Par SATIE ERIK. Cette petite trilogie d´Erik Satie a été transcrite pour 2 jeunes violonistes (niveau débutant en 1ère position) voulant rapidement pratiquer la musique d´ensemble. Cette partition pour deux violons et récitant facultatif permet d´aborder dès la première année d´instrument l´univers musical, original, du compositeur. Le petit texte figure sur la partition d´Erik Satie. Les jeunes élèves d´aujourd´hui pourront sourire devant la description des personnages et de leur environnement. Mais nous sommes en 1913 et on sait l´humour et la fantaisie qui caractérisaient Erik Satie dans sa vision de l´époque. Menus propos enfantins (Le chant guerrier du Roi des haricots - Ce que dit la petite Princesse des Tulipes - Valse du Chocolat aux Amendes) - Enfantillages pittoresques (Petit prélude à la journée - Berceuse - Marche du Grand Escalier) - Pecadilles importantes (Etre jaloux de son camarade qui a une grosse tête - Lui manger sa tartine - Profiter de ce qu´il a des cors aux pieds pour lui prendre son cerceau) / Niveau : Débutant / classique / Répertoire / 2 Violons

This new, completely revised and reset centenary edition of Satie?s complete piano music in three volumes has returned to Satie?s manuscripts and first editions to give pianists completely accurate and reliable texts to play from. As well as presenting every piece for piano solo or piano reduction that Satie published, this edition also includes some previously unknown pieces, like the Petite Sonate that he wrote for Vincent d?Indy at the Schola Cantorum, as well as some interesting first versions of well-known pieces, like San Bernardo, a trial version of Españaña (1913) and the markedly different first version of Les Pantins dansent (1914). In addition, there areexamples of the different types of exercises that Satie completed at the Schola between 1905 and 1912, some extra trial Enfantines, and some earlier drafts of his famous Sports et divertissements. To help pianists, suggested metronome marks have been added throughout, and there are also some performance suggestions for the Rose Croix pieces of the 1890s, which otherwise appear to be all quiet and slow. The notation has been made as user-friendly as possible, without detracting from Satie?s concerns about the ?extériorisation? of his musical thought in print.