" That's too bad, for these "entertainment" efforts *have* proven themselves to be more significant than the intentions ascribed to the composer ": Then I'm afraid I mistranslated this sentence, and my response got quite emotional, so sorry for that. English is not my natural language, and normally I don't engage in conversations for that reason. My apologies.
@leonidastoffelen I *advise* you to recognize that I said nothing about which of his works were more significant than others; this notion of hierarchy was introduced by you. I had come to vital terms with most of his work by 1975 (including the outstanding early pieces such as the Sarabandes and Rosicrucian-inspired works of the 1880s which do, in fact, predate the Gymnopedies and Gnossiennes you cite. Not only that, but his middle and later works had influenced my own by the early '70s.
It is a wonderful, enduring piece, as is "Je te veux." And, as is the case with so much of Satie's preciously idiosyncratic music, I doubt that we will ever know where the heartfelt leaves off and the kidding begins (assuming them to be other than seamless!). After living with these waltzes for many years, I've come to suspect that with them there is no fun-poking, only Satie's comfort with and ardor for the vernacular world in which he largely operated as a pianist.
@leonidastoffelen In the year since I posted the elaboration above I have read that he did, as you say, repudiate these pieces. That's too bad, for these "entertainment" efforts *have* proven themselves to be more significant than the intentions ascribed to the composer. This isn't an unusual circumstance at all; composers are notoriously short-sighted in their single-mindedness about certain of their works.
@PolkRidgeAesthete Hmm, I advice you to really listen to his later pieces like, Danses de Traverse I, II, III, Nocturne I-V, Piece Froide I, his Gnossiennes and Gymnopedies over and over again, even the most A-tonal, adsurd pieces he wrote. It took me some time to "understand" what they really meant, but it's worth it. No doubt, these waltzes are extremely well done, but believe me, they aren't as significant as his later work that made him the legend he is now.
Sounds a bit like Je te veux. I wonder if he wrote it seriously or as a semi-humourous response to other waltzes of the day. Do you know who the pianist is?
,,,,,ahhhhh,,,,,
TheCoyotespeaks 1 week ago
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" That's too bad, for these "entertainment" efforts *have* proven themselves to be more significant than the intentions ascribed to the composer ": Then I'm afraid I mistranslated this sentence, and my response got quite emotional, so sorry for that. English is not my natural language, and normally I don't engage in conversations for that reason. My apologies.
leonidastoffelen 4 months ago
@leonidastoffelen I agree though, that it's a pity Satie doesn't acknowledge the outstanding quality of these pieces as we do now.
leonidastoffelen 4 months ago
@leonidastoffelen I *advise* you to recognize that I said nothing about which of his works were more significant than others; this notion of hierarchy was introduced by you. I had come to vital terms with most of his work by 1975 (including the outstanding early pieces such as the Sarabandes and Rosicrucian-inspired works of the 1880s which do, in fact, predate the Gymnopedies and Gnossiennes you cite. Not only that, but his middle and later works had influenced my own by the early '70s.
PolkRidgeAesthete 4 months ago
It is a wonderful, enduring piece, as is "Je te veux." And, as is the case with so much of Satie's preciously idiosyncratic music, I doubt that we will ever know where the heartfelt leaves off and the kidding begins (assuming them to be other than seamless!). After living with these waltzes for many years, I've come to suspect that with them there is no fun-poking, only Satie's comfort with and ardor for the vernacular world in which he largely operated as a pianist.
PolkRidgeAesthete 1 year ago 6
@PolkRidgeAesthete Actually, you couldn't be more wrong.
Erik Satie later said that these valses were only to improve his situation financially,
It's not true to himself, and purely for the entertaining of Bars ect..
His Gymnopedies were the first pieces he really supported autonomously.
These pieces are pompous and against his nature, he said.
I Agree with him, and his later pieces touch me more deeply.
These are fun and entertaining though.
leonidastoffelen 4 months ago
@leonidastoffelen In the year since I posted the elaboration above I have read that he did, as you say, repudiate these pieces. That's too bad, for these "entertainment" efforts *have* proven themselves to be more significant than the intentions ascribed to the composer. This isn't an unusual circumstance at all; composers are notoriously short-sighted in their single-mindedness about certain of their works.
PolkRidgeAesthete 4 months ago
@PolkRidgeAesthete Hmm, I advice you to really listen to his later pieces like, Danses de Traverse I, II, III, Nocturne I-V, Piece Froide I, his Gnossiennes and Gymnopedies over and over again, even the most A-tonal, adsurd pieces he wrote. It took me some time to "understand" what they really meant, but it's worth it. No doubt, these waltzes are extremely well done, but believe me, they aren't as significant as his later work that made him the legend he is now.
leonidastoffelen 4 months ago
Sounds a bit like Je te veux. I wonder if he wrote it seriously or as a semi-humourous response to other waltzes of the day. Do you know who the pianist is?
jaymusic143 1 year ago
Beautiful!
DarkShark190 2 years ago 2