Author Topic: Erik Satie  (Read 45357 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)

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.


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.

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.

Offline milk

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Re: Erik Satie
« Reply #224 on: July 22, 2018, 04:53:56 PM »
I bought this De Leeuw recording the other day and quite looking forward to it:



I listened a sampled a bit of this recording via YT and was quite impressed. Yes, De Leeuw plays slowly, but the result is gorgeous as if time has been suspended. Proto-minimalism perhaps?
De Leeuw is amazing. He really shows something wholly different about this music. I didn’t think Satie could be expressed in this way. There is nothing quite like this. I’d like to know of other performers who take a similar approach to a given composer.

Offline Draško

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Re: Erik Satie
« Reply #225 on: July 23, 2018, 02:40:33 AM »
I’d like to know of other performers who take a similar approach to a given composer.

Afanassiev, Batagov, Celibidache (Munich years).

Offline milk

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Re: Erik Satie
« Reply #226 on: July 23, 2018, 03:35:26 AM »
Afanassiev, Batagov, Celibidache (Munich years).
Afanassiev, huh. Never heard of him. I see he has some Bach. I wonder how it is. Batagov I know. Celibidache Again I don’t know.

Offline George

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Re: Erik Satie
« Reply #227 on: August 02, 2019, 01:33:49 PM »


Haven't heard this in a long time, as I own a ton of Satie by other pianists and this one always rubs me the wrong way when I put it on. Today I perservered and ended up enjoying it more than ever. It made me think about something. Should Satie sound more like Debussy or like Poulenc? I find many pianists play him more like Debussy, while Barbier plays him more like Poulenc, more playful, less dreamy.
"I can't live without music, because music is life." - Yvonne Lefébure

SymphonicAddict

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Re: Erik Satie
« Reply #228 on: August 02, 2019, 05:45:27 PM »
Good to know the Satie thread is surviving yet!!! lately was my first official encounter with his rather weird music. Weird in a mesmerizing way. His is the typical story about a mad scientific with skins of perceptive owls and satire gallore!

It was a special highlight the hypnotic minimalistic worlds of Gnossiennes (or Gnosiennes), I almost forget it. I was really moved by this. Lovely music in the end.
« Last Edit: August 06, 2019, 01:53:06 PM by SymphonicAddict »

Offline vers la flamme

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Re: Erik Satie
« Reply #229 on: August 07, 2019, 01:35:00 AM »

Should Satie sound more like Debussy or like Poulenc?

Neither. Satie is his own animal and has nothing to do with either Debussy or Poulenc, outside of having been a formative influence to both. The great players of Satie, I think, emphasize this originality. Two of my favorites are Reinbert de Leeuw and Frank Glazer, both wildly different, but neither of them tries to make Satie sound like Debussy.

Offline Mandryka

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Re: Erik Satie
« Reply #230 on: April 15, 2020, 07:11:36 PM »
Anyone heard Schleiermacher?
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Offline vers la flamme

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Re: Erik Satie
« Reply #231 on: April 16, 2020, 01:55:59 AM »
Anyone heard Schleiermacher?

No, but I want to. I have some of Schleiermacher's Cage (volume 7, I believe) and I want to investigate more of the links between Satie and Cage. I would imagine Schleiermacher, a Cage devotee, would be interested in bringing that out.

Offline Mandryka

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Re: Erik Satie
« Reply #232 on: April 16, 2020, 02:31:33 AM »
No, but I want to. I have some of Schleiermacher's Cage (volume 7, I believe) and I want to investigate more of the links between Satie and Cage. I would imagine Schleiermacher, a Cage devotee, would be interested in bringing that out.

Well I downloaded Vol 2, which has the mystical music, from iTunes. Much to my regret, not because of the performances, on the contrary, the performances are everything I expected.  But because I just read a review which says that Schleimacher wrote a booklet essay which is "intellectual claptrap", and what reviewers perceive as intellectual claptrap is normally the sort of thing I love. Unfortunately the booklet doesn't come with the download.

Can anyone let me have a scan?
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Offline Mandryka

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Re: Erik Satie
« Reply #233 on: April 16, 2020, 10:52:50 PM »


Another very Cage inspired glimpse of Satie’s esoteric music. Phillip Corner looks as though he’s going to be an interesting musician to explore - former Fluxus. I think this is an exceptional CD.
« Last Edit: April 16, 2020, 11:04:14 PM by Mandryka »
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FelixSkodi

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Re: Erik Satie
« Reply #234 on: May 13, 2020, 04:47:12 PM »
Maybe the most interesting Satie recording:

Satsuki Shibano's 1984 "wave notation": https://www.youtube.com/watch?v=w8buDQtwWOY

Offline Mandryka

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Re: Erik Satie
« Reply #235 on: May 13, 2020, 06:20:56 PM »
Maybe the most interesting Satie recording:

Satsuki Shibano's 1984 "wave notation": https://www.youtube.com/watch?v=w8buDQtwWOY

Excellent and new to me, thanks.
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FelixSkodi

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Re: Erik Satie
« Reply #236 on: May 13, 2020, 06:29:07 PM »
Excellent and new to me, thanks.

You are most welcome.  :)

Offline Brian

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Re: Erik Satie
« Reply #237 on: July 01, 2020, 04:43:19 AM »


Noriko Ogawa's traversal of "Vexations" is different in a couple ways - first, she plays it 142 times, just enough to fill an 80-minute CD and a compromise between the monster original 840 and the small handful of repeats some people do in complete Satie cycles. Second, she decided to upset the purists by exploring different chordal harmonizations, different tempos, etc., with the result that it's not just the same thing 142 times but more like a theme and variations. After Vexation #1, the vexations are tracked 5 to a track; the first ten variation tracks come in around 2:45 each, but later they diversify as far out as 1:47 to 3:37.

https://www.eclassical.com/labels/bis/noriko-ogawa-plays-satie-piano-music-vol-3.html