|
''La belle excentrique'' (''The Eccentric Beauty'') is a dance suite for small orchestra by Erik Satie. A parody of music hall clichés, it was conceived as a choreographic stage work and by modern standards can be considered a ballet.〔A contemporary balletic performance of ''La belle excentrique'' is "An Eccentric Beauty Revisited", presented by the New York Theatre Ballet in 2012. See http://www.balletdance.com/201105/NYTB10Mar2012.html〕〔The Bibliothèque nationale de France, which holds the bulk of Satie's manuscripts, categorizes ''La belle'' as a ballet. See http://data.bnf.fr/14794222/erik_satie_la_belle_excentrique__piano/〕 Satie gave it the whimsical subtitle "fantaisie sérieuse" ("A Serious Fantasy"). It was premiered at the Théâtre du Colisée in Paris on June 14, 1921, conducted by Vladimir Golschmann. The composer later arranged it for piano duet. ==Music== Satie composed this set of solo dances between July and October 1920. It was a high-spirited throwback to his turn-of-the-century cabaret idiom after a brief "serious" period that had produced the cantata ''Socrate'' (1918) and the piano ''Nocturnes'' (1919). The suite consists of three dances (march, waltz, can-can) and an instrumental ritornello:〔http://imslp.org/wiki/La_belle_excentrique_(Satie,_Erik)〕 :1. ''Grande ritournelle'' (''Grand Ritornello'') :2. ''Marche franco-lunaire'' (''Franco-Lunar March'') :3. ''Valse du mysterieux baiser dans l'œil'' (''Waltz of the Mysterious Kiss in the Eye'') :4. ''Cancan Grand-Mondain'' (''High-Society Cancan'') Early sketches show that Satie originally planned ''La belle'' as "a musical tour through three periods of Parisian popular entertainment" under the following headings: "1900: Marche pour une Grande Cocotte"; "1910: Elégance du Cirque (Ecuyère)"; and "1920: Cancan Moderne."〔Robert Orledge, "Satie the Composer", Cambridge University Press, 1990, pp. 320-321.〕 He soon dropped the chronological scheme and proceeded to delve into his own musical past, giving the dances quirky titles that recalled his humoristic piano pieces of the previous decade. For the ''Grande ritournelle'' he recycled material from one of his unpublished cabaret songs, ''Légende californienne'', a cakewalk from 1905.〔Orledge, "Satie the Composer", p. 289. Satie registered the music with SACEM on August 18, 1905. The lyrics by Contamine de Latour are lost.〕 In all the numbers Satie toned down his customary dry irony in favor of a robust (some called it vulgar) vaudeville sensibility.〔Pierre-Daniel Templier, "Erik Satie", MIT Press, 1969, pp. 103-104. Translated from the original French edition published by Rieder, Paris, 1932.〕〔Rollo H. Myers, "Erik Satie", Dover Publications, Inc., NY, 1968, p. 59. Originally published in 1948 by Denis Dobson Ltd., London.〕 The melodies are popular-inspired, the matter-of-fact dance rhythms occasionally whipped along by galloping or stentorian percussion. Despite the lowbrow subject matter Satie was as always scrupulous in his composing methods. He rewrote the opening bars of the ''Marche'' 25 times before achieving what he felt was the right level of off-kilter dissonance to mark the title character's first appearance onstage.〔Orledge, "Satie the Composer", p. 77.〕 Pianist Olof Höjer observed that the function and place in the suite of the ''ritournelle'' are not entirely clear.〔Olof Höjer, notes to "Erik Satie: The Complete Piano Music, Vol. 6, Swedish Society Discofil, 1996.〕 Satie evidently intended it as a recurring interlude between the dances to give the performer time to change costumes.〔Orledge, "Satie the Composer", p. 344.〕 But it also makes an effective introduction and is commonly performed as such, especially in recordings. The suite is scored for 1 piccolo, 1 oboe, 1 clarinet, 1 horn, 1 trumpet, 1 trombone, percussion for 2 players (snare drum, cymbals, bass drum), and strings. Without reprises of the ''ritournelle'' the music lasts about 8 minutes. 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「La belle excentrique」の詳細全文を読む スポンサード リンク
|