to say it is very
difficult to play, if you get my meaning. Later this year Decca
promises a complete set of Satie with Thibaudet and I shall look
forward to it for this pianist has the feeling and poetry to make
Satie’s little dreams come true.
By the way: The Eighth
Gymnopédie is recorded here for
the first time.
Excellent piano and matching sound.
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