Satie Alain Planès

• Erik Satie (1866 - 1925): Valse-ballet:
• 1 Satie: Valse-ballet 02:12
• Gnossienne No. 1:
• 2 Satie: Gnossienne No. 1 03:00
• Gymnopédie No. 1:
• 3 Satie: Gymnopédie No. 1 03:23
• Gnossienne No. 2:
• 4 Satie: Gnossienne No. 2 02:03
• Pièces froides, Première partie "Airs à faire fuir":
• 5 Satie: Pièces froides, Première partie "Airs à faire fuir": I. D'une manière très particulière 02:42
• 6 Satie: Pièces froides, Première partie "Airs à faire fuir": II. Modestement 01:34
• 7 Satie: Pièces froides, Première partie "Airs à faire fuir": III. S'inviter 02:44
• Gnossienne No. 3:
• 8 Satie: Gnossienne No. 3 02:21
• Gymnopédie No. 2:
• 9 Satie: Gymnopédie No. 2 02:47
• Gnossienne No. 4:
• 10 Satie: Gnossienne No. 4 02:10
• Trois Morceaux en forme de poire:
• 11 Satie: Trois Morceaux en forme de poire: I. Manière de commencement 02:56
• 12 Satie: Trois Morceaux en forme de poire: II. Prolongation du même 00:56
• 13 Satie: Trois Morceaux en forme de poire: III. Morceau I 01:22
• 14 Satie: Trois Morceaux en forme de poire: IV. Morceau II 02:53
• 15 Satie: Trois Morceaux en forme de poire: V. Morceau III 02:28
• 16 Satie: Trois Morceaux en forme de poire: VI. En plus 02:13
• 17 Satie: Trois Morceaux en forme de poire: VII. Redite 01:24
• Embryons desséchés:
• 18 Satie: Embryons desséchés: I. Embryon desséché d'holothurie 02:11
• 19 Satie: Embryons desséchés: II. Embryon desséché d'edriophthalma 02:07
• 20 Satie: Embryons desséchés: III. Embryon desséché de podophthalma 02:01
• Trois Mélodies:
• 21 Satie: Trois Mélodies: I. La Statue de Bronze 01:53
• 22 Satie: Trois Mélodies: II. Daphénéo 01:16
• 23 Satie: Trois Mélodies: III. Le Chapelier 01:25
• Chapitres tournés en tous sens:
• 24 Satie: Chapitres tournés en tous sens: I. Celle qui parle trop 01:17
• 25 Satie: Chapitres tournés en tous sens: II. Le Porteur de grosses pierres 01:25
• 26 Satie: Chapitres tournés en tous sens: III. Regrets des enfermés (Jonas et Latude) 01:58
• Gymnopédie No. 3:
• 27 Satie: Gymnopédie No. 3 02:36
• Gnossienne No. 5:
• 28 Satie: Gnossienne No. 5 03:19
• Avant-dernières Pensées:
• 29 Satie: Avant-dernières Pensées: I. Idylle 01:06
• 30 Satie: Avant-dernières Pensées: II. Aubade 01:24
• 31 Satie: Avant-dernières Pensées: III. Méditation 01:08
• La Diva de l'Empire:
• 32 Satie: La Diva de l'Empire (Version for Solo Piano) 01:39
• Je te veux:
• 33 Satie: Je te veux (Version for Solo Piano) 04:16
• Total Runtime 01:10:09

Info for Satie

Could Alain Planès let the centenary of Satie’s death go by without paying tribute to this composer whom he admires above all others? On a 1928 Pleyel, he offers us a panoramic survey of this often droll, caustic music, which stubbornly resists classification. Marc Mauillon (in the songs) and François Pinel (in the pieces for piano four hands) accompany him in his exploration of the finest compositions of the ‘Maître d’Arcueil’. An exceptional album, with a booklet ‘personally’ illustrated by both the composer and the performer themselves.

Alain Planes, piano
Marc Mauillon, baritone
Francois Pinel, piano

Alain Planès
A great lover and connoisseur of painting, no less learned in his passion for poetry, Alain Planès enjoys a career in his own image: right from the start he has followed the path of life rather than the siren songs of a glory that demands too many compromises. There is in him something of a curious blend of Proust and Wilde.

With the first he shares his relationship with time, profound, expanded, Schubertian. With the second, a certain intellectual dandyism, a form of refined cynicism that nonetheless does not sacrifice tenderness.

From a mother with an artistic temperament, a painter and music-lover, he has inherited and retained fervent humility and disinterestedness of gesture. In the end it is this that creates style – rigour is of little use without grace.

This multi-faceted sensibility discovered the piano at five, first played with orchestra three years later, and set off for the United States after the Paris Conservatoire in search of another way of making music: with Pressler, Sebök, Primrose and Starker, whose regular concert partner Alain Planès long remained in the USA and Europe.

Soloist, chambrist, accompanist, teacher – every aspect of his art arouses his interest. Moreover, he had the opportunity of discovering the entire classical and contemporary repertoire by playing it through on two pianos with François Michel, a friend of Stravinsky’s, in whose home Michel had mingled with the great intellectual figures of the time such as Malraux, Deleuze, Cassandre, and later Miró.

When he returned to France a few years later it was to become, at the request of Pierre Boulez, solo pianist of the Ensemble Intercontemporain, where he remained until 1981. His in-depth work with such eminent composers as Boulez, Stockhausen, Ligeti and Berio set the final seal on the eclecticism of his playing, and prompted the foremost music festivals to seek out his presence. These include La Roque-d’Anthéron, Montreux, Aix-en-Provence, and the prestigious Marlboro Festival where he has appeared for many years now, faithful to his exceptionally close association with Rudolf Serkin.

Booklet for Satie