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Booklet-SCD1075.Pdf Erilz Satie THE COMPLETE PIANO MUSIC VOL. 6 PIANO PIECES 1913-1920 Olof Hojer piano ~~rV~-.q~yr-~-'- -- - - -- - -'- 7 Petites danses de "Le Piege de MCduse" Sonatine Bureaucratique 4'02 Quadrille 0'27 111 Allegro 1'00 Valse 0'38 121 Andnzte 1'22 Pas vite 0'39 131 Vivnsche 1'27 Mazurka 0'30 Nocturnes Un peu vif 0'16 No. 1 Polka 0'27 No. 2 Quadrille 0'25 No. 3 No.4 Les Pantins Dansent No. 5 Ragtime Parade 2'37 No. 6 Premier Menuet 1'55 -- The recordings were made in the Rosenberg Hall, Malmo College of Music, September & November 1993; July & September 1994 and January & February 1995. Instrument: Steinway D. Piano technicians:Leif Samuelsson & Andr6 Studencki.Recording engineer: Bertil Ostberg. Cover: Photo of ErikSatiefrom 1922, wearing his firstsmokingjacket. All photos & illustrations courtesy Archives de la Fondation Erik Satie. English translation: Isabel and Martin Thomson. Executive producers: Erland Boethius & Stefan Navermyr. marl)^ thanks to Ornella Volta ofArc11i1~esde la Fo~tdarionErik Safie for invalitable help in this recording project. MUSIC FOR PIANO DUET Olof Hoier & Max Lorstad piano Trois Morceaux en forrne de poire Manihre de 3'18 Fugue de Papier 2'15 Commencement Trois petites Ppi&cesmontees Prolongation du msme 1'01 De SEnfance de 1'37 I (Lentement) 1'28 Pantagruel (Reverie) I1 (Enlev&) 2'57 Marche de Cocagne 0'53 111 (Brutal) 6 (Dharche) En Plus 2/04 Jeu de Gargantua 1'33 Redite 1127 (Coin de Polka) Apequs desagrbables La belle Excentrique Pastorale 1/27 Marche franco-lunaire 1'29 Choral 0'56 Grande Ritournelle 1'46 Fugue 2'28 Valse du "Myst6rieux 2'13 Baiser dans S(Eil" En Habit de Cheval Choral 0'44 Grande Ritournelle 1'44 Fugue litanique 2120 Cancan Grand-Mondain 1'54 Autre Choral 0'36 Total time: 67'03 Erik Satie and the piano BY OLOF HOJER "The piano, like money, is only pleasant to those who have the touch." Erik Satie (Fronr Mlrsirrgs of a Mzcle) The piano stands as acentral pillarinErikSatie's earneda meagre income as acabaret pianist. He strangecomposingcareer. Fromhis firstmusical would occasionally give piano lessons, and in studies in his native Honfleurto the ballet~roiects= " later years appeared sporadically as a pianist with the Parisian avant-garde of later years, his performing his own newly-written pieces. As production is in one way or another connected to late as 1923, for instance, two years before his the piano. death, he played the Trois Morcealrx err fonire His earliest known work is a little Allegr-o for depoire forpiano duet with thepianist Marcelle piano from 1884; his last piano piece -a clas- Meyer during a Dadaist happening in Paris. sicist Meri~ret- is dated 1920. More than half However, though Satie's relationship with the music he wrote during his 40 years of the piano was a lifelong and productive one, it composing was intended for the piano, or was seems to have been quite problematic. Francis first presented to the public in piano version. If Ponlenc, one of the young composers in Satie's one were to count separate movements and post- circles around 1920, indicated this in a remi- humously published sketches and fragments, niscence: this would represent some 200 pieces. One may "ErikSatie very seldorrr played tlre piarro. even say that Satie's music up until the ballet Irr~ay11crve heard lrir~raccor~~par~y some of Prrrnde (1917) was solely written for the piano. his songs hvo or tllree tinies, at tlre r~rost, What he had composed in other genres to that a~~deven t11en Ire tried to get olrt of it to the point - theatre music, cabaret music and solo elid. Itnasn~ostlyRicdo Viries, Marrelle songs (along with individual attempts for Meyer; Auric or rrryself ~lropla)led orchestra amongst other things) -represents a I illstead. " relatively small part. Judging by existing sources, his fragmentary and incomplete studies at the As a composer, Satie was long described as Conservatoire de Paris seem to have mainly an odd man out who tried to dissimulate musi- concerned piano playing. During certain periods calplainness and incompetent techniquebehind of his life (especially from 1899 to circa 1909), he a smokescreen of irony, verbal pleasantty and all kinds of avant-garde pirouetting. Posterity composer Jan Dussek at the audition seems retained a similar image of him as a pianist: an nigh-prophetic. Dussek (1760-1812) was not amateur bungler who had to depend on others to only renowned for his delicatetouch andsingable hear what his compositions sounded like -or playing, but was also something of a visionary, an alcoholic tapeur B gages (slang expression for aforerunner of Chopin, Schumann and Brahms. dance pianist), a bounty player who had to be It was this singable quality, the beauty of locked up a few hours ahead so that he could tone and theelegance that were held as the most perform his duties at thecabarets of Montmartre. positive aspects of young Satie's playing. But Distortedimagesusually contain some grain apart from that his teachers found him an of truth. This most certainly holds true for Satie. increasing source of disappointment. His piano But the contention that he should be a complete teacher thought that he shoulddevote himself to amateur at the piano must be relegated to the composition, his theory teacher that he should rich flora of anecdotes and myths that su~vound concentrate on playing. Critical evaluations this enigmatic, eccentric and charismatic figure. began to accumulate: he was mainly accused of However,it would appearthat he was completely "i~dolence"and was soon considered to he "the uninterested in the piano as such, in the great laziest pupil in the conservatory". In June 1882 pianistic tradition or in maintaining his skills in he had to leave the conservatory, the school any way. Nor does he seem to have bothered to rules stipulating that any student not selected own an instrument in adequate condition for the public con~petitionsthree years running himself. In the home of his parents he naturally should end their studies. In the autumn of 1885 had access to a piano, as well as in his first own he auditioned again, this time with a Chopin home (on one occasion he advertised that he, as ballad, and was admitted once more. He was a former student at the conservatory, would taught by none other than the famous George receive piano pupils). His small hedsits up on Mathias, once a pupil of Chopin's. However, Montmartre (1890-1896 and 1896-1898) were aftera year they hadbothgrown tired, andSatie presumably too small to house aninstrument; in fled to do voluntary military service. In the final any case the second, the so-called "closet", was. conservatory reports he was described as "a In his youth, Satie evidently displayed quite very unimportant pupil" and "totally useless". a gift as a pianist. At the age of 13 he was These frustrating experiences were doubt- received as a pupil in a preparatory class at the less themaincauseofSatie's ambiguous attitude tradition-bound and demanding Paris Conser- to the piano, and to the musical establishment. vatory. His choice to play a movement from a In aletter adressed (though possibly never sent) piano concerto by the Czech piano virtuoso to theconservatory in the autumnof 1892, Satie eloquently tells, in the pompous and quasi- put together by melodic and chordal segments religious style he then cultivated, of the time he in static, timeless montages. Satie turned his spent in this institution (which he haddescribed hack on the need of contemporary music for elsewhere as "rather ugly to look at, a kind of variation and linear development: he found local penitentiary bereft of outer beauty - or another musical time, based on repetition and inner, for that matter"): circularity, a ritual repetition of small units complete in themselves. In all this he also "As n cl~ilrlI ntterlded yorir clrrsses; My , expressed another need, closely bound to the soril~t~nsso delicnte yoii coiild 110tririder- zsthetic of repetition and ritual, allowing all stnrid it ... Despite My estrelrte yoiith nrld things to occur slowly, casting a spell on time. My e-1-qiiisite sriyplerless you rliade Me Practically everything he wrote during 1886 to detest tlie crude Art gori teach wit11gorir 1899 was characterized by a slow, hypnotically roiiritelligerice; )loiir ir~esplicoblestrict- grinding movement. ness rliode Me loilg despise yori ... May Ae It has been said that this distinctive compo- Lord forgive yori; blessed be t11e iilijofo,?- sition technique appeared as a solution ill rillate soiils yoii have yet to tencl~... " ex-trenlis,an escape from a paralysing technical Of course, posterity has reason to be grateful incompetence. We shall never know the tiuth in for the fact that Satie could not bring himself to this matter. In any case, the Conservatory's join the ranks of the soon-forgotten composing view on music and how to compose for the piano, piano virtuosos (to whom one must count his which was forced upon Satie, was of no use to teacher. Mathias. who is little more than a him in this experimentation with musical "time" footnotein the history of Frenchpiano-playing). and development. The teaching of the time-honoured and time- Nevertheless, Satie always conceived his consumingpiano was thoroughly academic and music in terms of pianism. In spite of that, branded with the strict French way of thinking. though, he never composed at the keyboard: This wasof coursenothing for Satie, whetherhe this he did in his head, on walks or, quite was genuinely lazy, or, which is more likely, frequently, at a caf6 table. There is no evidence torn because he felt out of place.
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