231:
without sauerkraut." And
Cocteau related a conversation with Debussy in which he claimed the composer directly quoted Satie's ideas on the function of dramatic music: "There is no need for the orchestra to grimace when a character comes on the stage. Do the trees in the scenery grimace? What we have to do is to create a musical scenery, a musical atmosphere in which the characters move and talk." The veracity of these statements, both made after Debussy's death in 1918, cannot be known for sure, as Debussy himself never openly acknowledged (in words at least) Satie as an influence. But they precisely define the
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1217:. He personally congratulated the composer backstage and then wrote a scathing review, which Satie viewed as intolerable hypocrisy. Poueigh won his libel suit by arguing that the open format of postcards allowed his concierge to read Satie's insults. Satie was forced to pay a fine but on appeal his prison sentence was suspended and ultimately vacated. See Volta, "Satie Seen Through His Letters", pp. 130–140.
113:
1332:
1322:. In private correspondence he expressed increasing unhappiness with the project due to what he called Cocteau's "intrigues", and he abandoned it by early 1924. Not a note of this score has come to light, and as Satie never destroyed his manuscripts, it stands as a significant mystery in his canon. See Orledge, "Satie the Composer", pp. 235–238 and pp. 322–323.
410:, "of an admirably Oriental character", would "prepare the spectator impatiently for the tableau he is going to see." The play was not a success and the audience greeted the unusual score with a puzzled silence. Writing of the chilly response to Satie's music, Robert Orledge mused that "Probably the only impatience it generated was for it to be over."
458:
sporadic war of words between composer and critic that lasted more than a decade. Over the years Satie would denounce Willy as a "dull-witted pen-pusher" and "dreary piece of literary garbage" in open letters to the press, private correspondence, and in his publications as leader of his own mock-religious sect, the
533:, was among those who bought a copy of this original edition. He had first met Satie in 1893 and was deeply impressed with his harmonic experiments. In 1911, when Ravel was established as one of France's leading composers, he programmed some of Satie's early piano pieces at a concert sponsored by his progressive
523:, reduced for piano, were first published by E. Baudoux & Cie in 1896. Satie removed the bar lines from the score and added playing directions that further emphasized the music's non-dramatic nature: "White and immobile," "Pale and hieratic," "Like a gentle request," "Complacently lonely," "Watch from afar."
457:
as "nervous" because "one doesn't know which end to grab them by." He concluded with a pun on the composer's name, writing that this "faucet salesman's music" had only given him "indifferent
Satiesfaction." The quarrelsome Satie had never been attacked in print before, and Willy's review instigated a
196:
Satie kept his thoughts on Péladan's play to himself, but he clearly had no intention of composing the kind of "Wagnerian" accompaniment the
Rosicrucians would have preferred. In fact his remote and deliberately non-dramatic music is anti-Wagnerian in stylistic principle, without resorting to parody.
970:. Satie authority Robert Orledge suggested that this purported reminiscence should be treated with caution, as Cocteau had been "intent on establishing Satie's reputation and influence, largely at Debussy's expense." See Orledge, "Debussy and the Theatre", Cambridge University Press, 1982, pp. 45–46.
366:
Satie's lengthy "Decorative Themes" (accounting for 4/5 of the score) are aloof, heavily chordal and repetitive, with occasional reference to material from the preludes. They were apparently intended to serve as an unobtrusive sonic backdrop for the stage action. The pieces are not synchronized with
736:
by Ramon Casas (1891). Though a portrait of Satie, Casas emphasized the painting's symbolic nature with its title and deliberate use of elongation, making the composer appear taller than in life. By his own account Satie stood 1m. 67 cm. (about 5' 6"). See
Ornella Volta, "A Mammal's Notebook: The
230:
to a text by Joséphin Péladan, and I explained to
Debussy the necessity for a Frenchman to free himself from the Wagnerian adventure which in no way corresponded to our national aspirations. And I told him that I was not anti-Wagner in any way but that we ought to have our own music—if possible
175:
around 3000 BC. A shepherd—the titular "son of the stars"—is chosen to join the
Chaldean priesthood, but is faced with conflicts which force him to choose between the spirit and the flesh. Stage action is largely replaced by philosophical monologues which one contemporary critic described as
1648:
474:—later one of Satie's most important champions—witnessed the incident and wrote in his diary, "Willy struck Erik Satie with his cane after Satie had intentionally thrown Willy's hat on the floor. The city police took Satie away."
482:
and the 1921 essay "A Hymn in Praise of
Critics"), and his antagonism nearly landed him in prison during World War I, when he was convicted of criminal libel for sending profanely insulting postcards to a well-known reviewer.
835:
Patrick Gowers and Nigel
Wilkins, "Erik Satie", "The New Grove: Twentieth-Century French Masters", Macmillan Publishers Limited, London, 1986, p. 130. Reprinted from "The New Grove Dictionary of Music and Musicians", 1980
374:
premiere states that Satie wrote his score for flutes and harps. Satie's manuscript exists only in his 1896 piano reduction, with no indication of how the flute and harp parts might have been distributed. In his book
60:
Satie provided some 75 minutes' worth of music for Péladan's play, apparently intended for flutes and harps, and this represents his longest through-composed surviving score. However, only his three short act
477:
Satie's lifelong hatred of critics, whom he referred to as his "faithful enemies", likely dates from his protracted feud with Willy. Critics became a favorite target of his mature literary satire (e.g., the
134:. This esoteric-religious-artistic group, led by the flamboyant Péladan, aimed to "ruin realism, reform Latin taste and create a school of idealist art" in 1890s France. Particular reverence was paid to
617:(1902). Satie himself never completed an opera, but in later years he carried his concept of non-dramatic music further—out of the theatre, in fact. It was the germ of his post-World War I
383:
pointed out problems of tuning and intonation for the harpists which would have made the music impractical to play as written, so the nature of its first performance remains a mystery.
462:. Willy countered by ridiculing Satie in his widely-read columns as a "mystical sausage-brain," an "esoteric slut," a "penniless street musician," and "a Debussy who passed through
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after he disparaged Satie in a 1911 book on contemporary French music. What motivated the postcard attack was
Poueigh's conduct at the premiere of Satie's 1917 ballet
1237:
The program note proclaimed Satie "an inspired forerunner" who, "a quarter of a century ago, was already speaking the musical 'jargon' of today." See Joseph Smith,
682:(Le Chant Du Monde, 1986), Bill Quist (Windham Hill, 1986), Satsuki Shibano (Firebird, 1987), Riri Shimada (Sony, 1987), Bojan Gorišek (Audiophile Classics, 1994),
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premiered at the
Galerie Durand-Ruel in Paris on March 22, 1892, as part of Péladan's first Salon de la Rose + Croix. The program note announced that Satie's three
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but apparently never got beyond the first; his manuscript is now lost. An orchestral version was subsequently created by a disciple of both Ravel and Satie,
1918:
218:—provide our only clues to his creative mindset of the period. In a 1922 public lecture on Debussy, Satie maintained: "When I first met him he was full of
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Péladan alternately subtitled his play a "Chaldean Pastoral" or a "Wagnérie Kaldéenne", the latter a reference to the author's Wagner fixation. It is a
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and the composer's conception of theatre music as a "static sound décor", functioning independently of the stage action. In 1922 the American critic
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where he toiled as a second-string pianist. It also introduced him to the downside of notoriety. Only one critic commented on his music for
1795:
894:
Pierre-Daniel Templier, "Erik Satie", MIT Press, 1969, p. 13. Translated from the original French edition published by Rieder, Paris, 1932.
1739:
746:
Rollo H. Myers, "Erik Satie", Dover Publications, Inc., NY, 1968, pp. 22–23. Originally published in 1948 by Denis Dobson Ltd., London.
331:
The entire score is woven from 10 identifiable motifs, nine of which are variations or slight developments of the opening of the first
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LaPhil.com (Los Angeles Philharmonic website), "Erik Satie: 'Le fils des étoiles – Prelude: La Vocation'. Retrieved 03/17/16 from
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537:(SMI), which began to promote him as an important forerunner of modern trends in French music. Ravel himself played the first
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spent his last years there. See Volta, "Satie Seen Through His Letters", Marion Boyars Publishers, London, 1989, pp. 63–66.
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Satie's original incidental score consists of three short act preludes and three substantially longer "Decorative Themes":
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214:. Their youthful discussions about the future of French music—as recalled many years later by Satie and his propagandist
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The Rose + Croix salon, a high-profile event, marked the first time Satie's music was publicly performed outside the
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57:" period (1891–1895) and played a role in his belated "discovery" by the French musical establishment in the 1910s.
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789:(1918), at around 35 minutes in performance. This does not include the repetitions "indicated" in the piano pieces
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http://www.allmusic.com/composition/le-fils-des-%C3%A9toiles-chaldean-pastoral-3-preludes-for-piano-mc0002360865
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http://www.allmusic.com/composition/le-fils-des-%C3%A9toiles-chaldean-pastoral-3-preludes-for-piano-mc0002360865
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Olof Höjer, notes to "Erik Satie: The Complete Piano Music, Vol. 2", pp. 12–13, Swedish Society Discofil, 1996.
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1294:
926:
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Steven Moore Whiting, "Satie the Bohemian: From Cabaret to Concert Hall", Clarendon Press, 1999, pp. 145–146.
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Steven Moore Whiting, "Satie the Bohemian: From Cabaret to Concert Hall", Clarendon Press, 1999, pp. 145–146.
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2012:
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353:-style dance that appears in the "decorative" music for Act 1. Satie would later reuse this piece as the
814:
Steven Moore Whiting, "Satie the Bohemian: From Cabaret to Concert Hall", Clarendon Press, 1999, p. 147.
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have been cited as among Satie's most radical compositions, with their forward-looking explorations of
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for solo piano and published them in 1896. It is through these keyboard excerpts that the music for
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Robert Orledge, "Satie the Composer", Cambridge University Press, 1990, p. 107 and p. 347, Note 5.
858:
D. Roberts, "The Total Work of Art in European Modernism", Cornell University Press, 2011, p. 126.
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638:: Christopher Hobbs (twice, London Hall, 1989 and EMC, 2003), Steffen Schleiermacher (MDG, 2001),
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702:(Decca, 2003), Cristina Ariagno (Brilliant Classics, 2006), Chisako Okano (Bella Musica, 2014),
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592:, was first published by Salabert in 1973. Its premiere recording was by pianist-musicologist
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100:, twenty years later, were signing their names with a noble gesture of revolutionary defiance
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1986:
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1155:(ed.), "Satie Seen Through His Letters", Marion Boyars Publishers, London, 1989, pp. 63-66.
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582:
508:
466:". The hostilities climaxed in April 1904 when the two had a physical altercation during a
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were performed at the premiere in Paris on March 22, 1892. Satie subsequently arranged the
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During the early 1920s Satie was under commission to compose a three-act satirical opera,
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8:
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699:
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Fête donnée par des Chevaliers Normands en l'honneur d'une jeune demoiselle (XIe siecle)
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1195:
Volta, "Satie Seen Through His Letters", Marion Boyars Publishers, London, 1989, p. 131.
825:
http://www.laphil.com/philpedia/music/le-fils-des-etoiles-prelude-la-vocation-erik-satie
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On the margins of his own epoch, this isolated figure long ago wrote several brief pages
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625:"), background scores for social events specifically designed not to be listened to.
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449:, Willy dismissively identified Satie as the "ex-pianist of the ground floor at the
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According to Jean Cocteau, Satie's early ideas of "musical scenery" represented by
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that are those of a precursor of genius. These works, unfortunately few in number,
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Dr. Christopher Hobbs page at Coventry University website, retrieved 03/18/16 at
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http://www.worldcat.org/title/fils-des-etoiles-pastorale-kaldeenne/oclc/85058590
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Writings of Erik Satie", Atlas Publishing, London, 1996 (reissued 2014), p. 115.
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Péladan's text and may have been omitted at the premiere for practical reasons.
222:, and very conscientiously was seeking a path which he had difficulty in finding
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marked the only time he was moved to orchestrate the music of another composer.
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When Satie broke with the Rose + Cross sect in an open letter to the journal
158:(1892–1897) for the promotion of his work and ideas. The premiere staging of
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1207:(pseudonym Octave Seré, 1876-1958), who became one of Satie's main critical
757:
http://wwwm.coventry.ac.uk/researchnet/cucv/Pages/Profile.aspx?profileID=500
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http://www.boosey.com/shop/prod/Satie-Erik-Le-fils-des-toiles-piano/2235569
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http://www.boosey.com/shop/prod/Satie-Erik-Le-fils-des-toiles-piano/2235569
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surprise one through their prescience of modern vocabulary and through the
312:
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92:"harmonic inventions which sound for all the world like passages to which
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845:
Lawrence Gilman, "Music of the Month: Monsieur Satie and Mr. Carpenter",
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The early 1890s also saw the blossoming of Satie's close friendship with
54:
557:(1888). The unsigned program note for this concert spoke of Satie thus:
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during his short-lived involvement (1891–1892) as official composer and
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Quoted in Mary E. Davis, "Erik Satie", Reaktion Books, 2007, pp. 81–82.
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It is worth noting that Debussy's 1896 arrangements of two of Satie's
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In terms of composed material Satie's second-longest work would be
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In the years before World War I Ravel planned to orchestrate the
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773:
http://www.experimentalmusic.co.uk/emc/EMC_Piano_Catalogue.html
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Is like that which is above to accomplish the miracles of will.
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686:(Philips, 1996), Olof Höjer (Swedish Society Discofil, 1996),
339:
a self-sufficient interlinked structure that "forms a kind of
142:, whom the Rosicrucians valued above all composers. After the
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1186:
Quoted in Volta, "Satie Seen Through His Letters", pp. 65–66.
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Roger Nichols, "Ravel", Yale University Press, 2011, p. 402.
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was the second-half of a program that also featured Satie's
884:
http://gallica.bnf.fr/ark:/12148/bpt6k5470406r/f82.item.zoom
347:." An exception in the overall motivic scheme is the little
343:", with the melodic ideas shifted about in a "compositional
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quasi-prophetical character of certain harmonic discoveries
162:
would feature prominently in the first Rosicrucian salon.
49:
to accompany a three-act poetic drama of the same name by
303:
6. Theme Decoratif: La Terrace du Palais du Patesi Goudea
207:... never influenced the independence of my aesthetic."
191:
Receiving the strength of superior and inferior things.
1263:, London, 1970 (reprinted in 1977 and 1982), pp. 63–64.
964:
Cocteau's claim appeared in the March 1, 1924 issue of
921:
Steffen Schleiermacher, notes to his Urtext edition of
882:(1892), PD document retrieved 03/18/16 from Gallica at
611:"determined the aesthetic" of Debussy's landmark opera
596:(1989), who produced his own critical edition in 2003.
203:
in August 1892 he declared, "The good Monsieur Péladan
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There had been a public dress rehearsal on March 19.
335:. Biographer Steven Moore Whiting found in the three
1327:
1919:Sonnerie pour réveiller le bon gros Roi des Singes
646:(Brilliant Classics, 2016), Alessandro Simonetto (
283:4. Theme Decoratif: La Salle Basse du Grand Temple
1956:Metropolitan Church of Art of Jesus the Conductor
1173:Charenton was a famous French insane asylum. The
1086:. See Whiting, "Satie the Bohemian", pp. 146–147.
460:Metropolitan Church of Art of Jesus the Conductor
2038:
1835:Choses vues à droite et à gauche (sans lunettes)
1691:Les trois valses distinguées du précieux dégoûté
1095:Quoted in Orledge, "Satie the Composer", p. 107.
771:from EMC Piano Catalogue, retrieved 03/18/16 at
181:That which is above is like that which is below;
1614:Croquis et agaceries d'un gros bonhomme en bois
425:, but he was among the most powerful in Paris:
324:, with its harmonically innovative "stacks" of
150:in 1891, Péladan gained financial backing from
16:1891 incidental music composition by Erik Satie
1048:Orledge, "Satie the Composer", p. 347, note 4.
1905:Petit prélude de 'La Mort de Monsieur Mouche'
1408:
1842:Cinq grimaces pour Le songe d'une nuit d'été
1796:Veritables Preludes flasques (pour un chien)
718:, Utah Symphony Orchestra (Vanguard, 1968).
588:The complete score, unearthed and edited by
429:, ubiquitously known by his pen name Willy.
293:5. Prelude du Troisieme Acte – L'Incantation
1259:Laurence Davies, "Ravel Orchestral Music",
1164:Whiting, "Satie the Bohemian", pp. 167–168.
1057:Orledge, "Satie the Composer", pp. 106–107.
1039:Whiting, "Satie the Bohemian", pp. 145–146.
654:(Grand Piano, 2017), Alessandro Simonetto (
189:And then descends once more on to the earth
1415:
1401:
1143:Whiting, "Satie the Bohemian", pp. 150–151
734:Satie, Moulin de la Galette - The Bohemian
226:.... At that time I was writing music for
507:'s personal copy, which he later gave to
273:3. Prelude du Deuxieme Acte- L'Initiation
1104:Alexander Carpenter, Allmusic review at
903:Quoted in Templier, "Erik Satie", p. 13.
867:Alexander Carpenter, Allmusic review at
490:
431:
390:
311:
253:1. Prelude du Premier Acte – La Vocation
111:
20:
1239:notes to "Erik Satie's First Sarabande"
767:Notes on Christopher Hobbs' edition of
721:
307:(The Terrace of Patesi Goudea's Palace)
2039:
1134:Whiting, "Satie the Bohemian", p. 147.
1125:Orledge, "Satie the Composer", p. 107.
1021:Orledge, "Satie the Composer", p. 273.
1396:
1305:Orledge, "Satie the Composer", p. 47.
946:Quoted in Myers, "Erik Satie", p. 32.
880:Catalogue du Salon de la Rose † Croix
1740:Prélude de la porte héroïque du ciel
1318:, to a libretto by Jean Cocteau and
529:, then a 21-year-old student of the
357:of his famous suite for piano duet,
287:(The Lower Hall of the Great Temple)
187:Will rises from the earth to the sky
1817:Vieux sequins et vieilles cuirasses
674:(Universal Classics France, 1971),
45:score composed in December 1891 by
13:
1116:Templier, "Erik Satie", pp. 13–14.
263:2. Theme Decoratif: La Nuit Kaldee
14:
2063:
1747:Préludes flasques (pour un chien)
1670:Heures séculaires et instantanées
1344:
925:, Boosey & Hawkes, 2015, at
443:In his March 26, 1892 column for
176:"something like literary music":
152:Count Antoine de La Rochefoucauld
146:in Paris rejected the script for
2019:
2008:
2007:
1789:Trois morceaux en forme de poire
1383:(orchestration by Roland-Manuel)
1381:Les fils des etoiles, 3 Preludes
1367:Les fils des etoiles, 3 Preludes
1330:
486:
360:Trois morceaux en forme de poire
1308:
1299:
1293:Boosey & Hawkes listing at
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1253:
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53:. It is a key work of Satie's "
2047:Incidental music by Erik Satie
1607:Chapitres tournés en tous sens
1422:
994:Templier, "Erik Satie", p. 17.
839:
829:
817:
808:
777:
761:
749:
740:
727:
1:
628:
535:Société musicale indépendante
107:
1962:The Minimalism of Erik Satie
1508:Trois petites pièces montées
495:Original edition of Satie's
7:
2052:Compositions for solo piano
955:Myers, "Erik Satie", p. 32.
386:
130:of the Mystic Order of the
10:
2068:
1976:Musée-Placard d'Erik Satie
1803:Verset laïque et somptueux
1775:Sonneries de la Rose+Croix
1073:Sonneries de la Rose+Croix
370:The brochure for the 1892
122:Satie wrote the score for
2002:
1928:
1826:
1782:Sports et divertissements
1712:Petite ouverture à danser
1628:Descriptions automatiques
1577:
1517:
1478:
1439:
1430:
847:The North American Review
802:Sports et divertissements
1355:, complete score (piano)
397:Salon de la Rose + Croix
242:
156:Salon de la Rose + Croix
138:art and to the music of
1768:Sonatine bureaucratique
1600:Avant-dernières pensées
1547:Quatre petites mélodies
1526:Bonjour Biqui, Bonjour!
480:Mémoires d'un amnésique
395:Catalogue of the first
355:Maniere de commencement
183:And that which is below
598:Steffen Schleiermacher
575:
551:(1887), and the third
512:
440:
427:Henry Gauthier-Villars
400:
328:
194:
119:
29:
680:Jean-Pierre Armengaud
642:(Passacaille, 2013),
619:musique d’ameublement
559:
494:
435:
394:
316:Opening of the first
315:
235:of Satie's music for
178:
154:to launch the annual
115:
24:
1856:Geneviève de Brabant
1593:Aperçus désagréables
1568:Trois poèmes d'amour
1501:La belle excentrique
1433:List of compositions
1353:Les fils des etoiles
1281:Worldcat listing at
1083:Missa Papae Marcelli
722:Notes and references
711:Preludes (orchestra)
614:Pelléas et Mélisande
583:Alexis Roland-Manuel
509:Alexis Roland-Manuel
453:" and described his
267:(A Night in Chaldea)
73:is primarily known.
39:The Son of the Stars
1898:Les Pantins dansent
1884:Le Fils des étoiles
1877:La statue retrouvée
1870:La Diva de l'Empire
923:Le Fils des étoiles
769:Le fils des etoiles
700:Jean-Yves Thibaudet
670:(EMI, 1971, 1988),
609:Le Fils des étoiles
543:Le Fils des étoiles
531:Paris Conservatoire
521:Le Fils des étoiles
501:Le fils des étoiles
404:Le Fils des étoiles
372:Le Fils des étoiles
322:Le Fils des étoiles
237:Le Fils des étoiles
228:Le Fils des étoiles
148:Le Fils des etoiles
124:Le Fils des étoiles
90:Le Fils des étoiles
71:Le Fils des étoiles
34:Le Fils des étoiles
1891:Le piège de Méduse
1849:En habit de cheval
1827:Other compositions
1733:Prélude d'Eginhard
1635:Embryons desséchés
513:
468:Camille Chevillard
441:
401:
377:Satie the Composer
329:
171:-like tale set in
120:
30:
2034:
2033:
1684:Le poisson rêveur
1540:Messe des pauvres
967:La Revue musicale
849:, Vol. 215, 1922.
716:Maurice Abravanel
698:(Olympia, 2001),
684:Reinbert de Leeuw
678:(Forlane, 1984),
672:Jean-Joël Barbier
594:Christopher Hobbs
503:(1896). This was
470:concert. Pianist
297:(The Incantation)
144:Comédie-Française
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2011:
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1990:(1921 sculpture)
1981:Surrealist music
1929:Related articles
1621:Danses gothiques
1479:Orchestral works
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663:Preludes (piano)
571:
277:(The Initiation)
225:
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117:Joséphin Péladan
103:
51:Joséphin Péladan
43:incidental music
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692:Roland Pöntinen
690:(Decca, 1997),
652:Nicolas Horvath
644:Jeroen van Veen
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640:Alexei Lubimov
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381:Robert Orledge
310:
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257:(The Vocation)
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233:modus operandi
212:Claude Debussy
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140:Richard Wagner
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545:, the second
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527:Maurice Ravel
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505:Maurice Ravel
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487:Later history
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1338:Music portal
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1209:bêtes noires
1208:
1205:Jean Poueigh
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704:Noriko Ogawa
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132:Rose + Croix
128:chapelmaster
123:
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38:
33:
32:
31:
18:
1947:(1924 film)
1726:Poudre d'or
1663:Gymnopédies
1656:Gnossiennes
1578:Piano music
1518:Vocal music
1369:(for piano)
982:Gymnopédies
795:(1893) and
688:Pascal Rogé
656:OnClassical
590:Robert Caby
55:Rosicrucian
2041:Categories
1863:Je te veux
1761:Sarabandes
1642:Enfantines
1424:Erik Satie
1078:Palestrina
629:Recordings
554:Gymnopédie
515:The three
419:Montmartre
350:Gnossienne
345:shell game
341:palindrome
220:Mussorgsky
168:Tannhäuser
108:Background
98:Schoenberg
94:Stravinsky
47:Erik Satie
26:Erik Satie
1969:Monotones
1944:Entr'acte
1937:A Romance
1810:Vexations
1698:Nocturnes
792:Vexations
658:, 2021).
650:, 2016),
604:in 2015.
548:Sarabande
464:Charenton
451:Chat Noir
136:Symbolist
88:heard in
2013:Category
1987:The Gift
1972:(ballet)
836:edition.
797:Le Tango
635:Complete
579:Preludes
517:Preludes
497:Preludes
455:Preludes
415:cabarets
408:Preludes
387:Premiere
379:(1990),
363:(1903).
337:Preludes
200:Gil Blas
78:Preludes
67:Preludes
63:Preludes
41:) is an
1586:Allegro
1554:Socrate
1533:Ludions
1469:Relâche
1455:Mercure
1440:Ballets
1388:YouTube
1374:YouTube
1360:YouTube
1068:Le Fils
805:(1914).
786:Socrate
539:Prelude
423:Le Fils
333:Prelude
326:fourths
318:Prelude
173:Chaldea
160:Le Fils
28:in 1891
1705:Ogives
1462:Parade
1241:, 2012
1214:Parade
570:
439:, 1896
399:(1892)
224:
205:
102:
2025:Audio
1487:Danse
1227:IMSLP
799:from
648:Aevea
499:from
437:Willy
320:from
243:Music
104:..."
1076:and
572:...
519:for
96:and
76:The
1386:on
1372:on
1358:on
1080:'s
541:to
417:of
2043::
714::
666::
621:("
585:.
239:.
1416:e
1409:t
1402:v
511:.
37:(
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