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Fumio Yasuda|Erik Satie: Musique d'entracte (Almost forgotten masterpieces)

Erik Satie: Musique d'entracte (Almost forgotten masterpieces)

Fumio Yasuda, Julie Läderach & Joachim Badenhorst

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They are not exactly pieces by Satie as the master wrote them, but rather some of his more obscure pieces as seen through the prism of Japanese pianist Fumio Yasuda, himself a famous composer and improviser. Yasuda takes things in hand and rewrites them for his piano-clarinet-cello ensemble, the clarinet being sometimes replaced by the saxophone. Of course, he does not modify the original basis, but the balances are redistributed, some moments are improvised (in particular in Cinéma and jazzed-up Tendrement), others call for a prepared piano – Le Tango, a somewhat crazy piece during which cellist Julie Läderach narrates Saties funny indications ; and as the piece is a perpetuum mobile, this opens the way to some weird stuff – and anyway the pieces are sufficiently unknown by the general public so that Yasuda does not risk to hurt purist minds. Undoubtedly Satie, with his factious and subversive mind, would have appreciated these metamorphoses of his music the modernity and malleability of which is and remains a marvel. © SM/Qobuz

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Erik Satie: Musique d'entracte (Almost forgotten masterpieces)

Fumio Yasuda

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3 Valses distinguées du précieux dégoûté (Erik Satie)

1
Son binocle
00:02:46

Fumio Yasuda, Piano - Julie Läderach, Clarinet, Saxophone - Joachim Badenhorst, Violoncello - Erik Satie, Composer

2017 Winter & Winter GmbH

Pièces froides (Erik Satie)

2
Dances de travers
00:04:04

Fumio Yasuda, Piano - Julie Läderach, Clarinet, Saxophone - Joachim Badenhorst, Violoncello - Erik Satie, Composer

2017 Winter & Winter GmbH

3
Caresse
00:03:58

Fumio Yasuda, Piano - Julie Läderach, Clarinet, Saxophone - Joachim Badenhorst, Violoncello - Erik Satie, Composer

2017 Winter & Winter GmbH

4
Cinéma
00:06:15

Fumio Yasuda, Piano - Julie Läderach, Clarinet, Saxophone - Joachim Badenhorst, Violoncello - Erik Satie, Composer

2017 Winter & Winter GmbH

Messe des pauvres (Erik Satie)

5
Dixit Domine
00:03:50

Fumio Yasuda, Piano - Julie Läderach, Clarinet, Saxophone - Joachim Badenhorst, Violoncello - Erik Satie, Composer

2017 Winter & Winter GmbH

Sports et divertissements (Erik Satie)

6
Le Tango
00:06:00

Fumio Yasuda, Piano - Julie Läderach, Clarinet, Saxophone - Joachim Badenhorst, Violoncello - Erik Satie, Composer

2017 Winter & Winter GmbH

Relâche (Erik Satie)

7
Danse de l'homme et de la femme
00:04:34

Fumio Yasuda, Piano - Julie Läderach, Clarinet, Saxophone - Joachim Badenhorst, Violoncello - Erik Satie, Composer

2017 Winter & Winter GmbH

Pièces froides (Erik Satie)

8
Airs à faire fuir
00:04:16

Fumio Yasuda, Piano - Julie Läderach, Clarinet, Saxophone - Joachim Badenhorst, Violoncello - Erik Satie, Composer

2017 Winter & Winter GmbH

Avant-Dernières pensées (Erik Satie)

9
Méditation
00:03:12

Fumio Yasuda, Piano - Julie Läderach, Clarinet, Saxophone - Joachim Badenhorst, Violoncello - Erik Satie, Composer

2017 Winter & Winter GmbH

10
Tendrement
00:04:34

Fumio Yasuda, Piano - Julie Läderach, Clarinet, Saxophone - Joachim Badenhorst, Violoncello - Erik Satie, Composer

2017 Winter & Winter GmbH

Le fils des étoiles (Erik Satie)

11
Prélude du premier acte - La vocation
00:04:59

Fumio Yasuda, Piano - Julie Läderach, Clarinet, Saxophone - Joachim Badenhorst, Violoncello - Erik Satie, Composer

2017 Winter & Winter GmbH

Messe des pauvres (Erik Satie)

12
Prière pour le salut de mon âme
00:07:20

Fumio Yasuda, Piano - Julie Läderach, Clarinet, Saxophone - Joachim Badenhorst, Violoncello - Erik Satie, Composer

2017 Winter & Winter GmbH

13
Vexations
00:04:13

Fumio Yasuda, Piano - Julie Läderach, Clarinet, Saxophone - Joachim Badenhorst, Violoncello - Erik Satie, Composer

2017 Winter & Winter GmbH

Album review

They are not exactly pieces by Satie as the master wrote them, but rather some of his more obscure pieces as seen through the prism of Japanese pianist Fumio Yasuda, himself a famous composer and improviser. Yasuda takes things in hand and rewrites them for his piano-clarinet-cello ensemble, the clarinet being sometimes replaced by the saxophone. Of course, he does not modify the original basis, but the balances are redistributed, some moments are improvised (in particular in Cinéma and jazzed-up Tendrement), others call for a prepared piano – Le Tango, a somewhat crazy piece during which cellist Julie Läderach narrates Saties funny indications ; and as the piece is a perpetuum mobile, this opens the way to some weird stuff – and anyway the pieces are sufficiently unknown by the general public so that Yasuda does not risk to hurt purist minds. Undoubtedly Satie, with his factious and subversive mind, would have appreciated these metamorphoses of his music the modernity and malleability of which is and remains a marvel. © SM/Qobuz

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