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The ''Pièces froides'' (''Cold Pieces'') are two sets of piano pieces composed in March 1897 by Erik Satie. Unpublished until 1912, they marked Satie's break from the mystical-religious music of his "Rosicrucian" period (1891-1895), and were a harbinger of his humoristic piano suites of the 1910s. Biographer Rollo H. Myers placed the ''Pièces froides'' high among Satie's piano works, writing, "Only a born musician of the finest sensibility could have conceived these limpid and so essentially 'musical' pieces which ought to be in the repertory of every pianist who is more interested in music than virtuosity."〔Rollo H. Myers, "Erik Satie", Dover Publications, Inc., NY, 1968, pp. 73-74. Originally published in 1948 by Denis Dobson Ltd., London.〕 A third set of ''Pièces froides'', written in 1907 but shelved by the composer, was published posthumously. ==Background== The title ''Pièces froides'' - which can also be translated as ''Cold Rooms'' or ''Cold Cuts'' 〔Daniel Albright, "Modernism and Music: An Anthology of Sources", University of Chicago Press, 2004, p. 323.〕 - has been viewed as a punning allusion to the dire poverty Satie experienced during his last years living in Montmartre.〔Steven Moore Whiting, "Satie the Bohemian", Clarendon Press, 1999, p. 181.〕 In July 1896 he had been forced to move from his room at 6 Rue Cortot into an unheated ground floor closet (he called it a "cupboard")〔"Placard" in French.〕 in the same building, which the landlord offered him for 20 francs per quarter.〔Pierre-Daniel Templier, "Erik Satie", MIT Press, 1969, p. 20. Translated from the original French edition published by Rieder, Paris, 1932.〕〔Mary E. Davis, "Erik Satie", Reaktion Books, 2007, p. 60.〕 The space was so small Satie's camp bed all but blocked the door shut, and on frigid nights he kept warm by sleeping fully dressed with the rest of his clothing piled on top of him.〔J. P. Contamine de Latour, "Erik Satie intime: souvenirs de jeunesse", ''Comoedia'', 3, 5, 6 August 1925. Reprinted in Robert Orledge, "Satie Remembered", Faber and Faber Ltd., 1995, p. 28.〕 These conditions were hardly conducive to composing, but one prospect gave him hope over the bitter 1896-97 winter. Satie's friend Claude Debussy had long lobbied the Société Nationale de Musique (SNM) to perform his music, even though the group's director Ernest Chausson reportedly "almost fainted" after looking through some of the scores.〔Templier, "Erik Satie", p. 21.〕 In 1896 Debussy took matters into his own hands by orchestrating the first and third of Satie's ''Gymnopédies'', and persuaded the Société to program them. Gustave Doret conducted the premiere at the Salle Erard in Paris on February 20, 1897. The critics (led by Satie's arch-enemy Willy) were hostile,〔In his review for the ''Echo de Paris'' (February 22, 1897), Willy called Satie a "mystical sausage-brain" and "ignoramus aboil" while saying of the ''Gymnopédies'', "Debussy has orchestrated them delicately, rendering quite tolerable, at least during the five minutes that they last, this little fabrication...". See Whiting, "Satie the Bohemian", pp. 167-168.〕 but the pieces were warmly received by the audience. This event stirred Satie, who had composed almost nothing since 1895,〔In January 1897 - no doubt stimulated by the upcoming ''Gymnopédies'' premiere - Satie returned to composition with his sixth and final ''Gnossienne'' for piano. The verso of this manuscript contains sketches for an adaptation of the folksong ''The Keel Row'', which would play an important role in the ''Pièces froides''. See Orledge, "Satie the Composer", pp. 190-192.〕 into a renewed (if short-lived) burst of creativity. Within a month he had completed the ''Pièces froides''. Having observed how Debussy arranged his music, Satie attempted to orchestrate two numbers from this set - the first of the ''Airs à faire fuir'' and the second of the ''Danses de travers'' - for the SNM. On March 22 he joked to his friend Louis Lemonnier, "I am going to play you these symphonic pieces on the tormented slide-trombone and make you block up your ears."〔Robert Orledge, "Satie the Composer", Cambridge University Press, 1990, pp. 109.〕 But after 19 trials he got no further than nine bars, and abandoned the project.〔Orledge, "Satie the Composer", p. 110.〕 In the end the Société expressed no further interest in his work, and Satie lapsed into another creative silence that lasted until after his move to Arcueil in October 1898.〔According to a 1916 lecture by Alexis Roland-Manuel, Satie wrote his famous cabaret song ''Je te veux'' in 1897. Robert Orledge supports this date, even though Satie did not register the music with SACEM until November 1902 and it was not performed or published until the following year. See Orledge, "Satie the Composer", p. 281.〕 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「Pièces froides」の詳細全文を読む スポンサード リンク
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