Editors’ Notes Fazil Say brings a composer’s approach to these two strangely complementary French figures. He plays with a delicacy and restraint, almost as if a veil had been thrown over the piano: colors are subtle, rhetoric replaced by intimate whispers. He brings Debussy’s lovely Préludes vividly to life, his personality glinting off the notes, each miniature painted with tiny brushstrokes. Satie’s Gnossiennes and Gymnopédies, epigrammatic and wistful, are done with the perfect amount of reverence balanced with a cheeky smile. The piano is nicely recorded in an ambience that perfectly fits these infinitely rewarding small creations.

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Préludes, Book 1, L. 117, L. 125
Préludes, Book 1, L. 117, L. 125: I. Danseuses de Delphes
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Préludes, Book 1, L. 117, L. 125: II. Voiles
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Préludes, Book 1, L. 117, L. 125: III. Le vent dans la plaine
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Préludes, Book 1, L. 117, L. 125: IV. Les sons et les parfums tournent dans l'air du soir
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Préludes, Book 1, L. 117, L. 125: V. Les collines d'Anacapri
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Préludes, Book 1, L. 117, L. 125: VI. Des pas sur la neige
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Préludes, Book 1, L. 117, L. 125: VII. Ce qu'a vu le vent d'ouest
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Préludes, Book 1, L. 117, L. 125: VIII. La fille aux cheveux de lin
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Préludes, Book 1, L. 117, L. 125: IX. La sérénade interrompue
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Préludes, Book 1, L. 117, L. 125: X. La cathédrale engloutie
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Préludes, Book 1, L. 117, L. 125: XI. La danse de Puck
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Préludes, Book 1, L. 117, L. 125: XII. Minstrels
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6 Gnossiennes
6 Gnossiennes: I. Lent
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6 Gnossiennes: II. Avec étonnement
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6 Gnossiennes: III. Lent
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6 Gnossiennes: IV. No. 4
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6 Gnossiennes: V. No. 5
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6 Gnossiennes: VI. No. 6
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3 Gymnopédies
3 Gymnopédies: I. Lent et douloureux
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3 Gymnopédies: II. Lent et triste
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3 Gymnopédies: III. Lent et grave
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