Chapitres tournés en tous sens
Croquis et agaceries d'un gros bonhomme en bois
Gnossiennes
Gymnopédies
Heures séculaires et instantanées
Nocturnes
Nouvelles pièces froides
Passacaille
Le Piège de Mèduse
Prèludes du fils des étoiles
Sonatine bureaucratique

1990 Penguin Guide :

Satie's deceptively simple piano writing has to be played with great sensitivity and subtlety, if justice is to be done to its special qualities of melancholy and irony. Peter Lawson's recital opens with the famous Gymnopédies, played coolly, but not ineffectively. The highlight is a perceptive and articulate characterization of Le Piége de Méduse, seven epigrammic morceaux de concert. Elsewhere his way is quietly tasteful, and though he catches something of Satie's gentle and wayward poetry he is less successful in revealing the underlying sense of fantasy. Good recording.

Gramophone June 1980, Max Harrison:
(reviews LP, same as CD)

This is a relatively unhackneyed selection of Satie keyboard music. The Gymnopédies are inevitably there, but instead of the usual Gnossiennes No. 1-3, we find Nos. 2 and 4; also present are the rarely heard Nouvelles pièces froides, which are not otherwise locally available in their original piano form. All the rest are obtainable in various Satie recitals, but Peter Lawson's performances are sympathetic and quite well recorded.

The obligatory Gymnopédies sound pure and simple, as they should, and so do the Gnossiennes. There are good accounts, also, of the fine Passacaille and two of the Nocturnes, almost Satie's last keyboard work. The Sonatine sounds less well; for example, in the finale when the main idea goes into the left hand it is unduly obscured by the accompaniment. Although this composer's music is usually striking and personal, the most original thoughts here come in the Croquis et agaceries d'un gros bonhomme en bois, Chapitres tournés en tous sens and Heures séculaires et instantanées, three of his remarkable series of piano suites.

Lawson characterizes their often sharply contrasting invention well, and I particularly enjoyed the relentless chatterbox of "Celle qui parle trop", the first movement of Chapitres tournés, whose husband dies of exhaustion, amid dense bass chords, in the last bar. This is a particularly good set, and the next movement, "Le porteur de grosses pierres", is rather beautiful (though Satie's annotations tell us that "Nous le voyons alors qu'il transporte une pierre énorme, cent fois plus grosse que lui")…