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3 of 5 found the following review helpful:
Precursor of "Muzak" Mar 10, 2006
Erik Satie cultivated his fame as an obscure pianist within the smokey cabernet-cafes high on the hill of Montmartre - a trendy, artist haunt in the shadow of Sacre Coere cathdrel overlooking 19th-century Paris. His novel music, isolated lifestyle and unusual fashion (always a dark velvet suit and derby) were eccentric yet endeared him to - not only to the poets, writers and artists of Montmartre - but to the Parisian musical elite. Another oddity of Satie was his contentment - and sometimes insistance - that his music be relegated to the background as to not interfere with patron's festivities. Where Beethoven or Wagner would have cringed to have their compositions played as "musical wallpaper" (or featured on a "Relaxation" recording like this), Erik Satie would likely have been pleased. In this respect, his music was perhaps the precursor of modern "Muzak" heard by many an elevator user.
Over three-forths of Satie's compositions are for solo piano. Often he gave these pieces strange titles and programmic references - such as his most famous work, Gymnopedies, which is related to some ancient festival honoring Apollo. In fact, this gentle, melodic piece so charmed Debussy that he composed an orchestral version of it, emphasising its dreamy qualities. However, on this CD, this famous piece is heard four times in different variations, which presents a great risk of trivialization and weariness. That is one downfall of this collection.
Satie's music indeed does fit well with the "Relaxation" theme with its simple, slower-paced, child-like innocent melodies bathed in rich, yet austere harmonies. In this respect Satie's music is often downgraded by music critics as "lightweight compositions from a French eccentric." They have their point. But, the weary looking for some "nice music" will often find Satie's works a balm - free of pretention, complication and attitude. Yet, it was this simplicity and minimalistic approach that earned Satie the title, "The Precursor" as his textures and forms foreshadowed the minimalist music of John Cage and the Surrealism/Dada movements in art.
Like any, Satie's music is not for everyone. At times the repeated-note simplicity can be downright boring; other pieces can remind one of a player piano at the cabernet. Yet, many pieces have great charm and appeal once you get past their simplicity. So, overall, this CD is a decent sampling of Satie's music for piano - solo or with one or two other instruments - recorded in good sound quality. Also, there are few if any loud outbursts for those wanting to nod off in their relaxation. But, the overplayed Gymnopedies pieces are unfortunate - typical when the public gets hold of a popular piece and plays it to death.
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