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Disc 1:

1. No. 1
2. No. 2
3. No. 3
4. No. 4
5. No. 5
6. No. 6
7. No. 1
8. No. 2
9. No. 3
10. No. 4
11. No. 1
12. No. 2
13. No. 3
14. No. 1
15. No. 2
16. No. 3

Customer Rating: - You're Both Correct!
Those who love and detest these unique renderings are both, in a sense, correct. Just because an interpretation deviates from what we expect it to sound like doesn't make it wrong. Necessarily. Sure, excessive interpretive freedom can wreck the enjoyment of an otherwise fine piece of music. Witness Ivo Pogorelich's nonsensically detached, self-indulgent performances of Rachmaninov's 3rd Piano Concerto that he toured with a few years ago. Ultimately, though, either it "works" or doesn't, a purely subjective determination. Robert de Leuw's rendering (or rending, as the case may be) can be experienced either as pure bliss or torture. I err on the side of the former, but appreciate the contrary view.

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Customer Rating: - Much, much, much too slow!
Satie's beautifully melancholic piano music is made sooooo dull by Mr Leeuw's elephantine playing, and this lethargic speed completely ruins my enjoyment of it. There is nothing in the music to warrant such a gross miscalculation of tempo. I'd recommend other recordings of Satie's music which more faithfully adhere to his intentions (Roge etc.)

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Customer Rating: - Worth it for Gnossiennes
The interpretation of Gnossiennes is worth the price of this CD. The slow, soulful rendition of that piece is the best anywhere. However, I agree with a previous reviewer that the downtempo approach does not work for other Satie favorites. The slow motion, low energy rendition of other pieces can be maddening.

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Customer Rating: - Misinterpretation of Satie's music
The poetry, subtle energy and elasticity of Satie's music is entirely lost in De Leeuw's interpretations. The pieces are drawn out to an extent where each note becomes a fragment that does not add up to a whole. The music of Satie thus becomes as unengaging as elevator music.

Eric Satie was a restless and discontented innovator who barely had finished with one musical style until he moved on to the next. This tireless energy can be found in other recordings of Satie's music - most notably by Anne Queffelec - where even the most famous of Satie's composition, the slow Gymnopedies 1-3, reflect Satie's dynamic persona.

In order to profoundly understand music and see it from the inside, it is necessary for the interpretor to understand its composer. This is not the case with De Leeuw.