Meriel Dickinson (mezzo-soprano / reader), Peter Dickinson (piano / reader)
Heritage Records HTGCD171 [68’09”] French texts included
Producer Antony Hodgson
Engineer Tony Faulkner
Recorded 6 October 1975 at All Saints’ Church, Petersham (Unicorn LP only) Remastered by Peter Newble
Reviewed by Richard Whitehouse
What’s the story?
The Heritage label continues its worthwhile excavation of overlooked ‘deep catalogue’ with this selection of Erik Satie’s piano pieces, songs and prose as performed by Meriel and Peter Dickinson, whose recitals were a notable fixture of the UK music-scene over several decades.
What’s the music like?
After the lively and rumbustious march Le Piccadilly (1904), Trois melodies (1887) show the composer’s poignant take on domestic song-writing from the period. The haunting Deuxième Gnossienne (1893) is followed by the hieratic plangency of Hymne: ‘Salut Drapeau!’ (1891), while the Deuxième Pièce froide (1897) anticipates the quirky humour to come. Tendrement (1902) ranks among Satie’s most disarming songs, as does the amiable Proudre d’or (1900/1) within his piano music. Two winsome songs from incidental music for the play Geneviève de Brabant (1899/1900) precede two piano pieces – the mystically aloof Première Gymnopédie (1888) and the demurely anarchic Vexations (1893) – which, between them, outline the extent of Satie’s creative thinking. Similarly, the gently facetious humour of Trois melodies (1916) affords pointed contrast with the introspective mystery of the early Chanson (1887) then the considered evocation which is Chanson medieval (1906); further reminders that demarcation between this composer’s seemingly serious and humorous sides cannot be taken as absolute.
An undoubted bonus of the added live material is the Dickinsons’ readings from Satie’s own writings. Thus, there is Peter’s deadpan rendering of Satie’s Self-Portrait as provided for his publisher, its barbed whimsy duly complemented by brief piano interludes from his comedy Le Piège de Méduse (1913), while those gnomic expressions that are Quatres petites melodies (1920) inhabit similarly elliptical domain. Peter reads from the composer’s fanciful outline of his ‘routine for living’ in A Musician’s Diary, while Meriel tells of his ironic attitude towards Beethoven in Satie’s Fakes; between them, she sings the compact confessionals that are Trois Poèmes d’amour (1914). The gnomic song-cycle Ludions (1923), among Satie’s final works, makes a suitably telling foil to Peter’s reading of the archetypal Satie text In Praise of Critics. The selection concludes with a brace of songs – the blithely sardonic La Diva de l’Empire (1904) then the quintessentially Satie confection Je te veux (1897), its deftest interplay of charm and guile with a knowing sentimentality evidently to the pleasure of those listening.
Does it all work?
Very much so, given that Meriel and Peter are so attuned to the facets of Satie’s inimitable genius. At the time of this LP and its attendant recitals, its sheer extent had still to be fully assessed, which does not lessen the significance of the Dickinsons’ efforts (as with Satie’s younger contemporary and English counterpart Lord Berners) in championing this music at the highest artistic level. Both the transfer of the original Unicorn disc and the live extracts (mono) have been capably done – revealing few, if any, limitations in the source-material.
Is it recommended?
It is, not least as an informed and appealing introduction to this music by artists for whom its advocacy was clearly a labour of love. A pity that English translations of the song-texts were not included, though these are mostly accessible online, and their omission is a minor caveat.