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| HIDDEN CORNERS (MUSIC OF ERIK SATIE) - EVE EGOYAN |
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| Although I am not a big fan of classical music, there is something about the piano that is irresistible, even when played by the most amateur of musicians, which, of course, is certainly not the case here. It has a naturally engaging tone to it that is perfect for conveying a wide range of moods, emotions and musical characterizations. These phonometrographical creations (Satie refused to refer to them as songs, but rather as measurements of sound) are now touted as being revolutionary for their time. I don't really agree with that, except in a few individual cases (i.e.'Descriptions Automatiques'). Although there was a mutual dislike going on between this composer and the music critics of the day, Satie�s eccentricities (madness?) apparently got the better of him and he spent at least the last two decades of his life living as a "shut-in". The titles he chose for his pieces were thought to be deliberately chosen to mock the critics, and in fact the press release I was given indicated the track sequence in a totally different order to that which is listed on the CD, so whether I am referring to the tracks by their actual names or not is anybody's guess. Like Shostakovich, Mr. Satie seemed to compose (I mean, measure) according to his momentary whims but was seemingly predisposed to a rapid, suspenseful tickling stroke alternating with a heavy, tantrum-like banging. He did have his mellow but haunting moments, though, especially on 'Pi�ces Froides: Danses de travers' (translated as cold pieces: cock-eyed dances), although I would actually like to hear this particular theme played in hard-rock mode. There are a couple of moments on the CD when the musical candle starts wavering and seems about to be extinguished, but it very quickly re-ignited with an intense passion. Considering that the collection contains almost 60 "tracks" (although I had quite a bit of trouble distinguishing when one piece finished and another began), the listener would be hard-put not to find at least a few tracks that appeal to them personally. One track that stands out from the others is 'Le Picadilly' (1904), which immediately evokes Marvin Hamlisch and Scott Joplin's soundtrack title composition, 'The Sting', but it is generally believed to have been modeled on the chorus of a 1899 composition, 'Hello, Ma Baby!' (Howard/Emerson). I would personally doubt that, as he seems to have withdrawn from society in 1898 until his death in 1925. Although I can't vouch for the accuracy or brilliance of Ms. Egoyan's interpretations of Satie's music, having never heard the original versions, she is very highly regarded as a pianist both for her repertoire and passionate approach toward whatever she chooses to play, as attested to in the very detailed liner booklet. |