Satie Slowly Philip Corner

• 1 Ogive I 04:13
• 2 Ogive II 06:36
• 3 Ogive III 04:02
• 4 Ogive IV 05:28
• 5 Gnossienne No.1 10:05
• 6 The Feast Given by the Norman Knights to Honour a Young Girl 04:16
• 7 First Prelude of the Nazarene 08:17
• 8 Second Prelude of the Nazarene 05:20
• 9 The Gothic Dances 13:06
• 10 First Gymnopédie 04:24
• 11 Second Gymnopédie 03:38
• 12 Third Gymnopédie 03:19
• 13 First, Air of the Order 06:36
• 14 Second, Air of the Grand Master 08:01
• 15 Third, Air of the Head Prior 04:35
• 16 Chorales 12:01
• 17 Empire's Diva 03:48
• Total Runtime 01:47:45

Info zu Satie Slowly

American composer Philip Corner likes Satie too well not to object to how he is played. From the time of his participation in the first performance of Satie's 'Vexations' he realized that here was, lurking under the travesties of the 1st Gymnopédie, one of the greats of this or any other century... a 'secret genius' who masked with humility and seeming conformity a profoundly innovative thorough-going critique of the limitations and pretensions of our High Culture as it has come down to us. A 44 page booklet of commentary and and additional 16 page booklet of graphic analyses set out to demonstrate this - with implication for performance of the works. As the record title 'Satie Slowly' shows, the indication 'lent' is taken at its full value. An ample selection of piano pieces, spread across 2 CDs, come from his early period, music with great spiritual content.

Pianist Philip Corner slows down Erik Satie and shows where Philip Glass, Terry Riley and Steve Reich came from ... Hearing Satie's 'Ogives,' it is hard to believe that these pieces were composed a half century or more than Glass' Piano Music. ... Corner's playing is deliberate and intense, produced with the effort of restraint. This affects Satie's compositions as if seen through a crisp magnifier shining light on every crevasse and crack present.' (All About Jazz)

Perhaps the time for Erik Satie has really come at last. Even decades ago his music was part of a coffee commercial, there were synthesizer arrangements, new age versions, he was loved especially for his lyric wonder, the first of the 'Gymnopedies'. But in the deepest caverns of the canon-creating machine he was an important precursor of the impressionists more than a force in his own right. All that changed, slowly. John Cage's 'Cheap Imitation' and his championing of Satie in general certainly helped. The marathon performances of the potentially endless 'Vexations' and the recognition of that and his 'Furniture Music' as the first minimalist works perhaps did as much or more. And now in a world where post-modernism and radical tonality seem to connect often enough to Satie's original sense of untraditional tonal works, all that seems to have brought him even further to the front as a father of the music of today. His fabulously eccentric music turns out to be much more avant garde than we realized, even if it has taken 100 years for us to get there. Philip Corner's two-CD set of Satie's piano music, Satie Slowly (Unseen Worlds UW 12) brings us further revelations. Maestro Corner has chosen some of the very familiar pieces but also some traditionally seen as a bit more 'problematic'. He takes them all at a crawl, very slowly, and it turns out we hear the music anew.' (Gapplegate Classical-Modern)

Philip Corner, piano

Recorded 2013 November 17+19, Systems Two, Brooklyn, NY
Produced By Tommy Mccutchan
Mixed By Damon Whittemore and Steve Silverstein
Mastered By Damon Whittemore

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Booklet für Satie Slowly