Bruce Liu’s solo piano album Waves: Music by Satie explores the composer’s six Gnossiennes through the timbral contrast created by grand versus upright pianos. These works by Satie were written between 1890 and 1897. The flexibility in tempi and shifting chord structures create a sense of longing that Liu captures well on both pianos. The Gnossiennes are played on the grand first, opening with the highly recognizable No. 1, “Lent.” Liu begins with a gentle approach that grows into a fuller sound by the end of each phrase. The playing truly encompasses waves through its ebb and flow, both in the shorter phrasing and the longer melodic arches. The first noticeable difference in the upright version is the volume, especially in the left hand. Though some of the grandiose phrasing is lost, the upright arguably adds a more human character. The pedalling is quite audible, and the hint of the dampeners lifting off the strings provides a unique window into Liu’s playing that is lost in the cleanliness and power of the grand.
Standing out among the other five pieces is No. 5, “Modéré.” The opening flourishes in the right hand are simultaneously light yet assertive in both versions. However, the upright provides a different timbral ambience as the quality of the note is much more pointed rather than the round sound created by the grand. I think the two versions of each Gnossienne are suited to a particular time and place. In my listening of the album, I found my preferences shifting based on my mood and environment, showing that the grandiosity of the grand piano isn’t always preferable. Liu highlights this notion with 12 expertly crafted performances that simply contrast one another. These performances were originally an addendum to the vinyl and deluxe version of Liu’s album, Waves: Music by Rameau, Ravel, Alkan, but are now available digitally.
