This latest album by Alain Planès forms a neat symmetry with the pianist’s earlier recording of Satie’s compositions for piano four hands with Yuji Takahashi. Originally released in 1980, ‘Pièces pour piano à quatre mains’ was reissued by Denon five years later to mark the 60th anniversary of Satie’s death (1/86). Forty years on, Planès’s latest release now marks the centenary.

Both albums also share similar repertoire. A more measured and balanced performance of the seven-movement Trois Morceaux en forme de poire is given by Planès than on the Denon release, this time with François Pinel providing the extra pair of hands rather than Takahashi. Less is made by the duo of the sudden changes and abrupt contrasts in ‘Manière de commencement’, and the addition of a subtle rallentando gives more shape to the movement’s ending. In fact, less is made in general of Satie’s musical quirkiness and idiosyncrasies, with the second half of Morceau 2, ‘Enlevé’, dripping with tender expression and the opening of Morceau 3, ‘Brutal’, executed with plenty of power and punch.

Planès’s interpretations of the solo piano pieces is equally impressive, revealing a performer very much at ease with the peculiar interpretative challenges that accompany Satie’s music. The strange, sombre, other-worldly sound world of the five Gnossiennes is persuasively captured, while Planès imparts plenty of zip and bite to the neoclassical-sounding Embryons desséchés. The Frenchman must possess one of the most reliable left hands among exponents of Satie’s piano music, too, as heard in the two waltzes that bookend the album (the Valse-ballet and piano arrangement of ‘Je te veux’), cushioning and supporting the right hand’s melodic motion.

With Marc Mauillon’s airy baritone voice as bright as a bell in the Trois Mélodies and Planès’s performance benefiting from the full weight and projection of a 1928 Pleyel piano, this album will form a welcome addition to the raft of recordings released to mark this notable milestone in Satie’s creative legacy.