When Was The 32 Mélodies Pour Chant Et Piano First Premiered

Trois Mélodies (Satie) – Wikipedia

Erik Satie’sTrois Mélodies(Three Songs) is a song cycle for voice and piano that was written in 1916. It is one of Satie’s few forays into inmélodies (French art songs), and it is performed for less than 4 minutes. When Rollo H. Myers wrote his first English-language biography of Satie in 1948, he said that the piece included “the essential qualities that characterize Satie the ironist, the wit, and the skilful parodist.”

Songs

The cycle comprises of three songs set to amusing words written by three current French authors, all of whom are included in the cycle. There are no uniting qualities in the music or the poems, except from a general sense of levity. Although Satie composed it for soprano and baritone voices, it has been played effectively by a variety of other voices as well. 1. The bronze statue of liberty (“The Bronze Statue”). Leon-Paul Fargue wrote a poem for this occasion. This piece is dedicated to Jane Bathori.

They would eventually cooperate on Satie’s mélodie cycleLudions, which was written for them (1923).

  1. In the cakewalk-like beginning, there is a distinct fragrance of music hall, following which the piano portion sinks into anoom-pahostinato beat.
  2. Daphénéo is the second character.
  3. God has written a poem.
  4. – Calm and serene (quietly) ‘M.
  5. She was one of the dedicatees of Maurice Ravel’s piano duetMa mère l’Oye, which she performed with her younger brother Jean (1910).

Virginia Sublett, writing for Allmusic, observed that the song “depends on an untranslatable pun for its intelligibility: eliding a final “n” transforms “un oisetier” (a nonexistent phrase meaning “bird-tree”) into “un noisetier,” or “hazel-nut tree.” The sardonic dignity of Satie’s sombre, slowly swaying underscore lends the words a regal air.

  1. Myers, “the result is irresistibly humorous, despite the fact that the techniques utilized by Satie in transforming this piece of gibberish into music are classic in their sobriety and restraint.” Le chapelier (the chaplain) (“The Hatter”).
  2. This piece is dedicated to Igor Stravinsky.
  3. Gounod’s Allegretto is a genre piece (fairly brisk, in the manner of Gounod) Satie was a huge lover of inventive and amusing literature, and he was a particular enthusiast of Lewis Carroll’s Alice’s Adventures in Wonderland, which he read several times (1865).
  4. Multiple layers of literary and musical pastiche are employed in this song in a sophisticated manner.
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Despite the fact that he lubricates his pocket watch with “the nicest butter” and dips it into his tea, the main character is concerned about his pocket watch, which is running “three days late.” A parody of the love duetChanson de MagalifromCharles Gounod’s operaMireille(1864), which was itself a version of an oldProvençalfolksong, Satie’s accompaniment may be heard in the first movement.

In fact, Satie was so happy with Le chapelier that he dedicated it to his friend Igor Stravinsky, who happened to be one of the few current composers that he respected unconditionally.

In this song cycle, however, he avoided employing the clever playing directions and extramusical commentary that helped define the popular impression of his work in the years leading up to World War I, with the exception of the reference to “genre Gounod” in the title.

He had evidently gotten tired of the recipe by this point. Satie would use it just once more, for his parody of 18th-century piano music, theSonatine bureaucratique, which he composed in 1898. (1917).

History

In theTrois Mélodies, Satie wrote a piece for mezzo-sopranoJane Bathori, who was a rising star in the Parisian opera community and an outspoken advocate for contemporary French music. The two did not meet until early April 1916, in preparation for an approaching ” Ravel – Satie Festival” sponsored by the Société Lyre et Palette, despite the fact that Bathori had heard of Satie’s notoriety through their common acquaintance Claude Debussy. Daphénéo and Le chapelier were completed by April 14th, thanks to Satie’s rapid agreement to furnish her with two additional vocal numbers.

  1. Cover of the first edition of Trois Mélodies (1917) Germaine Bongard, sister of fashion designer Paul Poiret, encouraged Bathori to sing the two songs at a more prominent occasion, a benefit performance “for artists devastated by the War,” which was set for the next month.
  2. It would be held in conjunction with an exhibition of contemporary painting, and artists Henri Matisse and Pablo Picasso were enlisted to create a program to accompany the show.
  3. On May 30, 1916, Bathori and Satie performed the completeTrois Mélodies at the Galerie Thomas in Paris, which was the world premiere.
  4. The irascible Satie cut connections with two partners on theTrois Mélodies, René Chalupt and Léon-Paul Fargue, during his latter years because of minor disagreements.
  5. She recorded theTrois Mélodies with Satie discipleDarius Milhaudas as her accompaniment, which was released by Columbia Records in 1929 as the first recording of the work.
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Discography

Among the many recordings are those by Jane Bathori and Darius Milhaud (Columbia, 1929), Pierre Bernac and Francis Poulenc (Columbia Masterworks, 1952), Elaine Bonazzi and Frank Glazer (Vox, 1971), Mady Mesplé and Aldo Ciccolini (only two songs, excluding La statue de bronze, Arabesque, 1974), Marjanne Kweksilber and Reinbert de Leeuw (Harlekijn (Audiophile Classics, 2002).

Notes and references

  1. The following quote is from Rollo H. Myers’ “Erik Satie,” published by Dover Publications, Inc. in New York in 1968: p. 94. Originally published in 1948 by Denis Dobson Ltd., London
  2. Myers, “Erik Satie,” p. 94
  3. “3 Mélodies, IES 34 (Satie, Erik)”, complete score and notes at IMSLP
  4. “3 Mélodies, IES 34 (Satie, Erik)”, complete score and comments at IMSLP. For access to the page, please see the External Link provided below
  5. A review by Virginia Sublett, Allmusic, can be found at
  6. Myers, “Erik Satie,” may be found at
  7. In June 1921, Satie submitted the balletAlice au Pays de Merveilles to the public. The concept was worked on by American translator Louise Norton and French novelist Henri-Pierre Roché during the summer without success, and the project was shelved. See Robert Orledge, “Satie the Composer,” Cambridge University Press, 1990, p. 325
  8. Orledge, “Satie the Composer,” pp. 21-24
  9. Orledge, “Satie the Composer,” p. 22
  10. Orledge, “Satie the Composer,” Mr. David Drew’s article, “The Savage Parade – From Satie, Cocteau, and Picasso to the Britten of ‘Les Illuminations’ and beyond,” Tempo, New Series, No. 217 (July 2001), p. 7 (includes a bibliography). Published by Cambridge University Press, this book is a must-read. For example, Satie’s song cycleTrois poèmes d’amour (written in 1914) was planned in his typical humoristic manner, but when it was finally published in 1916, he decided to delete all of the extramusical jokes and language that had been included. See, for example, Orledge, “Satie the Composer,” pp. 308-309
  11. Orledge, “Satie the Composer,” p. 52
  12. Orledge, “Satie the Composer,” pp. 311-312
  13. Caroline Potter, “Erik Satie: Music, Art, and Literature”, Routledge, 2016, p. 299
  14. Robert Orledge, “Satie Remembered,” Faber and Faber Ltd.
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External links

  • Complete score is available at the IMSLP
  • Jane Bathori singsTrois Mélodies in a classic 1929 recording available on YouTube
  • Trois Mélodies is available on YouTube

Texts and Translations to Lieder, mélodies, canzoni, and other classical vocal music)

There is a complete score available at the IMSLP; Jane Bathori singsTrois Mélodies, a famous 1929 recording, which can be found on YouTube; Trois Mélodies may be found on YouTube.

  • Tristesse, composed in 1838 by Pierre-Jules-Théophile Gautier (1811 – 1872), appears in La Comédie de la Mort (The Comédie de la Mort), Paris, Éd. Desessart, originally published in 1838

Tristesse, written in 1838 by Pierre-Jules-Théophile Gautier (1811 – 1872), appears in La Comédie de la Mort (Paris: Ed. Desessart, 1838), and was originally published in 1838.

  • The following works are published: “Tristesse” by François (Francesco) Bonoldi(d. 1893), published in stanzas 1-2,4 in Paris, Éd. Bonoldi Frères
  • “Tristesse” by Louis-Albert Bourgault-Ducoudray(1840 – 1910), published in 1893 in Paris, Léon Grus
  • “Tristesse” by Vincenzo Capecelatro(1815 – 1874

Translations, adaptations, or extracts, as well as transliterations (where relevant) are all available:

  • The poem “Sadness” by ENGEnglish(Peter Low), copyright 2000, (re)printed on this website with permission

Emily Ezust was the author’s primary source of information. Between the months of May 1995 and September 2003, this text was contributed to the website. Lines in this paragraph: 32 Number of words: 151

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