Gradually, perhaps as he came to realize the twofold nature of his talent, texts of a different sort became an increasingly important means of expression. During the crisis years of 1898 to 1911, when he returned to the school-bench, he avoided his fictitious indications (but still indulged in his weakness for strange titles). Satie returned to school in 1905 -- at the not-so-tender age of 40. Enrolling at the Scuola Cantorum, an academic institution founded by renowned composer Vincent d'Indy, he studied theory and counterpoint in an effort to make up for what he felt were deficiencies in his technical knowledge of music. He was also likely seeking to abolish the tag of "amateur" often applied to him by critics. He graduated from the Scuola in 1908 with a diploma in counterpoint.
NOTE: Petite Musique du Clown triste and Rêverie du Pauvre, were during the period 1970-1995 credited as Satie's works probably by mistake, which Steven M. Whiting proved in Revue de Musicologie, 1995.
PIECES FROIDES
The 3 "Danses de travers" were combined under the title Pièces froides (1897), perhaps to emphasize that they weren't published hot out of the oven...
Air à faire fuir No. 2 (1897) This piece appears like a kind of intermezzo between no. 1 & 3, a well-calculated contrast in the shape of a simple, song-like tune with an accompaniment that almost seems culled from salon or cabaret music. As demonstrated by Robert Orledge, it is in fact a processed version of the English folk song The Keel Row - yet another musical ready-made, a forerunner of what would later become one of the most characteristic artistic effects of his music.
POUDRE D'OR
Poudre d'or is a waltz written for orchestra, also arranged for piano.
LE PICADILLY (1904)
Le Picadilly was written in 1904 as a march for piano with the original title La transatlantique. Here Satie again uses the ragtime style, and also (as in the 1884 Allegro and the 1897 Airs à faire fuir No. 2) adopts an outside tune. The main part of the march (after the eightbar introduction) is based on material from the 1899 Hello! Ma baby by Howard Emerson.
REVERIE DU PAUVRE (1900) is an accompaniment to Jules Massenet's song Les Enfants, which Satie copied out for a performance in one of his sketchbooks.
PETITE OUVERTURE A DANSER (c 1897)
This posthumously (1968) published sketch with title by Robert Caby, is a slightly nostalgic bagatelle with irregular chunks of music, which seems to have its origins in some cabaret context.
PETITE MUSIQUE DU CLOWN TRISTE (1900)
Petite Musiqe du Clown triste was an accompaniment to a cabaret chanson by Vincent Hyspa, Les Joies de l'Exposition, for which Satie (at Hyspa's request) arranged a well-known tune from Louis Varney's operetta La Femme de Narcisse.
VERSET LAIQUE & SOMPTUEUX (1900)
It was at the request of Charles Malherbe, librarian of the Paris Opera, that Satie composed Verset laïque & somptueux (Sumptous lay verse) on 5 August 1900 for inclusion in the collection of manuscripts entitled Musiciens contemporains to be presented at the Universal Exhibition of 1900.
While it was written at a time when Satie had decided once and for all to leave behind "kneeling music", the title nevertheless remains a trap for the unwary.
It is neither "lay" nor "sumptous", but a Verse that perfectly corresponds to the ascetic works of his early years, in the style of what might have been a last hommage to the "Parcier [he who shares in] and Maître de Chapelle" of the église Métropolitaine d'Art. This meditation, filled with almost still, chorallike chord sequences, seems to be nostalgic of the Rosicrucian period and the atmosphere of Messe des pauvres. The autograph is in Satie's beautiful, Gothic hand and bears the double cross he used to add to his name as Parcier of église Métropolitaine d'Art.
LE POISSON REVEUR ESQUISSE (1901)
The Dreamy Fish - Esquisse (the English title is also by Satie!) wass piano music to accompany a lost tale by Lord Cheminot. Both Geneviève de Brabant and The Dreamy Fish have been analysed (e.g. by Ornella Volta) as containing elements of competition with Claude Debussy, of which Debussy was probably not aware (Satie not making this music public).
TROIS MORCEAUX EN FORME DE POIRE (1903)
These three "pear-shaped" pieces (in fact they are seven) share the fate of Vexations of being among his least known works - though most have heard of them. It is usually held that this was an ironic statement on Debussy's implied suggestion that Satie should use a more traditional formal language. The piano duet was made public in 1911 and first performed in 1916 when Ricardo Vines and Satie played them at the Société lre et palette.
LA DIVA DE L'EMPIRE (1904)
"Intermezzo américain d'après la célèbre chanson de Bonnaud, Blès et Satie" This piece is a cabaret ode to desire also known as a song for voice & piano.
PASSACAILLE (1906)
The effects of his schooling on the compositions dating from the years during and immediately after his studies were enormous, and the Passacaille is just one of many works dating from this student period. Despite its name, this piece is not a true passacaglia, which would use a repeated ground bass as a basis for melodic variation; instead it employs frequent repetition of its opening few bars as an organizing device.
PRELUDE EN TAPISSERIE (1906)
The Prelude en tapisserie is another study piece, not very coherent of construction.
DOUZE PETITS CHORALS (1906-1908)
These are the result of Satie's years of counterpoint study at the Schola Cantorum. John Cage's Chorals have their origins in Erik Satie's Douze petits chorals.
1. Pieces Froides - Airs A Faire Fuir 7:15
2. Pieces Froides - Danses De Travers 5:07
3. Poudre D'or 4:12
4. Le Piccadilly 1:37
5. Reverie Du Pauvre 4:21
6. Petite Ouverture A Danser 1:41
7. Petite Musique De Clown Triste 2:30
8. Verset Laique Et Somptueux 1:23
9. Le Poisson Reveur Esquisse 6:28
10. 3 Morceaux En Forme De Poire - Maniere De Commencement 4:04
11. 3 Morceaux En Forme De Poire - Prolongation De Meme 0:48
12. 3 Morceaux En Forme De Poire - 1 Lentement 1:28
13. 3 Morceaux En Forme De Poire - 2 Enleve 2:44
14. 3 Morceaux En Forme De Poire - 3 Brutal 2:12
15. 3 Morceaux En Forme De Poire - En Plus
16. 3 Morceaux En Forme De Poire - Redite 1:32
17. La Diva De L'Empire 2:40
18. Passacaille 3:14
19. Prelude En Tapisserie 2:21
20. 12 Petits Chorals - No 1 1:15
21. 12 Petits Chorals - No 2 0:58
22. 12 Petits Chorals - No 3 0:40
23. 12 Petits Chorals - No 4 0:46
24. 12 Petits Chorals - No 5 0:41
25. 12 Petits Chorals - No 6 1:22
26. 12 Petits Chorals - No 7 0:20
27. 12 Petits Chorals - No 8 0:43
28. 12 Petits Chorals - No 9 0:33
29. 12 Petits Chorals - No 10 0:50
30. 12 Petits Chorals - No 11 0:50
31. 12 Petits Chorals - No 12 0:54
ERIC SATIE (1808-1925)
Complete Piano Works Vol. 4
Piano – Bojan Gorišek
[2006] Audiophile / CBR320 / scans
O Púbis da Rosa
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