The piano music of Erik Satie, beyond the ubiquitous Gymnopedies, is something of an acquired taste. Reinbert de Leeuw here explores many of the lesser-known works, and as Jeremie Rousseau says in his excellent accompanying notes, “a stylistic consistency comes through – verticality, concentrated delivery, static rhythms, symbolic trinities, motionlessness, impassivity... his mystical asceticism becomes almost a form in itself.” Unfortunately, this stylistic uniformity leads to a sense of tiresome monotony. This disc contains a succession of very slow pieces with textures so sparse they make the Gymnopedies seem florid by comparison; furthermore, although the pieces are in themselves slow and spare, de Leeuw plays them in such a protracted manner that the effect is almost cataleptic.
Perhaps the most interesting works offered here are the Prelude d’Eginhard and the Rose-Croix pieces. The detachment of de Leeuw’s playing emphasizes the “mystical asceticism” of these works, although ultimately one wishes for greater involvement. I did enjoy the more highly coloured Le fils des etoiles, Satie’s first music for the stage, both for the more sensuous music and for de Leeuw’s atmospheric playing, but only when isolated from the rest of the disc. I found it impossible to listen to all 70 minutes in one sitting. If you want to explore Satie’s music beyond the Gymnopedies and the Gnossiennes then try the second of Pascal Roge’s recitals (Decca, 5/89) which, although it rarely overlaps with the repertoire on this disc, is much more involving. The present disc, recorded with close but faithful sound, is for Satie enthusiasts only.'