Although Satie took the classical form as a model for his “Sonatine”, it is quintessentially an ironic work. The composer, who later in life liked to be seen walking through the streets wearing a stiff collar and bowler hat, included lines of text between the staves that describe the day of a typical Parisian bureaucrat. The bureaucrat sits in a chair with green silk sleeve guards and dreams of being promoted. “Next door a piano is playing Clementi”… and at this point parodied echoes of Clementi’s popular Sonatine op. 36/1 can actually be heard. Ulrich Krämer provides knowledgeable background information in the preface to our edition that will enable a better understanding of Satie’s work.
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Erik Satie (1866–1925) wrote his Sonatine bureaucratique in the summer of 1917, directly following the composition and production of his ballet Parade, a joint project realised in collaboration with Jean Cocteau (scenario) and Pablo Picasso (stage design) for Sergey Diaghilev’s “Ballets russes” – a work whose first performance provoked one of the biggest scandals of … 계속
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Erik Satie
Avant-garde composer in Paris around 1900 with an extremely unique oeuvre.
| 1866 | Born in Honfleur on May 17. |
| 1874 | Organ lessons and introduction to Gregorian chant, which will have a marked effect on his creative work: “Quatre Ogives” for piano (1886) and “Messe des Pauvres” for organ (1895). |
| 1879–87 | Studies at the Conservatoire de Paris. |
| from 1887 | In Montmartre he makes his living variously as musical director of the shadow theater at the Chat Noir and as a pianist at the Auberge du Clou. He adopts the musical language of the music hall and the cabaret: e.g. “Trois morceaux en forme de poire” (“Three Pieces in the Shape of a Pear”) for piano, four-hands (1903). |
| 1891–92 | He joins the eccentric circle of the “Ordre de la Rose-Croix Catholique du Temple et du Graal” around Sâr Péladan and composes avant-garde music for it: “Le Fils des étoiles” (incidental music) with stacks of fourths, “Trois Sonneries de la Rose + Croix.” |
| 1893 | “Vexations” for piano, which is to be repeated 840 times. |
| 1905–08 | Studies at the Schola Cantorum in Paris to improve his compositional technique. |
| 1911 | Ravel’s performances of his compositions bring Satie recognition as a composer. |
| from 1912 | New compositional phase: piano pieces whose underlaid texts are to be read aloud to further thwart the musical process (alienation of patterns): “Véritables préludes flasques (pour un chien)” (“True Flabby Preludes for a Dog,” 1912), “Descriptions automatiques” (1913), “Sports & Divertissements” (1914), “Sonatine bureaucratique” (1917). |
| 1916/17 | Ballet “Parade” with Cocteau and Picasso. |
| 1917/18 | “Socrate (drame symphonique)”, one of the primary works of neoclassicism. |
| 1925 | Death in Paris on July 1. |
Deze goed verzorgde Urtext uitgave is voorzien van een kort voorwoord in Duits, Frans en Engels, een beknopt kritisch commentaar in Duits en Engels en een vertaling van de Sati(e)rische bijschriften.