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Satie: Piano Music, Vol 4 - Ogawa

Satie: Piano Music, Vol 4 - Ogawa

BIS  BIS 2335

Stereo/Multichannel Hybrid

Classical - Instrumental


Satie: Mercure, poses plastiques en trois tableaux, La Belle Excentrique, Les pantins dansent, Les pantins dansent (1e version), Prélude de «La mort de Monsieur Mouche», Sept Toutes Petites Danses pour le «Piege de Méduse», Jack in the Box, Relâche - Ballet instantanéiste, Cinéma - Entr'acte symphonique de «Relâche»

Noriko Ogawa (piano)


For the fourth installment in her acclaimed Satie cycle, Noriko Ogawa has gathered music written for the stage - from the pantomime Jack in the Box (1899) to the ballet Relache (1924) - one of Satie's last works. Several of the pieces exist in different scorings, but the piano versions heard here are all Satie's own. Throughout the program, what comes across strongly is the influence of music hall and cabaret; composed in 1900, Prelude de «La mort de Monsieur Mouche» even offers a hint of the ragtime, one of the first appearances of the genre in European music.

Stage projects are as a rule collaborative efforts, and among Satie's collaborators were some of the leading names of the art world at the time. In 1924 he worked on Mercure with Jean Cocteau, Picasso and Leonide Massine, the same team that in 1916 had produced the ballet Parade, and the same year came Relache, Satie's collaboration with the Dadaist poet and painter Francis Picabia. For the intermission, Picabia and Satie involved the film director Rere Clair who made the film 'Entr'acte': a truly Dadaist offering which included disjointed episodes with a bearded ballerina, a hunter shooting a large egg, and a funeral procession with the hearse drawn by a camel. For the film, Satie provided a separate score, Cinema, which has been called one of the first synchronized film scores.

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