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Composer & Artist:
Composer: Erik Satie
Artists: Sandra & Jeroen van Veen
About this Album:
Alfred Erik Leslie Satie (1866–1925) was born in Honfleur, of a Normand father and a Scottish mother. He rates as one of music’s true originals – a real ‘one-off ’. After his studies as an organist, and then a period as a rather unsuccessful concert pianist having studied with several eminent teachers (he hated the rules of academic life), he enrolled in the French Army. This didn’t solve his problems with life either, so he deliberately contracted bronchitis and was invalided out after being declared unfit for service.
It was after this sad episode that he started to compose, and his earliest published work was Valse-Ballet. Satie then entered the life of Parisian nightclubs, absorbing all the influences of sound and life on offer, becoming friends with Debussy – they met when Satie had got a job as second pianist at a club. Satie had developed a unique way of composing – a kind of musical freehand – and was introducing complex chord structures that would come to influence Debussy. His music attracted the attention of such leading figures as Diaghilev, Picasso, Ravel, Stravinsky and Cocteau. Even so, Satie had a feeling that he wasn’t being taken seriously as a composer, and embarked on a three-year counterpoint study with Albert Roussel. The piano four-hands form has a long and distinguished history with many major symphonic works by Brahms, Rachmaninoff and Stravinsky published in this form for a wide domestic market. For many years the great classical composers’ works had appeared in this form, including works by Mozart and Schubert, who wrote specifically for piano four-hands. In the days before LPs, CDs and MP3s this was how music was heard in the home.
Tracklist:
00:00:00 Parade - Ballet Réaliste (1917): Choral
00:00:57 Parade - Ballet Réaliste (1917): Prélude du rideau rouge
00:02:33 Parade - Ballet Réaliste (1917): Prestidigitateur chiNois
00:05:20 Parade - Ballet Réaliste (1917): Petie fille américaine
00:06:53 Parade - Ballet Réaliste (1917): Ragtime du paquebot
00:09:20 Parade - Ballet Réaliste (1917): Acrobates
00:12:52 Parade - Ballet Réaliste (1917): Suite au Prélude du rideau rouge
00:13:12 Trois Morceaux En Forme de Poire (1903): Manière de commencement: Allez modérément
00:17:06 Trois Morceaux En Forme de Poire (1903): Prolongation du même: Au pas
00:18:05 Trois Morceaux En Forme de Poire (1903): I. Lentement
00:19:28 Trois Morceaux En Forme de Poire (1903): II. Enlévé
00:22:50 Trois Morceaux En Forme de Poire (1903): III. Brutal
00:26:01 Trois Morceaux En Forme de Poire (1903): En plus: Calme
00:28:23 Trois Morceaux En Forme de Poire (1903): Redite: Dans le lent
00:30:11 GymNopédie No. 1: Lent et douloureux (1888)
00:34:12 Aperçus Désagréables (1908): Pastorale: Assez lent
00:35:48 Aperçus Désagréables (1908): Choral: Large de vue
00:37:15 Aperçus Désagréables (1908): Fugue: Non vite
00:40:28 En Habit de Cheval (1911): Chorale: Grave
00:41:37 En Habit de Cheval (1911): Fugue litanique: soigneusement et avec lenteur
00:44:31 En Habit de Cheval (1911): Autre chorale: Non lent
00:45:26 En Habit de Cheval (1911): Fugue de papier: Assez modéré
00:48:01 Musiques d'Ameublement (1917): I. Tapisserie en fer forgé
00:49:28 Musiques d'Ameublement (1917): II. Carrelage phonique
00:50:37 Trois Petites Pièces Montées (1919): I. de l'enfance de Pantagruel: Rêverie, modéré
00:51:46 Trois Petites Pièces Montées (1919): II. Marche de Cocagne: Démarche, temps de Marche
00:52:46 Trois Petites Pièces Montées (1919): III. Jeux de Gargantua: Coin de Polka, mouvement de Polka
00:54:24 La Belle Excentrique - Fantaisie Sérieuse (1920): Grande ritournelle: Pas trOp vite
00:56:29 La Belle Excentrique - Fantaisie Sérieuse (1920): Marche franco-Lunaire
00:58:22 La Belle Excentrique - Fantaisie Sérieuse (1920): Valse du mystérieux baiser dans l'oeil: Mouvement de valse
01:01:02 La Belle Excentrique - Fantaisie Sérieuse (1920): Cancan grand-mondain: GalOp
01:03:17 GymNopédie No. 3 (1888)
01:06:37 Cinéma (1924)
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