Nicolas Horvath (piano)

Satie: Allegro (1884)
Satie: Valse-Ballet
Satie: Fantaisie-Valse
Satie: Quartet No. 1 (sketch, 1886)
Satie: Quartet No. 2 (sketch, 1886)
Satie: Ogives (4)
Satie: Trois Sarabandes
Satie: Trois Gymnopédies
Satie: Six Gnossiennes. Gnossienne No. 5
Satie: Chanson hongroise
Satie: Six Gnossiennes. Gnossienne No. 1
Satie: Six Gnossiennes. Gnossienne No. 2
Satie: Six Gnossiennes. Gnossienne No. 3
Satie: Pièce sans titre (1891), "Première pensée Rose + Croix"
Satie: Six Gnossiennes. Gnossienne No. 4
Satie: Leit-motiv du 'Panthée'
Satie: Fanfares of the Rose+Cross
Satie: Le Fils des Étoiles

Always inventive and innovation-seeking, Erik Satie’s earliest works show traces of Chopin as an influence but he soon came to reject virtuosity and tradition, choosing instead to remain with the quintessentially French traits of simplicity, clarity, precision, elegance and economy. Satie’s hauntingly beautiful floating melodies and modal tonalities are unforgettably compelling, combining bygone classical ages with Parisian sophistication. This landmark recording uses both a new and corrected edition of Satie’s music and Cosima Wagner’s own 1881 Erard piano, his instrument maker of choice.