 | Satie, Erik - "Regrets des enfermés - Jonas et Latude" from "Chapitres Tournés en Tous Sens" for Marimba & Piano No. 3 Marimba et Piano |
VoirPDF : "Regrets des enfermés - Jonas et Latude" from "Chapitres Tournés en Tous Sens" (No. 3) for Marimba & Piano (6 pages - 225.9 Ko)20x⬇ VoirPDF : Marimba (64.02 Ko) VoirPDF : Piano (84.08 Ko) VoirPDF : Conducteur complet (182.17 Ko) MP3 : "Regrets des enfermés - Jonas et Latude" from "Chapitres Tournés en Tous Sens" (No. 3) for Marimba & Piano 6x⬇ 77x
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| Compositeur : | Satie, Erik (1866 - 1925) | ||||
| Instrumentation : | Marimba et Piano2 autres versions | ||||
| Genre : | Romantique | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par 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. In the enigmatic finale the text spans millennia to unite two prisoners yearning for their freedom: the biblical Jonah from the belly of the whale, and the 18th Century schemer Jean Henri Latude from the Bastille, where he spent many years (when not escaping) for attempting to swindle Madame de Pompadour. Satie quotes the children's folk song Nous n'irons plus aux bois ("We will go to the woods no more"), a tune that had haunted his friend Claude Debussy for much of his career, notably in Jardins sous la pluie from his piano suite Estampes; and the piece is dedicated to Debussy's wife, singer Emma Bardac. Pianist Viñes, who premiered the Estampes in 1903, would have gotten these connections, but what they meant for Satie is open to question. Did he, as Robert Orledge speculated, think of Debussy as an imprisoned man after his controversial marriage to Bardac? If so this would have made the dedication painfully ironic. At any rate there are no attempts here to quote Debussy's music or mimic his style. 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 "Regrets des enfermés - Jonas et Latude" (Lament of the Confined - Jonah and Latude) from "Chapitres Tournés en Tous Sens" (Chapters Turned in All Directions) for Marimba (Single Staff) and Piano. Partition centrale : | Chapitres tournés en tous sens (4 partitions) | | |||
