Open your head, light as an egg and from the top of your back teeth: such phrases are only to be found in the scores of the eccentric Erik Satie, a composer born into a generation where only more could be more the post-Wagnerian age of richly furnished, intense music full of emotional layering. Expelled from the Paris Conservatoire for being its laziest student, Satie rebelled strongly against the musical climate in which he grew up, instead choosing to adopt a voice that did away with what he considered to be pretentious behaviour and which instead drew on irony through the use of free association, subtle dissonances and unexpected asides. Such a stance that music requires no extra layering, no showing-off, in order to touch its audience ultimately resulted in ethereal-sounding compositions that are slow and solemn by nature. Pianist Jeroen van Veen has therefore taken it upon himself to exploit the concept of time in relation to the composers works, stretching the durations of some of the Frenchmans most frequently performed pieces including the Gymnopédies (a made-up word, incidentally) to the max, and then going the extra mile: from slower to slowest, giving each note and each chord the chance to be absorbed fully. The result is that less actually becomes more; that duration is no longer of relevance, because the presence of sound is enough. Such music forces us to think outside the box, and maybe this is exactly what makes Saties works timeless, says van Veen, who presents the listener with a unique take on one of music historys most fascinating characters. Other information: Recording: January 2013, Studio 1, Van Veen Productions, Culemborg, The Netherlands.