erik satie “avant-dernières pensées • selected piano works (vol. 1)” compact disc

• trois gymnopédies
  
• gnossiennes 1-7
  
• je te veux/caresse
  
• musiques intimes et secrètes
  
• embryons desséchés
  
• le piège de méduse
  
• descriptions automatiques
  
• sports et divertissements
  
• avant-dernières pensées

erik satie “dada works & entr’actes” compact disc

• trois morceaux en forme de poire
  
• ragtime dada
  
• relache pt.1
  
• entr'acte (cinéma)
  
• relache pt.2

erik satie “42 vexations (1893)” compact disc

• 42 vexations (69:30)

sub rosa press release...

erik satie 42 vexations (1893) cd digipack + 16 pages booklet sr294 16 page booklet including cage's place in the reception of satie by matthew shlomowitz. performed by stephane ginsburgh musique d'ameublement literally, "furniture music," the phrase coined by satie in 1917, where he identifies sound as drapes, tiling, wallpaper - items belonging to the environment - and changing it simply by being in it, by actually becoming elements of the space. the idea being that, since you don't notice the sound right away, it becomes, in a sense, part of the furniture. this recording, the second installment in that series (after marcel duchamp), also involves a peculiar physical device since it calls for 840 repetitions of a single motif. satie jotted down the idea in 1893. a concept - surely; a joke - obviously; something feasible - yes, for it has been done in 1963, on john cage's impetus. john cale was one of the musicians involved: between 9 and 10 september 1963 i was one of a relay team of pianists, under the direction of john cage, who played vexations by eric satie at pocket theatre, 100 third avenue near 13th street, in 18 hours and 40 minutes. the 180 notes of this 80-second work were played 840 times. the whole thing was john cage's idea. the admission was $5, but members of the audience got a refund of five cents per twenty minutes, and those who stayed to the bitter end got a 20 cent bonus. soso, in vexations, satie will be evocated through cage. had satie envisioned playing the piece? who knows. neither do we know if duchamp's erratum musical was meant to be executed. what can be said, however, is that when played in its entirety, vexations inevitably becomes a performance for both players and listeners. an experience in repetition - repetition without the slightest variation, except for the unavoidable tempo shifts that occur over such a lengthy performance, alterations in how the piano keys are hit, in other words everything that falls within the realm of the mechanically involuntary. what would you say about a ritornello that would last between 18 and 24 hours ?

“soirée du coeur a barbe • festival paris dada” compact disc

• erik satie - trois morceaux en forme de poire
  
• darius milhaud - caramel mou (shimmy)
  
• georges auric - adieu, new york (fox-trot)
  
• igor stravinsky - trois pièces faciles à quatre mains
  
• georges ribemont-dessaignes - le nombril interlope
  
• francis picabia - la nourrice américaine (fast)
  
• georges ribemont-dessaignes - pas de la chicorée frisée
  
• erik satie - le piège de méduse
  
• e.l.t. mesens - drie composities voor klavier
  
• marcel duchamp - musical erratum
  
• francis picabia - la nourrice américaine (slow0)
  
• igor stravinsky - rag-time (1925 recording by marcelle meyer)
  
• igor stravinsky - le pelican (fox-trot) (wax cylinder recording)

“cocteau, satie & les six” compact disc

• jean cocteau - introduces les six (1953)
  
• les six - l'album des six (1920)
  
• francis poulenc - cocardes (1920)
  
• erik satie - parade (1917)
  
• darius milhaud - le boeuff sur le toit (1919)
  
• arthur honegger - pacific 231 (1923)
  
• jean cocteau two jazz poems (1929)
  
• georges auric five cocteau film themes (1930-1959)