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54 of 57 people found the following review helpful:
5.0 out of 5 stars
Quite... simply...a joy!, January 8, 2003
Extraordinary, eloquent, intimate and impassioned performances. Each time I listen, I get taken deeper into Satie, yes, but also into *music* itself. Satie's music is really meant for the performer (note his comments on the score), intimately.I also think Satie used it as map & vehicle rather than as destination. (I used to refer to - and prefer - Aldo Ciccolini while reading the score. Thibaudet has provided a whole new landscape to fit the map.) Although Satie said his music should be performed "so that no-one listens to it," I think he was actually trying to get to us in the same way that admonishing someone to not think about elephants has the opposite effect. Thibaudet's interpretations are a joy to listen to, to pay attention to. (And I thought I knew Satie...!) Whether taken as seriously as a mating dance, or as playful as one, there is a profound sense of intimacy here. If your impression of Satie is that he wrote "furniture music" long before Muzak - sounds to provide a background while you eat or chat or have drinks, or shop at Nordstroms - then this recording may reawaken you. Thiba breathes new life into Satie, new levels: it seems to take one into deeper realms of consciousness, toward thoughtless contemplation. (And I learned that "'Gnossienne' refers to the 'Crane Dance' performed in the labyrinth of the palace of Knossos [Gnossos] in ancient Crete." ...Now, is that provocative?)
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