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A repetitive, childlike theme provides the subject for a loosely woven fugue, initiated by the piano "with silly but convenient naïveté." It wanders off on tangents that Satie's annotations suggest should evoke "tenderness and fatality" and "dry and distant bones." The score urges both players to
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Humor aside, Satie was painstaking in his efforts to redevelop these old musical forms in modern terms, harmonically and structurally. He rejected the first movement he completed, an untitled 31-bar chorale in G Major, and experimented with several fugue subjects (including a quotation of the
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at the halfway point (bars 5-6) is marked in the score "with the hand on the conscience." As a postscript Satie added a statement designed to annoy his critics: "My chorales equal those of Bach, with this difference: there are not so many of them, and they are less pretentious."
383:(1914), which he claimed contained "everything I know about boredom" and dedicated to "those who do not like me." See Rollo H. Myers, "Erik Satie", Dover Publications, Inc., NY, 1968, p. 87. Originally published in 1948 by Denis Dobson Ltd., London.
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is contemporaneous with the bulk of his humoristic piano suites (1913-1914) and was conceived in a similar spirit. It has been interpreted as a spoof of academic musical training, in particular that of the
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This playfully ironic showpiece burlesques violin virtuosity but nevertheless requires considerable skill from the performer. It presents often dissonant send-ups of string techniques (
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241:- along with the rest of Satie's 1914 compositions - was delayed by the start of World War I in July. Satie dedicated it to violinist Marcel Chailley (1881-1936), who with pianist
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acquired its title and "mock-virtuosic concept" before Satie wrote a note of its final version. See Robert
Orledge, "Satie the Composer", Cambridge University Press, 1990, p. 100.
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44:. Composed in January 1914 and published in 1916, it is the only work he produced for violin-piano duet. A typical performance lasts about 5 minutes.
222:- would have given the suite a conventional fast-slow-fast pattern, with the cadenza appearing in the first movement in the manner of a traditional
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357:
Jane F. Fulcher, "French
Cultural Politics and Music: From the Dreyfus Affair to the First World War", Oxford University Press, 1998, p. 203.
173:, which the player is advised to launch into "with enthusiasm" and end "very sheepishly and coldly." The suite fades out on an anticlimactic
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gave the premiere at the Ecole Lucien de Flagny in Paris on April 2, 1916. Rouart, Lerolle & Cie published the score later that year.
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The unused chorale in G Major was discovered by Robert
Orledge and first performed by him with violinist Helen Sanderson at the
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All of Satie's extramusical texts quoted in this article are
English translations from the original 1916 score available at
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Satie had a singular attitude towards the chorale, that "symbol of
Protestant piety and music pedagogy" much employed by
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providing a conclusive-sounding finish. In the end Satie scrambled this sequence, and by positioning the
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remarked on "how ordinary his first thoughts often were", and this certainly applies to the
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musical forms, enhanced by Satie's characteristic droll titles and performance directions.
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Fête donnée par des
Chevaliers Normands en l'honneur d'une jeune demoiselle (XIe siecle)
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101:. In his own compositions he associated it with boredom and conformity. The 10-bar
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in Paris, where the composer had recently ended his studies (at age 46) with
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William Thomas Walker, review of Gidon Kremer recital performance of the
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http://imslp.org/Choses_vues_%C3%A0_droite_et_%C3%A0_gauche_(Satie,_Erik)
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tackle the theme's grandiloquent final restatement "with a big head."
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292:(Denon, 1985), Tomaz Lorenz with Bojan Gorisek (Intermusic, 1995),
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at Page
Auditorium, Duke University, Durham NC, February 28, 2003
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http://data.bnf.fr/14793709/erik_satie_embarquement_pour_cythere/
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as the finale saved most of the suite's musical jokes for last.
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280:(Candide, 1972, reissued by Vox 1994 and X5 Music Group 2008),
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The suite's three brief pieces are satirical reinventions of
276:(Angel, 1971 and several EMI reissues), Millard Taylor with
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In March 1917 Satie planned to write a violin-piano piece,
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Mary E. Davis, "Erik Satie", Reaktion Books, 2007, p. 98.
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http://cvnc.org/reviews/2003/february/KremerCole.html
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375:Satie made this attitude explicit in his prefatory
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252:on May 29, 1987. It was published under the title
1059:Metropolitan Church of Art of Jesus the Conductor
938:Choses vues à droite et à gauche (sans lunettes)
794:Les trois valses distinguées du précieux dégoûté
485:Choses vues à droite et à gauche (sans lunettes)
186:Choses vues à droite et à gauche (sans lunettes)
33:Choses vues à droite et à gauche (sans lunettes)
717:Croquis et agaceries d'un gros bonhomme en bois
396:. See also Rollo H. Myers, "Erik Satie", p. 93.
202:. In his analysis of Satie's composing methods
268:Notable recordings include those by violinist
1008:Petit prélude de 'La Mort de Monsieur Mouche'
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442:). See Orledge, "Satie the Composer", p. 202.
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945:Cinq grimaces pour Le songe d'une nuit d'été
899:Veritables Preludes flasques (pour un chien)
344:Robert Orledge observed that the concluding
38:Things Seen Right-to-Left (Without Glasses)
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210:. Satie's original order for the pieces -
184:Title page of the first edition (1916) of
52:One of Satie's infrequent excursions into
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308:(Harmonia Mundi, 2009, reissued 2014).
16:1916 work for violin and piano by Satie
469:Orledge, "Satie the Composer", p. 303.
460:Orledge, "Satie the Composer", p. 302.
451:Orledge, "Satie the Composer", p. 77.
421:Orledge, "Satie the Composer", p. 96.
40:, is a suite for violin and piano by
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843:Prélude de la porte héroïque du ciel
920:Vieux sequins et vieilles cuirasses
288:(Philips, 1980), Keiko Mizuno with
256:in a new performing version of the
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1155:Compositions for violin and piano
850:Préludes flasques (pour un chien)
773:Heures séculaires et instantanées
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892:Trois morceaux en forme de poire
710:Chapitres tournés en tous sens
1:
260:, edited by Orledge in 1995.
1160:20th-century classical music
1065:The Minimalism of Erik Satie
611:Trois petites pièces montées
326:L'embarquement pour Cythère
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1150:Compositions by Erik Satie
1079:Musée-Placard d'Erik Satie
906:Verset laïque et somptueux
878:Sonneries de la Rose+Croix
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885:Sports et divertissements
815:Petite ouverture à danser
731:Descriptions automatiques
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436:Sports et divertissements
381:Sports et divertissements
36:, commonly translated as
871:Sonatine bureaucratique
703:Avant-dernières pensées
650:Quatre petites mélodies
629:Bonjour Biqui, Bonjour!
330:Hélène Jourdan-Morhange
137:3. Fantaisie musculaire
226:, and the coda of the
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169:), culminating with a
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959:Geneviève de Brabant
696:Aperçus désagréables
671:Trois poèmes d'amour
604:La belle excentrique
536:List of compositions
377:Unappetizing Chorale
346:Fantaisie musculaire
312:Notes and references
300:(Decca, 2000), and
270:Yan Pascal Tortelier
250:University of Exeter
1001:Les Pantins dansent
987:Le Fils des étoiles
980:La statue retrouvée
973:La Diva de l'Empire
432:Au clair de la lune
237:Performance of the
195:Au clair de la lune
81:1. Choral hypocrite
994:Le piège de Méduse
952:En habit de cheval
930:Other compositions
836:Prélude d'Eginhard
738:Embryons desséchés
434:in his next work,
430:Satie would quote
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29:
1165:1914 compositions
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787:Le poisson rêveur
643:Messe des pauvres
306:Alexandre Tharaud
115:2. Fugue à tâtons
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1093:(1921 sculpture)
1084:Surrealist music
1032:Related articles
724:Danses gothiques
582:Orchestral works
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290:Yūji Takahashi
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204:Robert Orledge
200:Fugue à tâtons
147:) - C Major -
125:) - C Major -
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278:Frank Glazer
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254:Autre choral
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1050:(1924 film)
829:Poudre d'or
766:Gymnopédies
759:Gnossiennes
681:Piano music
621:Vocal music
407:Choses vues
298:Pascal Rogé
258:Choses vues
239:Choses vues
208:Choses vues
58:Choses vues
48:Description
1144:Categories
966:Je te veux
864:Sarabandes
745:Enfantines
527:Erik Satie
264:Recordings
198:) for the
175:pianissimo
149:Un peu vif
107:dissonance
42:Erik Satie
26:Erik Satie
1072:Monotones
1047:Entr'acte
1040:A Romance
913:Vexations
801:Nocturnes
232:Fantaisie
212:Fantaisie
192:folksong
167:glissando
159:pizzicato
155:harmonics
142:Muscular
1116:Category
1090:The Gift
1075:(ballet)
440:Le Flirt
224:concerto
127:Pas vite
120:Groping
689:Allegro
657:Socrate
636:Ludions
572:Relâche
558:Mercure
543:Ballets
491:YouTube
171:cadenza
144:Fantasy
88:Chorale
74:Baroque
808:Ogives
565:Parade
216:Choral
56:, the
1128:Audio
590:Danse
304:with
296:with
284:with
228:Fugue
220:Fugue
163:trill
122:Fugue
93:Grave
379:to
99:Bach
489:on
1146::
218:,
214:,
177:.
165:,
161:,
157:,
69:.
519:e
512:t
505:v
140:(
118:(
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