I looked up Satie and did not find anything I like. If I'm going to go Impressionist I might as well go for Debussy....
I replied twice and both times forgot to mention Poulenc. Much of his piano music is technically demanding but you could nevertheless sample some of it and make an opinion for yourself.
Poulenc appeals to me more than Debussy, and I've mentioned him to my teacher. She seems to think that, as a piano major, I am doing something wrong by ignoring Debussy and Ravel in favor of other folks who were influenced by them, but she didn't nix Poulenc. I am only really familiar with his sonata for flute and piano, though, and I listened to the Trois Mouvements Perpetuels when you posted them forever ago. My teacher suggested the Trois Pieces. There is some hint in those sets of what I loved in the flute sonata, but not much. Other than that, the only Poulenc I can call to mind was a bit of chamber music that was played on a recent recital, with a strange instrumentation including trombone. I want to say it was called a sonata, but I'm not sure. The first movement was incredibly functional, to the point of being boring, but there were some interesting things going on in it, in the trombone, and there was more of the Poulenc I like in the 2nd and 3rd movements, if I remember correctly.
I made the mistake when working on the Bach e minor partita of not working on the gavotte until nearly the end, because it didn't really speak to me until then. So I was having the same sort of feeling about the courante of the c minor partita (actually a corrente, isn't it? as opposed to the courante in the e minor partita, or is it the other way around?). Anyway, yesterday I had a 30-minute drive or so to make to get to the piano I like to practice on, so I put it on repeat on my iPod and listened to it the whole way there. Now it's one of my favorite movements in the partita, and I already liked all of the other ones, which is pretty much the same thing that happened with the e minor gavotte (it ended up being my favorite of the dances with the exception of the gigue). I think the reason they didn't grow on me from the page is obvious for both - with the e minor gavotte, it was the apparently polyrhythmic notation that put me off, and with the c minor courante (or corrente) it was the long notation. But I'm glad I got that out of the way early on so that I can work on the whole partita at once, rather than movement by movement (though I imagine that the capriccio at least will not be ready until closer to the recital - I've played the sinfonia before, and I also played around with the rondeau some in days past, so I've got that helping me).