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disguises itself behind wicked harmonies and in which you will recognize the influence of the ". It is a stern and sometimes contentious tête-à-tête between the two pianists, with droll playing directions to prove that late formal teaching had not dampened Satie's sense of humor. At one point where the players' right hands come close together the score reads, "Without naughtiness". Debussy must have been amused.
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to be completed, in August of 1908. It was written with
Debussy in mind as the second pianist and he and Satie played the piece together the following month. On September 5 Debussy informed Portuguese composer Francisco de Lacerda that "your friend E. Satie has just finished a fugue in which boredom
93:
and professor
Roussel initially tried to dissuade him from this, fearing that at his age such academic training would spoil his originality. To which he replied, "At worst I will fail, and that will mean that I had nothing in me". At the Schola Satie acquired the contrapuntal skills and theoretical
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208:, it may be an "unpleasant glimpse" of how critics were reacting to his latest music. Having originally been considered an undisciplined amateur, Satie now saw his new learned style dismissed as academic and boring. A similar chill greeted his second collection of fugues and chorales,
157:, finished in September 1908, Satie concocted the formula for one of his favorite musical jokes. From here on he would use chorales to mock the stupid (namely his critics) and conformist, writing pieces that negated the form's primary function by being
369:
Patrick Gowers and Nigel
Wilkins, "Erik Satie", The New Grove: Twentieth-Century French Masters, Macmillan Publishers Limited, London, 1986, pp. 138-140. Reprinted from "The New Grove Dictionary of Music and Musicians", 1980
324:, 1993), Klára Körmendi and Gábor Eckhardt (Naxos, 1994), Duo Campion-Vachon (Fleurs de Lys, 1995), Olof Höjer and Max Lorstad (Swedish Society, 1996), Bojan Gorisek and Tatiana Ognjanovic (Audiophile Classics, 1999),
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before dropping the idea; he wouldn't tackle the form again, and this creative defeat apparently stayed with him. On his deathbed in 1925 Satie expressed regret that he had never written a string quartet.
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In June 1908 Satie received his Schola diploma in counterpoint with the distinction "Très Bien", and to test his new abilities at linear writing began work on what became the
443:
Ann-Marie Hanlon, "Satie and the French
Musical Canon: A Reception Study", University of Newcastle Upon Tyne, 2013. Appendix 2: Concert programmes 1911-1925, pp. 315-316. At
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This was done on the advice of Robert
Montfort (died 1941), an obscure Parisian composer with an interest in the medieval and mystic. Satie knew him during his Schola years.
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had left him ill-prepared to achieve. In 1905, at 39, he enrolled as a student at the Schola
Cantorum, where for the next seven years he studied counterpoint with
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In the decade following the end of his Rose + Croix period (1895) Satie struggled to develop a viable new composing style, a goal his desultory studies at the
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was written to complete the suite in his preferred trinary form, and it was promptly sold. On
November 23 Satie formally ended his studies at the Schola.
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195:(1923). He facetiously boasted, "My chorales equal those of Bach's with this difference: There are not so many of them, and they are less pretentious".
434:
Steven Moore
Whiting, "Satie the Bohemian: From Cabaret to Concert Hall", Clarendon Press, Feb 18, 1999, p. 359. Also see footnote 33 on same page.
94:
knowledge to move forward with a new creative aesthetic, one marked by economy, rigor, irony and wit. These would be hallmarks of his later music.
101:. The suite consists of three piano duets with purely technical titles, written four years apart and in the opposite order of their presentation.
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https://www.allmusic.com/composition/aper%C3%A7us-d%C3%A9sagr%C3%A9ables-unpleasant-glimpses-pieces-3-for-piano-4-hands-mc0002355502
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for violin and piano). So it is interesting to learn that in August 1912 he intended to arrange the two original
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Steven Moore
Whiting, "Satie the Bohemian: From Cabaret to Concert Hall", Oxford University Press, 1999, p. 520.
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A.L. (Satie's middle initials), Catalogue of Agence E. Demets, December 1913. Ornella Volta (ed.),
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Fête donnée par des
Chevaliers Normands en l'honneur d'une jeune demoiselle (XIe siecle)
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47:. It shows the early development of his mature style, a product of his studies at the
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212:. But in September 1912, when E. Demets published his first humoristic piano suite
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and asked for more, Satie felt he was on the right creative track at last. The
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https://theses.ncl.ac.uk/dspace/bitstream/10443/2124/1/Hanlon,%20A.M.%2013.pdf
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took place in Paris on January 19, 1914. Fourteen-year-old musical prodigy
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and Jean-Joël Barbier (Universal Classics France, 1971, reissued 2002),
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https://imslp.org/Aper%C3%A7us_d%C3%A9sagr%C3%A9ables_(Satie%2C_Erik)
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Apart from works for piano four hands Satie's output of instrumental
252:. He struggled through a "clumsy and much-corrected" sketch of the
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For its publication in 1913 Satie wrote, "The beautiful and limpid
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20:
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477:, Cambridge University Press, 1990, p. 292, p. 348, note 20.
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was not composed until October 1912. Marked in the score
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1055:Sonnerie pour réveiller le bon gros Roi des Singes
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827:Les trois valses distinguées du précieux dégoûté
170:Choses vues à droite et à gauche (sans lunettes)
750:Croquis et agaceries d'un gros bonhomme en bois
358:A Mammal's Notebook: The Writings of Erik Satie
489:Free public domain score available at IMSLP -
396:, Cambridge University Press, 1990, pp. 57-59.
1041:Petit prélude de 'La Mort de Monsieur Mouche'
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240:is scarce (primarily 2 trumpet duets and the
167:for orchestra (1912), the violin-piano suite
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978:Cinq grimaces pour Le songe d'une nuit d'été
932:Veritables Preludes flasques (pour un chien)
215:Veritables Preludes flasques (pour un chien)
51:. In performance it lasts about 5 minutes.
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360:, Atlas Press, London, 1996, pp. 207-208.
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304:and Dominique Merlet (Mandala, 1990),
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876:Prélude de la porte héroïque du ciel
953:Vieux sequins et vieilles cuirasses
225:An early public performance of the
85:(1905-1908) and orchestration with
296:(Denon, 1980), Wyneke Jordans and
276:and Richard Deas (Candide, 1970),
179:for solo piano (1914), the ballet
43:composed between 1908 and 1912 by
16:Suite for piano duet by Erik Satie
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883:Préludes flasques (pour un chien)
806:Heures séculaires et instantanées
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925:Trois morceaux en forme de poire
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743:Chapitres tournés en tous sens
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1188:20th-century classical music
1098:The Minimalism of Erik Satie
644:Trois petites pièces montées
340:(Brilliant Classics, 2013).
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1183:Compositions by Erik Satie
1112:Musée-Placard d'Erik Satie
939:Verset laïque et somptueux
911:Sonneries de la Rose+Croix
334:Katia and Marielle Labèque
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918:Sports et divertissements
848:Petite ouverture à danser
764:Descriptions automatiques
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206:Very close and melancholy
176:Sports et divertissements
379:Pierre-Daniel Templier,
336:(KML, 2009), Sandra and
89:(1909-1912). His friend
72:Schola Cantorum de Paris
49:Schola Cantorum de Paris
904:Sonatine bureaucratique
736:Avant-dernières pensées
683:Quatre petites mélodies
662:Bonjour Biqui, Bonjour!
79:Conservatoire de Paris
74:
28:
326:Jean-Philippe Collard
302:Jean-Pierre Armengaud
143:was the first of the
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37:(Unpleasant Glimpses)
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992:Geneviève de Brabant
729:Aperçus désagréables
704:Trois poèmes d'amour
637:La belle excentrique
569:List of compositions
344:Notes and references
99:Aperçus désagréables
56:Aperçus désagréables
33:Aperçus désagréables
1034:Les Pantins dansent
1020:Le Fils des étoiles
1013:La statue retrouvée
1006:La Diva de l'Empire
1027:Le piège de Méduse
985:En habit de cheval
963:Other compositions
869:Prélude d'Eginhard
771:Embryons desséchés
475:Satie the Composer
394:Satie the Composer
300:(Etcetera, 1983),
272:(Musidisc, 1950),
210:En Habit de cheval
164:En habit de cheval
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1198:1912 compositions
1193:1908 compositions
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820:Le poisson rêveur
676:Messe des pauvres
318:Catherine Collard
298:Leo van Doeselaar
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1126:(1921 sculpture)
1117:Surrealist music
1065:Related articles
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615:Orchestral works
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120:- Large de vue
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1083:(1924 film)
862:Poudre d'or
799:Gymnopédies
792:Gnossiennes
714:Piano music
654:Vocal music
330:Pascal Rogé
278:Jean Wiener
242:Choses vues
131:- Non vite
122:(Wide view)
62:Description
1177:Categories
999:Je te veux
897:Sarabandes
778:Enfantines
560:Erik Satie
422:review at
407:Erik Satie
381:Erik Satie
288:in 1988),
261:Recordings
133:(Not fast)
45:Erik Satie
26:Erik Satie
1105:Monotones
1080:Entr'acte
1073:A Romance
946:Vexations
834:Nocturnes
220:Pastorale
201:Pastorale
159:dissonant
117:2. Choral
1149:Category
1123:The Gift
1108:(ballet)
420:Allmusic
370:edition.
310:Noël Lee
173:(1914),
128:3. Fugue
722:Allegro
690:Socrate
669:Ludions
605:Relâche
591:Mercure
576:Ballets
497:Portals
246:Aperçus
227:Aperçus
192:Ludions
151:In the
145:Aperçus
841:Ogives
598:Parade
523:France
254:Choral
187:Spleen
182:Parade
154:Choral
1161:Audio
623:Danse
511:Music
140:Fugue
328:and
316:and
308:and
292:and
268:and
248:for
198:The
137:The
70:The
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