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SATIE, ERIK (1866–1925)

Complete Piano Works • 2 (New Salabert Edition)

Le fils des étoiles

  • Nicolas Horvath, piano

This second volume of Erik Satie’s complete solo piano music using Satie scholar Robert Orledge’s new Salabert Edition is devoted almost entirely to the enigmatic Le Fils des étoiles. Composed as incidental music for a play set in 3000BC, and announced as having ‘an admirably oriental character’, this is one of Satie’s longest scores and rarely heard complete. At its première the work, which comprises short juxtaposed sections as well as an attractive Gnossienne towards the end of Act I, ‘was met by an icy silence’!

This recording was made on a period instrument: Cosima Wagner’s Erard, model 55613 (1881)


Le fils des étoiles (1891) (01:18:00 )
Act I: Prélude, "La Vocation" * (00:03:53)
Autre musique pour le Premier Acte * (00:21:28)
Act II: Prélude, "L'Initiation" * (00:03:25)
Autre musique pour le Deuxième Acte * (00:20:59)
Act III: Prélude, "L'Incantation" * (00:05:10)
Autre musique pour le Troisième Acte * (00:18:38)
Fête donnée par des chevaliers normands en l'honneur d'une jeune demoiselle (1892) (00:03:08)
* World Première Recording
Total Time: 01:16:41

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.


“…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

La Libre Belgique

“Nicolas Horvath presents a very inspired and poetic interpretation, performing on a splendidly sounding instrument.” – La Libre Belgique


“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


“In comparison with the fascinating version of Fils des Étoiles interpreted by Alexei Lubimov, Horvath plays up other aspects [of this piece]: clarity of motifs, a restrained transparency and a warm and wooded resonance” – Classica