Satie Erik (1866-1925)
France / More info in Wikipedia
Composer, was born in Honfleur (Calvados), died in Paris.
English
Satie was born in Honfleur in 1866 and died in Paris in 1925. He attended lessons at the Paris Conservatory, just for a short time as he failed to reach the required standard. In 1886 he entered the army but soon after he left it and suffered his first mystical crisis. In his twenties he visited Montmartre and the cabaret Chat Noir. Endless artistic debates with his camaraderie influenced the development of his personality. In this period he met Debussy who would be his friend for 25 years (and who orchestrated some of his compositions).
After working for around fifteen years as a 'cafe-concert' pianist and as a composer of music-hall songs and incidental music, he decided to enter the Schola Cantorum where he studied counterpoint, fugue and orchestration in the class of Albert Roussel.
Satie knew his technique was limited but his pride and his great sensitivity led him to create intricate technical systems.
In his 20s he wrote his early piano works, then the mystical 'Rose+Croix' music that blossomed from the seeds of the Ojives (quasi-plainsong melodies with triad harmonies), in his 30s mainly cabaret music, in his 40s the 'humorous' piano music and in his 50s a varied output including his three main ballets (one of them, Parade, was composed together with Cocteau and Picasso for Les Ballets Russes), the cantate Socrate and piano music.
(Isabel Siewers, Classical Guitar magazine, February 2002)
After working for around fifteen years as a 'cafe-concert' pianist and as a composer of music-hall songs and incidental music, he decided to enter the Schola Cantorum where he studied counterpoint, fugue and orchestration in the class of Albert Roussel.
Satie knew his technique was limited but his pride and his great sensitivity led him to create intricate technical systems.
In his 20s he wrote his early piano works, then the mystical 'Rose+Croix' music that blossomed from the seeds of the Ojives (quasi-plainsong melodies with triad harmonies), in his 30s mainly cabaret music, in his 40s the 'humorous' piano music and in his 50s a varied output including his three main ballets (one of them, Parade, was composed together with Cocteau and Picasso for Les Ballets Russes), the cantate Socrate and piano music.
(Isabel Siewers, Classical Guitar magazine, February 2002)
Composizioni (95)
Antologie curate
- ALBUM N.1 (adaptation de P.Kraus pour deux guitares)
- ALBUM N.1 (adaptation de P.Laniau pour guitare à 10 cordes)
- ALBUM N.2 (adaptation de P.Kraus pour deux guitares)
- ALBUM N.2 (adaptation de P.Laniau pour guitare à 10 cordes)
- ERIK SATIE FOR TWO GUITARS (trascr. Shingo Fujii)
- KINDERSTÜCKE (trascr. Bernd Goldau) (2 chit)
- SATIE FOR GUITAR (arr. Kei Koh)
Presente in antologie
- CLASSIC GUITAR ARTISTRY — PLEASANT DESPAIR, and others
- FROM IMPRESSIONISM TO JAZZ (arr. Mario Abril) — GNOSSIENNE 1,3
- FROM IMPRESSIONISM TO JAZZ (arr. Mario Abril) — THE SEE-SAW
- GUITAR CLASSIC IN TAB — GYMNOPEDIE ?
- IMPRESSIONS (trascr. C.Barbosa-Lima) — GYMNOPEDIE 1,2
- MEET LIONA BOYD — GYMNOPEDIE 1, and others
- MES ARRANGEMENTS L'AMIABLE — GNOSSIENNE 1
- NEW ANTHOLOGY FOR MANDOLIN & GUITAR Volume 1 — SONATINE BUREUCRATIQUE
- PARKENING AND THE GUITAR Volume 2 — 3 GYMNOPEDIES, and others
- THE ROSEWOOD BOOK (30 Duets for Guitar and Flute, transcribed by Peter Greenwood and Jean Rosenblum) — GYMNOPEDIE 1
- TWENTIETH CENTURY GUITAR MUSIC — GNOSSIENNE 2, GYMNOPEDIE 3