14-05-2021
Erik Satie Early Piano Works Rarity
Satie was a colourful figure in the early 20th-century Parisian avant-garde. His work was a precursor to later artistic movements. A previously unseen set of 'canine' piano pieces; and several other works for piano, many untitled. Some of these would be published later as additional. Collected Writings of Erik Satie (Serpent's. Satie used golden section proportions in a number of works, especially during his Rosicrucian period, but the most complex, and so interesting, is his organisation of the first three piano Nocturnes of 1919.
~Release by Erik Satie; Reinbert de Leeuw(see all versions of this release, 4 available)
Label: Philips --- EAN: "Rarity")
028942644427 --- Format: 3CDn','changelog':'return EAN removed by merry4musicbrainz','editsPending':false,'text':''Label:'' Philips --- ''EAN:'' 028942644427 --- ''Format:'' 3CD','editor':{'is_bot':false,'website':null,'is_location_editor':false,'is_banner_editor':false,'is_relationship_editor':false,'name':'pabouk','is_limited':false,'email_confirmation_date':'2015-09-06T12:37:17Z','is_wiki_transcluder':false,'deleted':false,'is_admin':false,'is_account_admin':false,'preferences':{'subscribe_to_created_artists':true,'public_subscriptions':true,'subscribe_to_created_series':true,'public_ratings':true,'email_on_vote':true,'timezone':'Europe/Prague','email_on_notes':true,'datetime_format':'%Y-%m-%d %H:%M %Z','show_gravatar':true,'subscribe_to_created_labels':true,'email_on_no_vote':true,'subscriptions_email_period':'weekly','public_tags':true},'id':388409,'gravatar':'//gravatar.com/avatar/1876b0945be35eacd11f493a53bb3013?d=mm','registration_date':'2008-03-17T14:31:22Z','biography':null,'entityType':'editor','is_editing_disabled':false,'email':'pabouk@gmail.com','is_auto_editor':true,'birth_date':null},'id':475524}},'numberOfRevisions':5,'annotation':{'id':475524,'parent':null,'creation_date':'2011-11-30T08:37:48Z','changelog':'return EAN removed by merry4musicbrainz','editsPending':false,'html':'Label: Philips --- EAN: 028942644427 --- Format: 3CD
n','editor':{'entityType':'editor','gravatar':'//gravatar.com/avatar/1876b0945be35eacd11f493a53bb3013?d=mm','id':388409,'name':'pabouk','preferences':{'datetime_format':'%Y-%m-%d %H:%M %Z','timezone':'Europe/Prague'}},'text':''Label:'' Philips --- ''EAN:'' 028942644427 --- ''Format:'' 3CD'}}'>Erik Satie Early Piano Works
Annotation
Label: Philips --- EAN: 028942644427 --- Format: 3CD
Tracklist
| ▼ CD 1 | ||||
|---|---|---|---|---|
| # | Title | Artist | Rating | Length |
| 1 | Trois Gnossiennes : I. Lent
| Erik Satie | 5:42 | |
| 2 | Trois Gnossiennes : II. Avec étonnement
| Erik Satie | 3:08 | |
| 3 | Trois Gnossiennes : III. Lent
| Erik Satie | 4:25 | |
| 4 | Gnossienne No. 4, Lent
| Erik Satie | 3:06 | |
| 5 | Gnossienne No. 5, Modéré
| Erik Satie | 3:27 | |
| 6 | Gnossienne No. 6, Avec conviction et avec une tristesse rigoureuse
| Erik Satie | 2:32 | |
| 7 | Petite ouverture à danser
| Erik Satie | 2:24 | |
| 8 | Prélude de la porte héroïque du ciel
| Erik Satie | 5:45 | |
| 9 | Danses gothiques
| Erik Satie | 13:35 | |
| ▼ CD 2 | ||||
|---|---|---|---|---|
| # | Title | Artist | Rating | Length |
| 1 | Ogives : I
| Erik Satie | 2:55 | |
| 2 | Ogives : II
| Erik Satie | 4:07 | |
| 3 | Ogives : III
| Erik Satie | 2:44 | |
| 4 | Ogives : IV
| Erik Satie | 3:45 | |
| 5 | Gymnopédies : No. 1
| Erik Satie | 6:03 | |
| 6 | Gymnopédies : No. 2
| Erik Satie | 5:04 | |
| 7 | Gymnopédies : No. 3
| Erik Satie | 5:01 | |
| 8 | Sarabandes : No. 1
| Erik Satie | 6:52 | |
| 9 | Sarabandes : No. 2
| Erik Satie | 7:25 | |
| 10 | Sarabandes : No. 3
| Erik Satie | 6:10 | |
| ▼ CD 3 | ||||
|---|---|---|---|---|
| # | Title | Artist | Rating | Length |
| 1 | Trois Sonneries de la Rose + Croix : I. Air de l'Ordre
| Erik Satie | 5:13 | |
| 2 | Trois Sonneries de la Rose + Croix : II. Air du Grand Maître (Le Sâr Joséphin Péladan)
| Erik Satie | 6:10 | |
| 3 | Trois Sonneries de la Rose + Croix : III. Air du Grand Prieur (Le Comte Antoine de la Rochefoucauld)
| Erik Satie | 3:53 | |
| 4 | Pièces froides No. 1, Airs à faire fuir : I. D'une manière particulière
| Erik Satie | 3:41 | |
| 5 | Pièces froides No. 1, Airs à faire fuir : II. Modestement
| Erik Satie | 1:52 | |
| 6 | Pièces froides No. 1, Airs à faire fuir : III. S'inviter
| Erik Satie | 3:48 | |
| 7 | Pièces froides No. 2, Trois Danses de travers : I. En y regardant à deux fois
| Erik Satie | 1:44 | |
| 8 | Pièces froides No. 2, Trois Danses de travers : II. Passer
| Erik Satie | 1:27 | |
| 9 | Pièces froides No. 2, Trois Danses de travers : III. Encore
| Erik Satie | 2:25 | |
| 10 | Prière
| Erik Satie | 1:43 | |
| 11 | Quatre Préludes : Fête donnée par des chevaliers normands en l'honneur d'une jeune demoiselle
| Erik Satie | 4:19 | |
| 12 | Quatre Préludes : Prélude d'Eginhard
| Erik Satie | 2:21 | |
| 13 | Quatre Préludes : 1er Prélude du Nazaréen
| Erik Satie | 5:27 | |
| 14 | Quatre Préludes : 2ème Prélude du Nazaréen
| Erik Satie | 4:37 | |
Credits
CD 1
| piano: | |
|---|---|
| composer: | Erik Satie(French composer) (track 7) Erik Satie(French composer) (1890) (tracks 1–3) Erik Satie(French composer) (1893) (track 9) Erik Satie(French composer) (1897-01) (track 6) |
| arrangements: | Gnossienne No. 1(catch all for arrangements) (track 1) Gnossienne No. 2(catch all for arrangements) (track 2) Gnossienne No. 3(catch all for arrangements) (track 3) Gnossienne Nº 1(simplified piano arrangement by Hans-Günter Heumann) (track 1) |
| is the basis for: | Gnossiennes: I. Gnossienne no. 3 (track 3) Gnossiennes: V. Gnossienne no. 2 (track 2) |
| later versions: | |
| orchestrations: | Gnossienne no. 3(orchestrated by Poulenc) (track 3) Trois gnossiennes: No. 1(orchestrated by Corp) (track 1) Trois gnossiennes: No. 2(orchestrated by Corp) (track 2) Trois gnossiennes: No. 3(orchestrated by Corp) (track 3) |
| part of: | |
| parts: | Danses gothiques : I. À l'occasion d'une grande peine (track 9) Danses gothiques : II. Dans laquelle les Pères de la Très Véritable et Très Sainte Église sont invoqués (track 9) Danses gothiques : III. En faveur d'un malheureux (track 9) Danses gothiques : IV. À propos de Saint-Bernard et de Sainte-Lucie (track 9) Danses gothiques : V. Pour les pauvres trépassés (track 9) Danses gothiques : VI. Où il est question du pardon des injures reçues (track 9) Danses gothiques : VII. Par pitié pour les ivrognes, honteux, débauchés, imparfaits, dèsagréables et faussaires en tous genres (track 9) Danses gothiques : VIII. En le haut honneur du vénéré Saint Michel, le gracieux archange (track 9) Danses gothiques : IX. Après avoir obtenu la remise de ses fautes (track 9) |
| recording of: | Gnossienne No. 1 (track 1) Gnossienne No. 3 (track 3) Gnossienne No. 5 (track 5) Petite ouverture à danser (track 7) |
CD 2
| piano: | |
|---|---|
| composer: | Erik Satie(French composer) (1886) (tracks 1–4) Erik Satie(French composer) (1887) (tracks 8–10) Erik Satie(French composer) (1888-02 – 1888-04) (track 5) |
| arrangements: | Deuxième Gymnopédie: Lent et triste(catch-all for arrangements) (track 6) Gymnopédie Nº 1(simplified piano arrangement by Hans-Günter Heumann) (track 5) Première Gymnopédie: Lent et douloureux(catch-all for arrangements) (track 5) Troisième Gymnopédie: Lent et grave(catch-all for arrangements) (track 7) |
| is the basis for: | Drifting, Dreaming (track 5) Gnossiennes: IV. Gymnopedie no. 1 (track 5) Variations on a Theme by Erik Satie (1st and 2nd movements, adapted from 'Trois Gymnopédies') (track 7) |
| later versions: | Trois Gymnopedies (first movement)(Gary Numan version) (track 5) |
| orchestrations: | Deuxième Gymnopédie(orchestrated by Corp) (track 6) Deuxième Gymnopédie(orch. Lenehan & Kennedy) (track 6) Gymnopédie no. 1: Lent et douloureux(orchestrated by Lenehan & Kennedy) (track 5) Gymnopédies : II. Lent et triste(Satie: Gymnopédie No. 2 orch. Roland - Manuel) (track 6) Gymnopédies: I. Lent et grave(Satie: Gymnopédie No. 3 orchestrated by Debussy) (track 7) Gymnopédies: II. Lent et douloureux(Satie: Gymnopédie No. 1 orchestrated by Debussy) (track 5) |
| part of: | Trois Sarabandes (tracks 8–10) |
| recording of: | Deuxième Gymnopédie: Lent et triste (track 6) Première Gymnopédie: Lent et douloureux (track 5) Quatre Ogives : I. Première Ogive (à J.P. Contamine de Latour) (track 1) Quatre Ogives : II. Seconde Ogive (à Charles Levade) (track 2) Quatre Ogives : III. Troisième Ogive (à Madame Clément Le Breton) (track 3) Quatre Ogives : IV. Quatrième Ogive (à Conrad Satie) (track 4) Troisième Sarabande (track 10) |
| referred to in medleys: |
CD 3
| piano: | |
|---|---|
| composer: | Erik Satie(French composer) (tracks 3, 10, 10–14) Erik Satie(French composer) (1892-02) (tracks 1–2) |
| arrangements: | Quatre Préludes : Prélude d'Eginhard(catch all for arrangements) (track 12) |
| orchestrations: | Deux Préludes posthumes et une Gnossienne : I. Fête donnée par des Chevaliers normands en l'honneur d'une jeune Demoiselle (Ⅺᵉ siècle) (track 11) |
| part of: | Pièces froides: no. 1, Airs à faire fuir (tracks 4–6) Pièces froides: no. 2, Danses de travers (tracks 7–9) Quatre préludes (tracks 11–14) |
| recording of: | Pièces froides: no. 1, Airs à faire fuir: I. D'une manière très particulière (track 4) Pièces froides: no. 1, Airs à faire fuir: II. Modestemente (track 5) Pièces froides: no. 1, Airs à faire fuir: III. S'inviter (track 6) Pièces froides: no. 2, Danses de travers: I. En y regardant à deux fois (track 7) Pièces froides: no. 2, Danses de travers: II. Passer (track 8) Pièces froides: no. 2, Danses de travers: III. Encore (track 9) Quatre Préludes : 1er Prélude du Nazaréen (track 13) Quatre Préludes : 2ème Prélude du Nazaréen (track 14) Quatre Préludes : Fête donnée par des chevaliers normands en l'honneur d'une jeune demoiselle (track 11) Trois sonneries de la Rose+Croix: I. Air de l'Ordre(piano) (track 1) Trois sonneries de la Rose+Croix: II. Air du Grand Maître (Le Sâr Joséphin Péladan)(piano) (track 2) Trois sonneries de la Rose+Croix : III. Air du Grand Prieur (Le Comte Antoine de la Rochefoucauld) (1892-02) (track 3) |
Release Group
| Allmusic: | https://www.allmusic.com/album/mw0001804082[info] |
|---|
In the minds of some observers, Erik Satie was simply an eccentric composer of weird little ditties. True, his early musical education was unsatisfactory, and most of his works were miniatures for the piano which seemed very much to defy any of the expected conventions of music. Yet he should not be dismissed too hastily, because his ideas were to have a profound influence on many musical developments over a broad timespan. Foremost amongst those composers influenced by Satie was his contemporary Debussy, the later French composer Ravel, and Stravinsky.
In his 40s, Satie made up for his earlier lack of dedication at the Paris Conservatory when he decided to study with d'Indy and Roussel, passing these exams with distinction. Nevertheless he was always well acquainted with the music of composers past and present, and did not like the large scale Romantic trends led by Wagner. For a while he earned a living playing the piano and accordion in bars and cafes in Montmartre, where he also wrote a number of popular songs. The picture we have of Satie the man is as someone who was pointedly independent, rebellious, even ruthless and scathing. He observed life with a wit frequently thick with satire and parody, yet underlying this he appeared to have a philosophical, deeply spiritual side. He became something of a celebrity among other composers, notably Debussy and 'Les Six' (including Georges Auric, Poulenc and particularly Darius Milhaud) to whom he was very supportive. He remained the avand-garde father-figure until his death from cirrhosis of the liver (suggesting a lifestyle over-indulging in alcohol).
Composer Erik Satie
Satie's music seems to mirror this multifaceted nature. On the one hand it is outwardly simple, straightforward in terms of harmony, using short melodies with little development, even repetitive at times. He used unusual scales such as the old form of modes, and others of uncertain origin suggesting folk tunes from different parts of the world. Yet behind this outwardly simple music, is something different and thought-provoking. It has attitude, a certain sadness, and often an ambivalence making it hard to fathom (or allowing different interpretations by both musician and listener). This ambivalence was enhanced by strange instructions written with the music like 'wonder about yourself' or 'open your mind'. Satie's music shows life from different angles, and is a genuine and new means of expression. Yet Satie demonstrates his non-conformist attitude, mocking his critics and the pretentiousness of other composers by giving some of his works titles such as 'True Flabby Preludes', 'Three Pieces in the Shape of a Pear' and 'Desiccated Embryos' (see the article Humour in Music).