Arrière-propos Autre « chose Avant-dernières pensées Chapitres tournés en tous sens Cinq grimaces pour « le songe d?une nuit d?ét Croquis et agaceries d?’un gros bonhomme en bois Descriptions automatiques Désespoir agréable Deux autres « préludes flasques Deux choses (effronterie; poésie) Deux préludes pour un chien (prélude canin) Embryons desséchés Enfantillages pittoresques; enfantines ii Fugue-valse Heures séculaires et instantanées L’enfance de ko-quo; recommandations maternelles Le grand singe Le prisonnier maussade Les pantins dansent Les pantins dansent [1re version] Les trois valses distinguées du précieux dégoût Menus propos enfantins; enfantines i Nouvelles « pièces froides ») Passacaille Peccadilles importunes; enfantines iii Petite sonate Prélude en tapisserie Préludes flasques pour un chien Profondeur San bernardo Sept toutes petites danses pour le « piège de méduse Songe-creux Sports et divertissements Trois nouvelles enfantines Véritables préludes flasques pour un chien Vieux sequins et vieilles cuirasses
This new edition of Erik Satie's full-length piano music, in three volumes, is a completely revised and re-edited version of the centennial edition of his piano work. It goes back to manuscript sources and first editions of Satie's pieces, and offers performers reliable and relevant musical texts. These volumes offer all the pieces for solo piano, or in reduction for piano, published by Satie, including some unknown earlier pieces, such as the Small Sonata that Satie wrote for Vincent d'Indy at the Schola Cantorum, and some early versions of very rare pieces. known, like San Bernardo, trial version of Españaña (1913), or even the first very different versions of Les Pantins dansent (1914). There are also some examples of the various exercises that Satie performed at the Schola between 1907 and 1912, some additional attempts at Enfantines, and some earlier drafts of his famous Sports and Entertainment. Metronomic indications have been added to assist the performers, as well as some play suggestions for works from the Rose Cross period of the 1890s, pieces that otherwise might seem slow and quiet. The notation was considered from the most practical angle possible, without neglecting Satie's concern about the "externalization" of his musical thought on paper.
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