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| Composer : | Satie, Erik (1866 - 1925) | ||||
| Instrumentation : | Marimba and Piano2 other versions | ||||
| Style : | Romantic | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 19 Sep 2023 Eric Alfred Leslie Satie (1866 – 1925), who signed his name Erik Satie after 1884, was a French composer and pianist. He was the son of a French father and a British mother. He studied at the Paris Conservatoire, but was an undistinguished student and obtained no diploma. In the 1880s he worked as a pianist in café-cabaret in Montmartre, Paris, and began composing works, mostly for solo piano, such as his Gymnopédies and Gnossiennes. He also wrote music for a Rosicrucian sect to which he was briefly attached. In the view of the Oxford Dictionary of Music, Satie's importance lay in "directing a new generation of French composers away from Wagner?influenced impressionism towards a leaner, more epigrammatic style". Debussy christened him "the precursor" because of his early harmonic innovations. Satie summed up his musical philosophy in 1917: "To have a feeling for harmony is to have a feeling for tonality… the melody is the Idea, the outline; as much as it is the form and the subject matter of a work. The harmony is an illumination, an exhibition of the object, its reflection.". Chapitres tournés en tous sens (Chapters Turned Every Which Way) is a 1913 piano composition by Erik Satie. One of his humoristic keyboard suites of the 1910s, it was published by the firm E. Demets that year. Ricardo Viñes gave the premiere at the Salle Erard in Paris on January 14, 1914. Satie announced the title of this suite as an upcoming project in his April 1913 advertisement in the periodical Le Guide du concert, although he did not begin sketching the music until late August. On September 16 he wrote to his protégé Alexis Roland-Manuel with ironic bluster, "I have just completed the Chapitres tournés en tous sens. I consider this a great triumph". As with most of Satie's piano suites from this time, the Chapitres is a trilogy of unrelated pieces. The melodic lines are kept simple through the borrowings from operettas and children's songs, but backed up by Satie's unique and often experimental harmonic sense. A little narrative preface picks up where the title ("Le porteur de grosses pierres" -- The carrier of large stones) leaves off, offering us glimpses of the protagonist: He carries them on his back. He smirks and looks very sure of himself. His strength amazes the little children. We see him transporting an enormous stone, a hundred times bigger than himself. (It is a pumice stone). The cocky laborer goes about his job accompanied by another borrowed operetta melody, "Vive la Paresse" ("Long Live Laziness") from Robert Planquette's Rip (1884). But a second narrative between the staves of the score shows he is vainly trying to hide his struggle with the burden. Shedding its confident tone the music begins to stagger, and in the suite's loudest moment the hauler drops the stone with a blunt fortissimo crash. The punchline of the preface had a double meaning for Satie. One of his personal quirks was that he never washed his hands with soap, but with pumice stone. Source: Wikipedia (https://en.wikipedia.org/wiki/Chapitres_tourn%C3%A9s_e n_tous_sens). Although originally composed for Solo Piano, I created this Interpretation of "Le porteur de grosses pierres" (The carrier of large stones) from "Chapitres Tournés en Tous Sens" (Chapters Turned in All Directions) for Marimba (Single Staff) and Piano. Sheet central : | Chapitres tournés en tous sens (4 sheet music) | | |||
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