[…] dans Boule-Spiel, on a une avancée unique dans une idée, une proposition, avec une immense et magnifique suspension à la fin.

Erik Satie is an iconic avant-garde composer, ahead of his time, underestimated by teachers and rebuffed by critics. Posthumous revenge (if there is such a thing) has been sweet, as his music is some of the most often performed in a variety if contexts, including the stage, film and cabaret settings. This particular recording of Satie’s music takes an appropriately creative approach to rendering the quirky, mystical and ultimately uplifting music.

In the 18 tracks on the CD the Québec sextet Cordâme (a French pun on “strings-soul”/”body-soul”) perform many of the popular themes of this enigmatic, yet accessible composer. The musical pallet includes such pieces as the Gnossiennes, the Gymnopedies, as well as some less-often played compositions such Danses de travers, Rêverie de l’enfance de Pantagruel and Réflexions sur choses vues à droite et à gauche (sans lunettes).

The flow of rhythm that characterizes this set draws more from jazz, gypsy music or pop music than from the classical template, with a steady pulse emphasized by percussion and bass, underscored by the string duo of violin and cello, and punctuated by the percussive interplay between piano and harp. The result is graceful, beat-based expression of this diaphanous and at times surreal music, with the languorous harmonies and telescoping melodies being borne by the lilting rhythms.

The compositions, while respected in their forms and lyrical content, are laced with improvisations and structured in arrangements that color the pulses, while preserving the recognizable qualities that people love about Satie. This is not abstract avant-garde, nor romantic excess. It is restrained, yet expressive, with a resulting sweet tension that is mostly light and pleasant.

The title of this three-part work by Hungarian-Canadian composer Gyula Csapó — French and Persian for “Already? Where to?” — seems an appropriate epigraph for someone whose itinerary brought him from Budapest to Saskatchewan, via Paris and Buffalo and points in between.

Csapó completed studies in composition and music theory at the Béla Bartók Conservatory and the List Ferenc Academy of Music in Budapest before going to Paris to study computer music and acoustics at Ircam. In the 1980s, he came to the US to study with Morton Feldman, a composer whose work proved to be a significant influence. In the early 1990s, he moved to Canada and, after a period teaching composition at Princeton University, settled in Saskatoon, where he currently teaches composition and music theory.

In its scale and general profile, Déjà? Kojâ? takes some of Feldman’s approaches to arranging sounds and develops them in a way that is Csapó’s own. The work, composed between 2011 and 2016, is structured as a triptych of three roughly equal lengths. The sounds move slowly, as if there were carried along on tectonic plates approaching, receding, and grinding together in a sometimes overt, sometimes more submerged, dissonant fluctuation. Texture here is architecture, as Csapó layers sound masses into striated blocks whose fault lines divide the higher and lower registers. The differentiation of voices rather than classic counterpoint really does seem to be the structural key to this sometimes darkly opaque work; throughout it, the Quatuor Bozzini maintain a clarity of individual articulation, even in the densest passages.