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150 years after his birth, Erik Satie is still one of the great enigmas of classical music – a composer who
said of himself 'I am not fond of jokes… I never make jokes' but is nevertheless regarded as one of the
great tricksters of Western music; who at one stage was involved with esoteric societies such as the
Rosicrucian Order and founded a church of his own (the 'Metropolitan Art Church of Jesus the
Conductor'), but who could also be strikingly down to earth, preferring the description 'phonometrician' to
that of 'musician' and inventing the genre 'furniture music': 'fundamentally industrial' and filling the same
role as 'light, heat and all the forms of comfort'. In this anniversary year, Noriko Ogawa launches a
complete set of Satie's music for solo piano – a body of works which includes the sets of Gnossiennes and
Gymnopedies, which through their use in countless movie sound tracks have reached and affected
audiences across the planet, pieces that Satie wrote for his own use when working as a bar pianist (Je te
veux, Le Piccadilly), parodies on other composers (Sonatine bureaucratique is a spoof on a sonata by
Clementi) as well as experiments such as Vexations, a brief theme with chordal accompaniment which
according to an instruction in the score is to be played 840 times! With a wide-ranging and acclaimed
discography which includes music by Mozart and Rachmaninov as well as complete recordings of the
piano music by her compatriot Toru Takemitsu and by Debussy (a friend of Satie's), Noriko Ogawa
performs all of this on an instrument from Satie's own time – an exquisite Erard grand piano built in 1890,
the very year that Satie composed his Gnossienne No.1 which opens this disc and new cycle.
Erik Satie
Gnossiennes
1. Gnossienne No. 1 (1890). Lent 3'34
2. Gnossienne No. 2 (1890) 1'49
3. Gnossienne No. 3 (1890). Lent 2'29
4. Gnossienne No. 4 (1891). Lent 2'09
5. Gnossienne No. 5 (1889). Modere 3'29
6. Gnossienne No. 6 (1897) 1'07
7. Gnossienne No. 7 (1891) 3'53
8. Le Piccadilly (Marche) (1904). Pas trop vite 1'23
Chapitres tournes en tous sens (1913)
9. I. Celle qui parle trop. Vif 0'50
10. II. Le porteur de grosses pierres. Tres lent 2'20
11. III. Regrets des enfermes (Jonas et Latude). Soyez modere 1'54
Avant-dernieres pensees (1915)
12. I. Idylle. Modere, je vous prie 0'51
13. II. Aubade. Pas vite 1'08
14. III. Meditation. Un peu vif 0'42
Croquis et agaceries d'un gros bonhomme en bois (1913)
15. I. Tyrolienne turque. Avec precaution et lent 1'51
16. II. Danse maigre (a la maniere de ces Messieurs). Assez lent, si vous le voulez bien 1'21
17. III. Españaña. Sorte de Valse 1'19
Sonatine bureaucratique (1917)
18. Allegro 1'04
19. Andante 1'11
20. Vivace 1'28
21. Poudre d'or (Valse) (1900). Modere 4'36
Embryons desseches (1913)
22. I. d'Holothurie. Allez un peu 1'53
23. II. d'Edriophthalma. Sombre 2'27
24. III. de Podophthalma. Un peu vif 1'42
Descriptions automatiques (1913)
25. I. Sur un vaisseau. Assez lent 2'12
26. II. Sur une lanterne. Lent 1'57
27. III. Sur un casque. Pas accelere 0'54
Heures seculaires et instantanees (1914)
28. I. Obstacles venimeux. Noirâtre 1'46
29. II. Crepuscule matinal (de midi). Sans grandeur 0'52
30. III. Affolements granitiques. Vivement 0'53
31. Prelude en tapisserie (1906). Lent 2'03
Les trois valses distinguees du precieux degoûte (1914)
32. I. Sa taille. Pas vite 1'04
33. II. Son binocle. Tres lent, s'il vous plait 1'28
34. III. Ses jambes. Determine 0'46
35. Je te veux (Valse) (1897). Modere 5'16
Trois Gymnopedies (1888)
36. Gymnopedie No. 1. Lent et douloureux 3'28
37. Gymnopedie No. 2. Lent et triste 3'09
38. Gymnopedie No. 3. Lent et grave 2'47
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