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''En habit de cheval'' (''In Riding Gear'') is a 1911 suite for piano duet by Erik Satie. He arranged it for orchestra that same year. It is a transitional work, composed towards the end of Satie's studies at the Schola Cantorum in Paris (1905-1912) and foreshadowing his pre-World War I "humoristic" or "fantaisiste" period.〔Alexander Carpenter, Allmusic review at http://www.allmusic.com/composition/en-habit-de-cheval-in-riding-habit-4-pieces-for-piano-duet-or-orchestra-mc0002358594.〕 Robert Orledge wrote that "''En habit de cheval'' offers the best example of Satie integrating Schola teaching with his own composition, and in it he also worked out his own individual concept of orchestration."〔 Robert Orledge, "Satie the Composer", Cambridge University Press, 1990, p. 95.〕 In performance it lasts about 7 minutes. ==Composition history== The year 1911 was a turning point for Satie, when after decades of comparative obscurity he was suddenly thrust into the public eye. On January 16 Maurice Ravel played some of his early piano pieces at a concert sponsored by his progressive Société Musicale Indépendante (SMI), which began to promote him as an important precursor of modern trends in French music.〔Ravel played Satie's second ''Sarabande'' (1887), the Prelude to ''Le Fils des etoiles'' (1892), and the third ''Gymnopédie'' (1888). The program note proclaimed Satie "an inspired forerunner" who, "a quarter of a century ago, was already speaking the musical 'jargon' of today." See Joseph Smith, notes to "Erik Satie's First Sarabande", 2012, at http://josephsmithpianist.com/wp-content/uploads/2012/10/Satie.pdf〕 This prompted Satie's friend (and Ravel's rival) Claude Debussy to conduct his 1896 orchestrations of the ''Gymnopédies'' at the Salle Gaveau on March 25, an event that was enthusiastically received.〔Mary E. Davis, "Classic Chic: Music, Fashion, and Modernism", University of California Press, 2006, p. 107.〕 Satie was given mostly favorable attention in the Parisian press, publishers began to express interest in his music, and he gained the first of his many young protégés, the 20-year-old composer and critic Alexis Roland-Manuel. Seizing on this opportunity to secure an audience for his newly developed contrapuntal style, he started work on ''En habit de cheval'' in June 1911. The suite was conceived in a vein similar to Satie's first notable Schola-era composition, the 1908 chorale and fugue for piano duet ''Aperçus désagréables'' (''Unpleasant Glimpses'').〔The original version of ''Aperçus désagréables'' consisted of two pieces. Satie added a ''Pastorale'' before having it published in 1912. See http://imslp.org/wiki/Aper%C3%A7us_d%C3%A9sagr%C3%A9ables_(Satie,_Erik)〕 At first he considered calling the new opus ''Divertissement'', ironically suggesting a light entertainment, before deciding on the enigmatic title ''En habit de cheval''. Satie later explained that the titular "riding gear" was not that of the rider but of the horse: "for instance...two shafts attached to a four-wheel carriage."〔 Pierre-Daniel Templier, "Erik Satie", MIT Press, 1969, p 34. Translated from the original French edition published by Rieder, Paris, 1932.〕 This may have been his sly riposte to Schola director Vincent d'Indy, who had told him to "stick to the rules of the past" which he rebelliously overrode in this work.〔Orledge, "Satie the Composer", p. 96〕〔Templier, "Erik Satie", p. 34.〕〔Rollo H. Myers, "Erik Satie", Dover Publications, Inc., NY, 1968, p. 43. Originally published in 1948 by Denis Dobson Ltd., London.〕 Throughout the summer Satie kept Roland-Manuel informed of his progress, noting in a letter on July 8 that the "''Habit de cheval'' fits me pretty well. I am working at it with the necessary calm; it is getting on coldly and turning over very satisfactorily."〔Myers, "Erik Satie", p. 77.〕 And on August 4 he happily described showing what he had written so far to his former counterpoint teacher at the Schola, Albert Roussel: "The whole thing entertained him. He has sided with me on this new conception of the fugue, especially the expositions. He loved its little harmonies".〔Mary E. Davis, "Erik Satie", Reaktion Books, 2007, pp. 78-79.〕〔Nigel Wilkins, "Erik Satie's Letters", ''Canadian University Music Review'', No. 2, 1981, p. 215. At https://www.erudit.org/revue/cumr/1981/v/n2/1013751ar.pdf.〕 The suite was finished on September 6, and thanks to his current notoriety he was able to sell it to Rouart, Lerolle & Cie just three days later.〔Wilkins' "Erik Satie's Letters", p. 215.〕 It was published soon afterwards.〔http://imslp.org/wiki/En_habit_de_cheval_(Satie,_Erik)〕 Encouraged by Roussel's approval and the quick sale of the piano duet version, Satie immediately set about transcribing ''En habit de cheval'' for orchestra - his first mature attempt at the genre. Although he had acquired instrumental technique "on the job" producing arrangements for cabaret ensembles in the early 1900s, he had not been properly schooled in orchestration until his Schola studies with d'Indy, beginning in 1909. Now he felt ready to reveal his new technical abilities. On September 14 Satie discussed with Roland-Manuel the forces he wanted to use and dropped some revealing hints about his scoring preferences. He said he "despised" the French horn and that one should never use more than two trumpets because, according to d'Indy, "three mean the end of the world."〔Wilkins, "Erik Satie's Letters", p. 216.〕 Satie later came to appreciate the practical uses of the horn in an orchestral setting, but he took d'Indy's curious advice about trumpets to heart and used only one or two in his subsequent large scores.〔d'Indy himself habitually used three trumpets in his orchestral music. See Orledge, "Satie the Composer", p. 116.〕 The orchestral version was completed by the end of October 1911, and it was in this guise that ''En habit de cheval'' received its first performance. The premiere took place at the Salle Gaveau on June 17, 1912, at a Société Musicale Indépendante event that also introduced Roland-Manuel's new orchestral arrangement of Satie's 1894 piano piece ''Prélude de la porte héroïque du ciel''. For this occasion Satie wrote out all the instrumental parts for ''En habit de cheval'' himself,〔Orledge, "Satie the Composer", p. 348, note 17.〕 evidently because he could not afford a copyist, but in the end he chose not to appear at the concert. He later complained to his brother Conrad that, due to his pecuniary circumstances, he was too shabbily dressed to attend.〔Barbara L. Kelly, "Music and Ultra-modernism in France: A Fragile Consensus, 1913-1939", Boydell & Brewer Ltd, 2013, p. 40, note 16.〕 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「En habit de cheval」の詳細全文を読む スポンサード リンク
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