Composer: Erik Satie
Works: The Complete Piano Music
Performers: Aldo Ciccolini (piano 2 & 4 hands)
Recording: Recorded 1967-1971, EMI France
Label: EMI Classics 5 74534 2 [5CDs: 53.13, 54.29, 59.37, 60.41, 48.19]
Erik Satie, a quintessential figure of early twentieth-century music, continues to intrigue and inspire with his idiosyncratic yet profoundly engaging piano compositions. The newly reissued collection of Satie’s complete piano music performed by Aldo Ciccolini offers listeners a compelling overview of the composer’s development from the whimsical charm of his early works to the more cerebral expressions of his later years. Satie, often associated with the avant-garde movements of his time, was a master of the miniature, crafting pieces that, while brief, resonate with emotional depth and intellectual wit.
Ciccolini’s interpretations are marked by a keen understanding of Satie’s stylistic nuances. The opening disc features the beloved Trois Gymnopédies, where Ciccolini captures the delicate simplicity and ethereal beauty of these pieces. His phrasing is particularly noteworthy; he maintains an unhurried tempo that allows the music’s inherent tranquility to unfold naturally. The subtle dynamic variations he employs enhance the emotional weight of the melodies, underscoring Satie’s unique ability to evoke complex feelings through minimalism. This is an aspect where Ciccolini excels, as he avoids any overly dramatic interpretations, letting the music’s inherent wit and charm shine through.
Throughout the five CDs, Ciccolini skillfully navigates Satie’s diverse output, from the lively café-style pieces like Pièce en forme de poire to the introspective Nocturnes of 1919. In the former, his touch is light and playful, perfectly capturing the spirit of the Parisian café culture Satie often drew from. In contrast, the Nocturnes reveal Satie’s more contemplative side, where Ciccolini’s interpretations reflect a deeper, almost philosophical engagement with the music. He handles the shifts in mood with deftness, ensuring that even the more abstract works resonate with clarity and purpose.
The remastering quality of the recordings is commendable yet bears some scrutiny. While the piano sound is clean and well-defined, there is a tendency towards a certain dryness that could detract from the overall warmth one might expect from Satie’s music. This characteristic, however, aligns with Satie’s own stylistic preferences, which often eschewed emotional excess in favor of clarity and simplicity. The technical execution on the piano is consistently impressive; Ciccolini’s command over the instrument allows him to navigate the complexities of Satie’s harmonies and rhythms with ease. The piano-duet works, recorded with Ciccolini multi-tracking the parts, could raise concerns regarding authenticity, yet the result is seamless and engaging, showcasing his ability to create a rich texture despite the studio’s constraints.
Comparatively, Ciccolini’s interpretations hold their own against other notable recordings, such as those by Pascal Rogé or Jean-Yves Thibaudet, who also offer their unique takes on Satie’s music. However, Ciccolini’s longstanding affinity for Satie imbues his performances with a particular depth that is hard to replicate. His nuanced approach, coupled with the comprehensive nature of this collection, positions it as perhaps the most definitive recording of Satie’s piano works available today.
This collection not only serves as an essential library item for Satie enthusiasts but also stands as an invitation for new listeners to explore the often-overlooked subtleties of his music. Aldo Ciccolini’s performances encapsulate the spirit of Satie with both precision and affection, making this reissue an indispensable addition to any classical music collection.
