Author Topic: Erik Satie  (Read 29823 times)

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Offline San Antone

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Re: Erik Satie
« Reply #220 on: May 22, 2018, 09:57:44 AM »
Can you not see the irrelevance of arguing with Mahlerian?

 :D

I admit, you have a point.

 8)

Offline snyprrr

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Re: Erik Satie
« Reply #221 on: May 23, 2018, 11:42:35 AM »
People often forget also that Satie committed himself to taking rigorous musical studies with Vincent d’Indy at the Schola Cantorum de Paris while in his late 30s. He had the ability to write the most technically-assured piece one could write, but he chose to follow his own muse, which is admirable. But, the reasoning for him entering academia again was that he felt he needed the formal training.

... which mostly manifest themselves in the works of that period, say, 1899-1912. One begins to find some really intricate counterpoint ('Song-Creux' my fav). However, a lot of these pieces ARE just formal exercises that anyone of us would more than likely write if we were in the same position.

(I think I took a class with a regional, and fairly well know, Composer. The first thing we had to do was to write a fugue, or a counterpoint, or something I found very very very very very very boring (and HARD!!) and I dumped that class)

However, I agree that Cage is lazy...



 :laugh: :laugh: :laugh:


And, I'm sorry that your don't find the Nocturnes to be Masterpieces :'( :'( :'(

Fra :'(nkly... all that early stuff is Mastermiecestopieces... the THREE Gymnopedes,... the CONCEPT married to a Perfect Melody... Pure Genius...


LOL, I'm still awaiting my last Satie disc,... from that slow overstock UK... so I still have a final compendium listening of newish works, including the 2Piano version of 'Socrate'. (speaking of Cage)


I JUST got back to the 3 Sarabandes,... soooo many people bang out those 'fortes' too much for my taste, even '80s Ciccolini. DeLeeuw is quite mild. Roge is very nice in (only) No.3. I really haven't found my Sarabandes yet...


I dunno,... I am becoming pleased with ALL Satie (maybe not some of the academic leaves that maybe should have been left off the canon.

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Offline snyprrr

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Dreary Satie Cultists
« Reply #222 on: May 23, 2018, 11:49:16 AM »
What's really irked me in this SatieMania2018 is the crop of players that "do things" to Satie's works, most notably in the 'Mystical' works. Horvath I find absolutely horrid, and his instrument and recording venue choice is highly unflattering. Others take the deLeeuw road, but without, at least, his purposeful pulse (slow as it may be- some of these others just seem to be wallowing in their own (perceived?) importance.

I think the time is ripe to STOP all further Satie recordings until we can get a grasp of what we've lost.
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Offline snyprrr

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Re: Erik Satie IT'S PERFECTLY OBVIOUS
« Reply #223 on: July 09, 2018, 07:51:50 AM »
It seems quite obvious to me that Satie's inspiration for one of the 'Gnossienes' (I forget which one, but you'll hear it) comes directly from Chopin's Nocturne,... and, I think it's 15/2,... if not, it may be 9/2, but I think it's 15/2. If you don't hear it as obviously as I do, maybe it's one of the adjacent ones...


Also, that Debussy's 'Hommage a Rameau' is directly influenced by Satie's 'Mystical' works seems a little more than obvious to me...


there u have it.
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