In 1910 the "Jeunes Ravêlites", a group of young musicians around Ravel, proclaimed their preference for Satie's earlier work (from before the Schola period), reinforcing the idea that Satie had been a precursor of Debussy. At first Satie was pleased that at least some of his works were receiving public attention, but when he realised that this meant that his more recent work was overlooked or dismissed, he looked for other young artists who related better to his more recent ideas, so as to have better mutual support in creative activity. Thus young artists such as Roland-Manuel, and later Georges Auric and Jean Cocteau, started to receive more of his attention than the "Jeunes". Since 1911 he had been on friendly terms with Igor Stravinsky, about whom he would later write articles.
MUSIQUES INTIMES ET SECRETES (1906-1913)
In Musiques intimes et secretes ("Intimate and Secret Music") and the famous "Vexations" (from Pages mystiques, 1892-1895), Satie describes the conceptual nature of human mental activity and then requires the performers to experience and scrutinize, simultaneously, the exact moments of shifting psychological states.
SIX PIECES DE LA PERIODE (1906-1913)
The six pieces collected under the name Pièces de la période should be regarded as exercises and most are very short.
APERCUS DESAGREABLES (1908-1912)
(Unpleasant glimpses)
Aperçus désagréables is a set of three piano duets, composed immediately following Satie's late return to formal education at the Paris Schola Cantorum (he entered at the age of forty!). They represent the beginnings of the composer's mature style, and foreshadow the economical counterpoint of his later works for the piano. Immediately denounced by critics, who called them "pretentious and boring," they also underline the often ironic twists in Satie's public reception; having originally been dismissed as an undisciplined amateur, he saw his newly-rigorous style rejected for precisely the opposite reasons. However, it is precisely this new compositional aesthetic -- marked by irony, wit, and reticence -- that would eventually form his legacy and exert a great influence on fellow French composers.
"Fugue" was the first of the three Aperçus composed, completed in August of 1908, followed in September of that same year by "Choral." The "Fugue" -- essentially a dialogue between two pianists -- was written with Satie's friend Claude Debussy in mind as the second pianist -- and the two did play the piece together in September of 1908. It is possible that the other two duets were also conceived with Debussy in mind. The "Pastorale" was not written until October of 1912, and is decidedly melancholy in character. "Pastorale" was completed around the same time as En Habit de cheval, another collection of fugues and chorales.
NOUVELLES PIECES FROIDES (1910-1911)
More than ten years separate these fromthe first sets of pieces, sharing the same title of “Cold Pieces”. Each contains Satie’s ‘holy trinity’ of three miniatures, related in many ways, but thrown off-balance in typically original ways. The first two pieces of the Nouvelles are actually the same piece composed twice over. In each, the same eight-bar theme is stated three times but with different harmonies. The textures are different: the block chords of On a Wall are smoothed into the arpeggios of On a Tree. The third piece, On a Bridge, bears little resemblance to its predecessors and is a demonstration of the invertible counterpoint Satie studied at the Schola Cantorum. It ends with a whole-tone passage, either an hommage or coup at Debussy!
DEUX REVERIES NOCTURNES (1910-1911)
Two nice short pieces. These were also studies.
CARNET D'ESQUISSES ET DE CROQUIS (1897-1914)
THe pieces Satie wrote as a the results of his contrapuntal training at the Schola Cantorum are valuable, just as painters sketchbooks are, to understanding his further development. And in among them there are pleasant surprises, like in the Carnet d'esquisses et de croquis, consisting of 21 small sketches, where the beautiful 32-seconds-long No. XVII Exercises and the somewhat longer can-can-like No XIX Gambades stand out.
Tracklist
1. Satie - Musiques Intimes Et Secretes - Nostalgie 1:00
2. Satie - Musiques Intimes Et Secretes - Froide Songerie 0:57
3. Satie - Musiques Intimes Et Secretes - Facheux Exemple 1:11
4. Satie - 6 Pieces De La Periode - Desespoir Agreable 1:13
5. Satie - 6 Pieces De La Periode - Effronterie 2:42
6. Satie - 6 Pieces De La Periode - Poesie 1:01
7. Satie - 6 Pieces De La Periode - Prelude Canin 1:16
8. Satie - 6 Pieces De La Periode - Profondeur 1:42
9. Satie - 6 Pieces De La Periode - Songe-Creux 1:59
10. Satie - Apercus Desagreables - Pastorale 1:29
11. Satie - Apercus Desagreables - Choral 0:58
12. Satie - Apercus Desagreables - Fugue 2:29
13. Satie - Nouvelles Pieces Froides - Sur Un Mur 2:25
14. Satie - Nouvelles Pieces Froides - Sur Un Arbre 2:25
15. Satie - Nouvelles Pieces Froides - Sur Un Pont 2:45
16. Satie - Deux Reveries Nocturnes - Pas Vite 1:20
17. Satie - Deux Reveries Nocturnes - Tres Moderement 2:22
18. Satie - Carnet D'Esquisses Et De Croquis - Air 0:19
19. Satie - Carnet D'Esquisses Et De Croquis - Essais 0:52
20. Satie - Carnet D'Esquisses Et De Croquis - Notes 0:30
21. Satie - Carnet D'Esquisses Et De Croquis - Le Prisonnier Maussade 0:47
22. Satie - Carnet D'Esquisses Et De Croquis - Esquisses 'Le Grand Singe' 0:33
23. Satie - Carnet D'Esquisses Et De Croquis - Exercices 0:49
24. Satie - Carnet D'Esquisses Et De Croquis - Notes 0:22
25. Satie - Carnet D'Esquisses Et De Croquis - Harmonies 1:03
26. Satie - Carnet D'Esquisses Et De Croquis - Songerie Vers 'Jack' 1:23
27. Satie - Carnet D'Esquisses Et De Croquis - Bribes 0:36
ERIC SATIE (1808-1925)
Complete Piano Works Vol. 5
Piano – Bojan Gorišek
[2006] Audiophile / CBR320 / scans
O Púbis da Rosa
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