 | Satie, Erik - "Celle qui parle trop" from "Chapitres Tournés en Tous Sens" for Marimba & Piano No. 1 Marimba et Piano |
VoirPDF : "Celle qui parle trop" from "Chapitres Tournés en Tous Sens" (No. 1) for Marimba & Piano (5 pages - 195.28 Ko)36x⬇ VoirPDF : Marimba (65.34 Ko) VoirPDF : Piano (72.47 Ko) VoirPDF : Conducteur complet (159.84 Ko) MP3 : "Celle qui parle trop" from "Chapitres Tournés en Tous Sens" (No. 1) for Marimba & Piano 6x⬇ 138x
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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. Satie left extensive sketches for the text of "Celle qui parle trop" (She Who Talks Too Much), a sign of the growing importance the verbal element was assuming in his piano suites. A lady drags her husband through a department store, wearing him down with her purchases and gossip. Dizzying triplets illustrate her inane chatter ("I want a hat of solid mahogany", "Mrs. Thingummy has an umbrella made of bone", "Miss Whats-her-face has married a man as dry as a cuckoo") while her exasperated spouse grumbles to the tune of "Ne parle pas, Rose, je t'en supplie" ("Rose, do not speak, I beg you") from Aimé Maillart's operetta Les dragons de Villars (1856). This theme slows to a chromatically distorted end as the husband drops dead from exhaustion. The wife falls silent at last, and the man's final breath is quietly expelled with an unresolved eleventh chord. 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 "Celle qui parle trop" (She Who Talks Too Much) 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) | | |||
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