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Erik Satie: Musique d'entracte
On the occasion of Erik Satie's 150th birthday, Fumio Yasuda embarks on a quest for hidden works of music and adapts rarely performed compositions for his piano trio: pieces that are well worth their discovery! Following a tour through Spain and France, Yasuda recorded this album in Bordeaux in October, 2016. In the early 20th century, Erik Satie was part of the Dadaist circle of artists in Paris. He worked with René Clair, Pablo Picasso, Georges Braque, Léonide Massine, Man Ray and, most importantly, Jean Cocteau. Fumio Yasuda selected Satie's music for René Clair's filme masterpieces "Entr'acte" as well as the works "Dance de travers" and "Airs à faire fuir" from "“Pièces froides" and several additional compositions to arrange and interpret them in a completely new style. Satie has an entirely different view from many of his colleagues: He is convinced that a composer has no right to waste the time his audience dedicates to him. And so he develops his idea of background music - and calls it "Musique d'ameublement" (which translates approximately as "Music as furniture", or "Musical furniture"). Music is meant to be in a room just like a table or a chair. Satie rejects finesse and virtuosity. "Everyone will tell you that I'm not a musician. And they're right." Satie has a very special place in the history of music. Without seeming obtrusive, Fumio Yasuda bows to Erik Satie and shows his respect fo rthe great master, who so often is little appreciated since his compositional style is misunderstood or his oeuvre reduced to a few popular pieces. For many listeners, some pieces will be a new discovery, thanks to Fumio Yasuda's selection.
$7.35
Original: $20.99
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$20.99
$7.35Erik Satie: Musique d'entracte
On the occasion of Erik Satie's 150th birthday, Fumio Yasuda embarks on a quest for hidden works of music and adapts rarely performed compositions for his piano trio: pieces that are well worth their discovery! Following a tour through Spain and France, Yasuda recorded this album in Bordeaux in October, 2016. In the early 20th century, Erik Satie was part of the Dadaist circle of artists in Paris. He worked with René Clair, Pablo Picasso, Georges Braque, Léonide Massine, Man Ray and, most importantly, Jean Cocteau. Fumio Yasuda selected Satie's music for René Clair's filme masterpieces "Entr'acte" as well as the works "Dance de travers" and "Airs à faire fuir" from "“Pièces froides" and several additional compositions to arrange and interpret them in a completely new style. Satie has an entirely different view from many of his colleagues: He is convinced that a composer has no right to waste the time his audience dedicates to him. And so he develops his idea of background music - and calls it "Musique d'ameublement" (which translates approximately as "Music as furniture", or "Musical furniture"). Music is meant to be in a room just like a table or a chair. Satie rejects finesse and virtuosity. "Everyone will tell you that I'm not a musician. And they're right." Satie has a very special place in the history of music. Without seeming obtrusive, Fumio Yasuda bows to Erik Satie and shows his respect fo rthe great master, who so often is little appreciated since his compositional style is misunderstood or his oeuvre reduced to a few popular pieces. For many listeners, some pieces will be a new discovery, thanks to Fumio Yasuda's selection.
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On the occasion of Erik Satie's 150th birthday, Fumio Yasuda embarks on a quest for hidden works of music and adapts rarely performed compositions for his piano trio: pieces that are well worth their discovery! Following a tour through Spain and France, Yasuda recorded this album in Bordeaux in October, 2016. In the early 20th century, Erik Satie was part of the Dadaist circle of artists in Paris. He worked with René Clair, Pablo Picasso, Georges Braque, Léonide Massine, Man Ray and, most importantly, Jean Cocteau. Fumio Yasuda selected Satie's music for René Clair's filme masterpieces "Entr'acte" as well as the works "Dance de travers" and "Airs à faire fuir" from "“Pièces froides" and several additional compositions to arrange and interpret them in a completely new style. Satie has an entirely different view from many of his colleagues: He is convinced that a composer has no right to waste the time his audience dedicates to him. And so he develops his idea of background music - and calls it "Musique d'ameublement" (which translates approximately as "Music as furniture", or "Musical furniture"). Music is meant to be in a room just like a table or a chair. Satie rejects finesse and virtuosity. "Everyone will tell you that I'm not a musician. And they're right." Satie has a very special place in the history of music. Without seeming obtrusive, Fumio Yasuda bows to Erik Satie and shows his respect fo rthe great master, who so often is little appreciated since his compositional style is misunderstood or his oeuvre reduced to a few popular pieces. For many listeners, some pieces will be a new discovery, thanks to Fumio Yasuda's selection.
