In his piano works especially, Erik Satie (1866-1925) was a witty musical caricaturist. The eccentric French composer loved to satirize academic rules in general and the impressionistic titles of Debussy's compositions in particular, giving his own works such surrealistic names as Pieces in Pear Form and Dried Embryos, and annotating them with equally bizarre musical directions: Tres 'neuf heures du matin (Very nine in the morning), Corpulentus (Corpulent), and so on. His comic spirit is equally embodied in the music itself, as this delightful selection of seventeen piano works amply proves. They are as spare, lively, and capricious as they are hauntingly melodic. In addition to the well-known Gymnopédies and Gnossiennes, the pieces reproduced here include Sarabandes, Pièces froides, Poudre d'or, En habit de cheval, Morceaux en forme de poire, Embryons desséchés, Aperçus désagreables, Descriptions automatiques, and more.
This volume, the largest collection of Satie's piano works yet published, has been reprinted on fine-quality paper from authoritative original editions, and sturdily bound to provide you a lifetime of study and enjoyment. In its pages are some of the most original and appealing achievements of a turbulent era in music, compositions that influenced such modern masters as Ravel, Milhaud, and Poulenc.
more than the score... is a series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn, Chopin and Debussy, right up to John Cage. Each volume focuses on one piece, with written masterclasses and background information encouraging an exploration of the music - beyond the printed score.
All titles in the Edition Peters more than the score... series include written masterclasses from one of our panel of internationally-renowned pianists including Joanna MacGregor, Roy Howat, Daniel Grimwood, Clare Hammond and Adam Tendler.
more than the score... draws on material released on Tido Music, a revolutionary web resource and iPad app.
Debussy orchestrated two of the three Gymnopedies composed by his friend Erik Satie after giving an impromptu performance of the piano originals at the home of conductor Gustave Doret, who was so taken with them that he commissioned Debussy to prepare an orchestral setting for an upcoming concert, which was given on Feb. 20, 1897. Though Satie's piano originals are easily his most famous and beloved work now, they were virtually unknown in 1897. Debussy's orchestration of the first and last, presented in reverse order, did much to establish the younger composer's reputation. This newly engraved, critical edition makes these exquistite orchestral miniatures available in an affordable, easy-to-read score for the first time. The large conductor's score and orchestral parts are now also available for sale from Serenissima Music.