The lingering despair of Satie's gnossienes and gymnopedies are among the most affected compositions from the last century, and Roge transmits this fragility such that one becomes cautious of other Satie interpreters after experiencing his delicate phrasing. In addition to the artistic quality of Roge's pianism, this disc is a very comprehensive survey of Satie's piano works, although it neglects the gorgeous nocturnes that can be found on a recording by Roge unfortunately titled "after the rain..the soft sounds of Erik Satie".
This is a marvelous release, equally perfect in conception, execution, and engineering. The program locates the intellectual origins of the American avant-garde composers Morton Feldman and John Cage not in postwar European developments, but in the music of Erik Satie, who with each decade seems a more pioneering figure. Feldman and Cage here seem not modernists, but postmodernists. Front and center at the beginning is Feldman's masterpiece Rothko Chapel (1967), a chamber-ensemble-and-chorus evocation of the Houston, Texas, chapel adorned with paintings by, and partly designed by, the Abstract Expressionist painter Mark Rothko.
May 17th sees Erik Satie's 150th anniversary and ECHO-Klassik Award winning pianist Olga Scheps presents the only new studio recording of his most beautiful piano solo works for the Satie celebrations 2016. Erik Satie is among the most popular composers worldwide, his most famous piano pieces such as „Gymnopédie No. 1” or “Je te veux” are instantly recognisable, having be used constantly in motion picture soundtracks and TV ads. As a special Bonus Olga Scheps recorded “Gentle Threat” by Chilly Gonzales, whom she frequently works together with on stage. Olga Scheps was born in Moscow in 1986, the daughter of two pianists, and discovered the instrument for herself at the age of four. She began studying the piano more intensively after her family moved to Germany in 1992. At an early age she had already developed her own unique style of keyboard playing, which combines intense emotiveness and powerful expressivity with extraordinary pianistic technique.
The present installment of Arturo Sacchetti’s encyclopedic Organ History survey for Arts Music drops anchor in late-19th/early-20th-century France. It can be argued that the five instrumental sections from Satie’s Mass for the Poor that open this recital lose poignancy when shorn of their surrounding vocal movements, although the organ is a perfect instrument for the composer’s quirky, instantly identifiable harmonic language. By contrast, D’Indy’s Les Vêpres du Commun des Saints, Roussel’s Prélude et Fughetta, and Honegger’s Deux Pièces pour Orgue make an arid, academic impression. After Wayne Marshall’s pulverizing speed through the Pastorale by Roger-Ducasse (Virgin Classics), Sacchetti’s relatively conservative virtuosity proves less engaging. However, his incisive hand/foot coordination enliven Tournemire’s Improvisation on “Te Deum” and Langlais’ Hymne d’Actions de grâces “Te Deum”, although the latter yields to Andrew Herrick’s more vivid and better engineered traversal on Hyperion. Organists looking for an effective, unhackneyed encore should consider Ibert’s Musette or Milhaud’s Pastorale.
Jean-Yves Thibaudet has undertaken the complete solo piano works of another late nineteenth/early twentieth century French composer: Erik Satie. This even includes a sample of Vexations, that theme and two variations that Satie instructs to be played slowly, 840 times. It's interesting to compare Thibaudet's interpretations of these works with those of Aldo Ciccolini, who was one of Thibaudet's teachers. Overall, Thibaudet gives a less-Romantic interpretation, with less overt emotion and more introverted abstraction, but it is not overly academic.
Celebrating Erik Satie represents a creative and stimulating selection of jazz arrangements and improvisations. Ximo Tebar is a respected guitarist and creative force from Spain who has taken the compositions of the eccentric, irascible, and innovative French composer and transmuted them into jazz ensemble performances. Tebar shakes things up while retaining enough straight-ahead jazz to appeal to the masses; it's no accident that "En Habit de Cheval" possesses a clear reference to John Coltrane's magnum opus, A Love Supreme (Impulse!, 1964). Like Coltrane, Tebar is fortunate enough to have recruited other outstanding musicians who can implement his complex ideas. The watchword of this album is "plays," with the implications of irony and humor, tinged with Chaplin-esque sadness that characterizes what Tebar and his ensemble, taking a cue from Satie, offer. Satie was an inventive, experimenting composer who influenced musical impressionism and minimalism, which in turn strongly impacted modern jazz.
This box collects several recordings of Satie's piano music by Dutch pianist Reinbert de Leeuw, going back as far as 1977, with an English-language DVD (not reviewed, but the idea is attractive) including a fictionalized presentation of Satie's relationship with artist Suzanne Valadon (after they broke up, he hung in his window cataloging her faults, but the film apparently doesn't get to the fun stuff). The provenance of the music on the third CD, consisting mostly of songs and featuring soprano Marjanne Kweksilber, is unclear from the booklet, and it's a poor choice for the non-Francophone – no song texts are provided at all. The piano music from de Leeuw is another matter, however. It is immediately distinctive in its slow tempos and dreamy, rather lugubrious tone.
Mathias Rüegg's Vienna Art Orchestra had always been an eclectic bunch, working in the odd jazz or classical cover into its repertoire with some regularity, but for this release, the ensemble went whole hog, leaping into the oeuvre of that grandfather of minimalism, Erik Satie.