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SATIE , Erik (1866-1925)

COMPLETE PIANO WORKS • 1

URTEXT EDITION


  • Nicolas Horvath, piano

Always inventive and innovation-seeking, Erik Satie’s earliest works show traces of Chopin as an influence but he soon came to reject virtuosity and tradition, choosing instead to remain with the quintessentially French traits of clarity, precision, elegance and economy. Satie’s hauntingly beautiful floating melodies and modal tonalities are unforgettably compelling, combining bygone classical ages with Parisian sophistication. This landmark recording uses both a new and corrected edition of Satie’s music and Cosima Wagner’s own 1881 Erard piano, Satie’s instrument maker of choice.

Tracklist

1
Allegro (1884) (1884) (00:00:29)
2
Valse-Ballet (1885) (00:01:59)
3
Fantaisie-Valse (1885) (00:02:17)
4
Quartet No. 1 (sketch, 1886) () * (00:01:04)
5
Quartet No. 2 (sketch, 1886) () * (00:00:33)
 
4 Ogives (1886) (00:09:00 )
6
Ogive No. 1 (00:01:42)
7
Ogive No. 2 (00:02:22)
8
Ogive No. 3 (00:01:39)
9
Ogive No. 4 (00:01:44)
 
3 Sarabandes (1887) (00:09:00 )
10
Sarabande No. 1 (00:04:35)
11
Sarabande No. 2 (00:04:04)
12
Sarabande No. 3 (00:05:44)
 
3 Gymnopédies (1888) (00:15:00 )
13
Gymnopédie No. 1 (00:04:17)
14
Gymnopédie No. 2 (00:03:32)
15
Gymnopédie No. 3 (00:03:15)
16
Gnossienne No. 5 (1889) (00:03:28)
17
Chanson Hongroise (1889) (00:00:35)
 
3 Gnossiennes (1893) (00:06:00 )
18
Gnossienne No. 1 (00:04:55)
19
Gnossienne No. 2 (00:02:19)
20
Gnossienne No. 3 (00:02:55)
21
Pièce sans titre (1891), "Première pensée Rose + Croix" (1891) (00:00:53)
22
Gnossienne No. 4 (1891) (00:02:04)
23
Leit-motiv du Panthée (1891) (00:00:54)
 
3 Sonneries de la Rose+Croix (1892) (00:12:00 )
24
No. 1. Air de l'Ordre (00:04:04)
25
No. 2. Air du Grand Maître (00:05:03)
26
No. 3. Air du Grand Prieur (00:02:46)
27
Le Fils des Étoiles, Act I: Gnossienne No. 7 (1891) (00:04:15)
World Première Recording
Total Time: 01:13:27

The Artist(s)

Nicolas Horvath Nicolas Horvath is an unusual artist with an unconventional résumé. He began his music studies at the Académie de Musique Prince Rainier III de Monaco, and at the age 16, he caught the attention of the American conductor Lawrence Foster who helped him to secure a three-year scholarship from the Princess Grace Foundation in order to further his studies. His mentors include a number of distinguished international pianists. Known for his boundary-less musical explorations, Horvath is an enthusiastic promoter of contemporary music. He has commissioned numerous works and collaborated with leading contemporary composers from around the world including Philip Glass.

The Composer(s)

A French composer as eccentric in his way of life as in his music, Satie exercised considerable influence over some of his more distinguished contemporaries, including Debussy, Ravel and Poulenc, particularly through his tendency towards extreme simplicity. A number of his compositions have become very familiar to many, largely through their use in other contexts.

Reviews

“…very well recorded. Everything was very well interpreted. Among the discoveries were the mesmerising mystical sounds of the Prélude du Nazaréen, as well as upsud. A future reference for this music.” – Musique classique & Co

Ritmo

“In all of these works, [Horvath] manages to distill and present all the attributes of the shy and lonely artist [Satie], with the piano as the medium for communicating this, based on simplicity, clarity, precision, elegance and economy of means.” – Ritmo

“Erik Satie’s earliest works show traces of Chopin as an influence but he soon came to reject virtuosity, choosing instead to remain with the French traits of simplicity, clarity, elegance and economy. This landmark recording by Nicolas Horvath uses a new edition played on Cosima Wagner’s own 1881 Erard piano, Satie’s instrument maker of choice.” – WFMT (Chicago)