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The ''Descriptions automatiques'' (''Automatic Descriptions'') is a 1913 piano composition by Erik Satie. The second of his "humoristic" keyboard suites, it set the tone for the rest of the series by introducing elements of musical parody, and in the increasingly important role played by the verbal commentary.〔Rollo H. Myers, "Erik Satie", Dover Publications, Inc., NY, 1968, p. 78. Originally published in 1948 by Denis Dobson Ltd., London.〕 In performance it lasts about 4 minutes. ==Background== On April 5, 1913, pianist Ricardo Viñes successfully premiered Satie's first humoristic suite, the ''Véritables préludes flasques (pour un chien)'', at the Salle Pleyel in Paris. The composer used the occasion to publish an advertisement announcing his future creative plans in that day's issue of the periodical ''Le Guide du concert''. Anticipating further attacks from his critics, he adopted a high-handed tone: :"The ''Véritables préludes flasques''...opens a series of pianistic works: ''Descriptions :''automatiques'', ''Embryons desséchés'', ''Chapitres tournés en tous sens'' and ''Vieux sequins :''et vieilles cuirasses''.〔Satie did not entirely adhere to this scheme: the unannounced suite ''Croquis et agaceries d'un gros bonhomme en bois'' was begun in June 1913 and intermittently worked on throughout the summer.〕 In them I devote myself to the sweet joys of fantasy. Those who will not understand are requested by me to observe the most respectful silence and to show an attitude of complete submission and inferiority. That is their true role."〔Quoted in Ann-Marie Hanlon, "Satie and the Meaning of the Comic". Published as Chapter 2 in Dr Caroline Potter (ed.), "Erik Satie: Music, Art and Literature", Ashgate Publishing, Ltd., 2013, pp. 19-48.〕 This sardonic blurb shows how Satie often invented the curious titles and texts of his compositions before the music was written,〔Robert Orledge, "Satie the Composer", Cambridge University Press, 1990, p. 307.〕 though these were subject to change depending on where his inspiration took him. The ''Descriptions automatiques'' had already gone through two working titles (''Descriptions hypocrites'' and ''Vocations électriques'') before the April 5 announcement,〔Orledge, "Satie the Composer", p. 298.〕 while the music would not be composed until April 21–26, 1913. Satie's sketches also show how the first piece (''Sur un vaisseau'') initially described a wolf and a tuna fish before evolving into a description of a ship.〔Olof Höjer, notes to Erik Satie: Complete Piano Music, Vol. 5, Swedish Society Discofil, 1996, p. 13.〕 Ricardo Viñes gave the first performance of the ''Descriptions automatiques'' at the Salle Erard in Paris on June 5, 1913. It was published by the firm E. Demets that same year. Satie enthused that Viñes played the suite "with an irresistibly droll air of secrecy",〔Erik Satie, autobiographical blurb for publisher E. Demets' ''Bulletin des Editions musicales'', December 1913. Quoted in Nigel Wilkins, "The Writings of Erik Satie", Eulenburg Books, London, 1980, p. 79.〕 a comment that may hold a key to the interpretation of his humoristic keyboard works.〔Höjer, "Erik Satie" notes, p. 13.〕 Satie disciple (and Viñes' most famous student) Francis Poulenc believed as much, bluntly stating that to perform this music authentically "it is forbidden...to wink at the audience."〔Francis Poulenc, "Erik Satie's Piano Music", ''La Revue Musicale'', No. 214, June 1952, pp. 23-26. Reprinted in Nicolas Southon, "Francis Poulenc: Articles and Interviews: Notes from the Heart", Ashgate Publishing, Ltd., 2014, pp. 51-53.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Descriptions automatiques」の詳細全文を読む スポンサード リンク
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