Erik Satie

Par SATIE ERIK. Formation : Musique de Chambre, Solo - Instrumentation : 1 Piano Solo - Niveau de Difficulté : 5/6 - Intermédiaire/Avancé - Durée : 6 mns - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale, Incontournable Réédité - Compositeur : Erik SATIE - / Niveau : Intermédiaire à Avancé / Classique, Pédagogique / Répertoire / Piano

Par SATIE ERIK. Formation : Musique de Chambre, Solo - Instrumentation : 1 Piano Solo - Niveau de Difficulté : 5/6 - Intermédiaire/Avancé - Durée : 1 mn 45 - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale, Incontournable Réédité - Compositeur : Erik SATIE - / Niveau : Intermédiaire à Avancé / Classique, Pédagogique / Répertoire / Piano

Par SATIE ERIK. Formation : Musique de Chambre, Solo - Instrumentation : 1 Piano Solo - Niveau de Difficulté : 3/6 - Intermédiaire - Durée : 2 mn 40 - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale, Incontournable Réédité - Compositeur : Erik SATIE - / Niveau : Intermédiaire / Classique, Pédagogique / Répertoire / Piano

Version Révisée en 2010 par Sarah Fahy et Patrice Bourgès.

Ce sont les oeuvres probablement les plus célèbres d?Erik Satie, composées en février et avril 1888.
Leur titre évoque la Grèce antique : les Gymnopédies, « fêtes des enfants nus », étaient célébrées à Sparte, tous les ans, en l?honneur de soldats morts au combat. Fait-il référence au style volontairement dépouillé, à la nudité, de ces pièces ? A leur allure processionnelle ? A leur simplicité enfantine?

Quoiqu?il en soit, ce sont trois valses lentes, de même facture, dans lesquelles un thème, à la main droite, se déploie sur un accompagnement obstiné, basse sur le premier temps, accord sur le deuxième.
Les nuances, allant de pp à p (hormis quelques passages f ), les indications de tempo (lent et douloureux, lent et triste, lent et grave), les septièmes non résolues de l?harmonie, tout contribue au caractère mélancolique qui se dégage de ces trois pièces. / Classique / Fahy, Sarah / Bourgès, Patrice / Partition / Agrafé /

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.

Headstrong and eccentric Satie consciously distanced himself from the Romantic traditions of the nineteenth century. His three miniatures for piano 'Gymnopédies' are the first testimony to his idea of a 'NewSimplicity': repetitive steady rhythms that are reminiscent of ancient cult dances have their very own meditative charm. Satie’s principle of stringing together musical units rather than forcing them to develop later provedgroundbreaking for many musical movements of the twentieth century. Satie would certainly have appreciated the balanced print image of Henle's Urtext edition as he took pleasure in the visual design of his musical scores.

This new, completely revised edition of the Nocturnes is based on Robert Orledge's critical edition of Satie's works for piano (in 3 volumes; catalogue numbers: SLB 5960 - SLB 5961 - SLB 5962). Orledge's work has returned to Satie?s manuscripts and first editions to give pianists completely accurate and reliable texts to play from.

Satie?s progressive incidental music of 1891-92 though explicitly aimed against French Wagnérisme is not intended as a parody. Commissioned by the Rosicrucian master and ardent Wagnerian Joséphin Péladan this plain purely instrumental music proceeds independently from the dramatic action.For the first time this pioneering Urtext edition on Satie?s incidental music evaluates a previously neglected autograph on the Préludes. In addition the three popular Préludes are presented in both their versions. Notes on interpretation and a detailed Foreword introduce this exciting moderately difficult work which formed the basis of Satie?s earlyreputation as a composer and which he considered one of his most important compositions.- Moderate level of difficulty.- Includes a glossary (Fr/Ger/Eng).- Notes on performance practice (Ger/Eng).- Detailed Foreword (Ger/Eng) and Critical Commentary (Eng).Contents:Le fils des étoiles. PastoraleKaldéenne du Sar Josephin Peladan (incidental music)Le fils des étoiles. WagnérieKaldéenne du Sar Peladan. Préludes (printed version of the three Préludes)

éditée par Robert Orledge-This new completely revised edition of Poudre d'or is based on Robert Orledge's critical edition of Satie's works for piano (in 3 volumes; catalogue numbers: SLB 5960 - SLB 5961 - SLB 5962). Orledge's work has returned to Satie's manuscripts and first editions to give pianists completely accurate and reliable texts to play from.

This new, completely revised edition of the Trois Sarabandes is based on Robert Orledge's critical edition of Satie's works for piano (in 3 volumes; catalogue numbers: SLB 5960 - SLB 5961 - SLB 5962). Orledge's work has returned to Satie?s manuscripts and first editions to give pianists completely accurate and reliable texts to play from.

Le pianiste et compositeur français écrivent ces engageant des morceaux comme un hommage à Erik Satie. / Piano

Six short pieces from Satie's early years which capture the composer's graceful unconventionality. With historical and performance notes. Intermediate Level. Includes online audio for all the pieces recorded by the editor Matthew Edwards.

Par SATIE ERIK. With the five Nocturnes composed in 1919, Satie concluded the series of cyclically organized piano pieces which, in a way, constitute the backbone of his oeuvre. As his models, he chose the eponymous pieces by John Field and Frédéric Chopin, borrowing not only the romantic, elegiac inflections, but also the tripartite form and rocking movement. Totally original, in turn, is the harmony which he devised according to his own system. Commenting on his Nocturnes, Satie once said: 'This is a different expression of myself”. Indeed, the pieces, which are not difficult to play, seem unusually serious and far removed from the nonsense, parody and cabaret atmosphere that colour such a large part of his oeuvre./ Répertoire / Piano