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Satie had little patience for academic teaching or conventional musical forms. Not knowing the rules before breaking them laid the groundwork for his originality but also left him with limited technique to realize his ideas. The music of his Rose + Croix period (1891-1895) chronicles his search for a
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recalled, "He was in the position of a man who knows only thirteen letters of the alphabet and decides to create a new literature using only these, rather than admit his own insufficiency. For sheer bravado, it was unparalleled at the time, but he made it a point of honor to succeed with his system.
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dubbed this "punctuation form". None of the cells are finite and are open to transposition and repetition, even into other compositions. Pianist Olof Hojer found stylistic similarities between this piece and another Satie work on a Middle Ages theme, the
81:
Satie used such a compositional system for the first time. The score is undated but internal evidence places it around mid-1892; curiously, it was written on the back of the manuscript for Satie's earliest known piece, the
88:(1884). This system involves the juxtaposition of 13 harmonic cells divided into categories determined by whether the melodic line rises or falls; some are called "terminations" and "points of rest".
136:), and with a measured tone of otherworldly detachment. No drama or virtuosity, nothing resembling mainstream musical trends in France during the early 1890s. Satie further flipped the clichés of
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Despite its organizational scheme the piece shares the same sound world as the rest of the Rose + Croix works. It is a ceremonial procession of
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221:(Decca, 2003), Håkon Austbø (Brilliant Classics, 2006), Cristina Ariagno (Brilliant Classics, 2007), Ulrich Gumpert (Phil.harmonie, 2013),
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278:, Macmillan Publishers Limited, London, 1986, p. 138. Reprinted from "The New Grove Dictionary of Music and Musicians", 1980 edition.
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sound compositional method of his own, relying on his gifts for harmony and melody. It was a painstaking process. His friend
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or "mystic" phase, it was published posthumously in 1929. A typical performance lasts about 4 minutes.
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217:, 1994), Bojan Gorišek (Audiophile Classics, 1994), Olof Höjer (Swedish Society Discofil, 1996),
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Fête donnée par des
Chevaliers Normands en l'honneur d'une jeune demoiselle (XIe siecle)
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Fête donnée par des
Chevaliers Normands en l'honneur d'une jeune demoiselle (XIe siecle)
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Robert
Orledge, "Satie the Composer", Cambridge University Press, 1990 p. 355, note 2.
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was not discovered until after his death in 1925. His close friend and music executor
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Olof Höjer, notes to "Erik Satie: The
Complete Piano Music, Vol. 2", pp. 15-16.
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Bottom panel: 11th
Century Norman Royal Court, with Knights and Ladies of Rank
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by putting the "program" into the lengthy title, which reflected his
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P. Contamine de Latour, "Erik Satie intime: souvenirs de jeunesse",
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Like a number of Satie's compositions, the existence of the
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132:-like melodic fragments, characteristically slow in tempo (
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Festival Given by Norman
Knights in Honor of a Young Lady
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Patrick Gowers, "Satie's Rose-Croix Music (1891-1895)",
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894:Sonnerie pour réveiller le bon gros Roi des Singes
931:Metropolitan Church of Art of Jesus the Conductor
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810:Choses vues à droite et à gauche (sans lunettes)
666:Les trois valses distinguées du précieux dégoûté
274:Patrick Gowers and Nigel Wilkins, "Erik Satie",
589:Croquis et agaceries d'un gros bonhomme en bois
276:The New Grove: Twentieth-Century French Masters
359:http://imslp.org/4_Pr%C3%A9ludes_(Satie,_Erik)
880:Petit prélude de 'La Mort de Monsieur Mouche'
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817:Cinq grimaces pour Le songe d'une nuit d'été
771:Veritables Preludes flasques (pour un chien)
328:Proceedings of the Royal Musical Association
197:(twice, for Angel in 1968 and EMI in 1987),
144:roots and fascination with things Medieval.
348:Orledge, op. cit., pp. 3, 186-189, 274-275.
213:(Le Chant du Monde, 1986), Klára Körmendi (
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155:arranged to publish it along with the two
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357:Original edition of the score at IMSLP
308:, Faber and Faber, London, 1995, p. 25.
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149:Fête donnee par des Chevaliers Normands
79:Fête donnee par des Chevaliers Normands
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371:
289:Erik Satie: Music, Art and Literature
70:He admitted to me: 'I have to commit
715:Prélude de la porte héroïque du ciel
792:Vieux sequins et vieilles cuirasses
29:) is an 1892 piano composition by
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722:Préludes flasques (pour un chien)
645:Heures séculaires et instantanées
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764:Trois morceaux en forme de poire
167:(1929). Another Satie disciple,
103:observed that some of its same
16:Piano composition by Erik Satie
582:Chapitres tournés en tous sens
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74:to get one bar to stand up'".
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238:For orchestra (arr. Poulenc):
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1049:19th-century classical music
937:The Minimalism of Erik Satie
483:Trois petites pièces montées
256:Orchestre National de France
225:(Brilliant Classics, 2016),
201:(Vox, 1968, reissued 1990),
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1054:Compositions for solo piano
248:The Utah Symphony Orchestra
107:can be found in the ballet
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1044:Compositions by Erik Satie
951:Musée-Placard d'Erik Satie
778:Verset laïque et somptueux
750:Sonneries de la Rose+Croix
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757:Sports et divertissements
687:Petite ouverture à danser
603:Descriptions automatiques
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67:J. P. Contamine de Latour
291:, Routledge, 2016, p. 8.
743:Sonatine bureaucratique
575:Avant-dernières pensées
522:Quatre petites mélodies
501:Bonjour Biqui, Bonjour!
330:92 (1965-6), pp. 1-25.
231:Steffen Schleiermacher
125:
62:Conservatoire de Paris
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229:(Grand Piano, 2018),
211:Jean-Pierre Armengaud
123:
48:
831:Geneviève de Brabant
568:Aperçus désagréables
543:Trois poèmes d'amour
476:La belle excentrique
408:List of compositions
262:Notes and references
157:Préludes du Nazaréen
60:As a student at the
33:. An example of his
873:Les Pantins dansent
859:Le Fils des étoiles
852:La statue retrouvée
845:La Diva de l'Empire
219:Jean-Yves Thibaudet
866:Le piège de Méduse
824:En habit de cheval
802:Other compositions
708:Prélude d'Eginhard
610:Embryons desséchés
250:(Vanguard, 1968);
189:(Columbia, 1950),
163:in the collection
161:Prélude d'Eginhard
126:
117:for piano (1893).
105:chord progressions
96:Prélude d'Eginhard
58:
1059:1892 compositions
1009:
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659:Le poisson rêveur
515:Messe des pauvres
287:Caroline Potter,
244:Maurice Abravanel
209:(Philips, 1986),
207:Reinbert de Leeuw
205:(Forlane, 1980),
191:Jean-Joël Barbier
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965:(1921 sculpture)
956:Surrealist music
904:Related articles
596:Danses gothiques
454:Orchestral works
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306:Satie Remembered
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258:(London, 1999).
114:Danses gothiques
54:Santiago Rusiñol
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227:Nicolas Horvath
223:Jeroen van Veen
187:Francis Poulenc
177:
169:Francis Poulenc
165:Quatre Préludes
159:(1892) and the
111:(1892) and the
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729:Premier Menuet
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252:Charles Dutoit
195:Aldo Ciccolini
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153:Darius Milhaud
138:Romantic music
101:Robert Orledge
99:(1893), while
90:Patrick Gowers
72:tours de force
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969:Ornella Volta
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233:(MDG, 2021).
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215:Naxos Records
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203:France Clidat
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193:(BAM, 1967),
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199:Frank Glazer
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56:, circa 1892
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18:
922:(1924 film)
701:Poudre d'or
638:Gymnopédies
631:Gnossiennes
553:Piano music
493:Vocal music
41:Description
35:Rosicrucian
1038:Categories
838:Je te veux
736:Sarabandes
617:Enfantines
399:Erik Satie
181:For piano:
175:Recordings
50:Erik Satie
31:Erik Satie
944:Monotones
919:Entr'acte
912:A Romance
785:Vexations
673:Nocturnes
130:plainsong
77:With the
988:Category
962:The Gift
947:(ballet)
561:Allegro
529:Socrate
508:Ludions
444:Relâche
430:Mercure
415:Ballets
302:Comœdia
85:Allegro
1014:Portal
680:Ogives
437:Parade
142:Norman
1000:Audio
462:Danse
109:Uspud
134:Lent
19:The
52:by
1040::
254:,
246:,
1016::
391:e
384:t
377:v
361:.
25:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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