Grimaces

Les Dix Grimaces pour piano sont un hommage à Prokofiev à plusieurs égards : le titre du recueil est une référence aux ' Sarcasmes ' op,17, et l'esprit des pièces est celui du Prokofiev soviétique, qui tente d'atténuer, sans y parvenir vraiment, l'humour et l'ironie caractéristiques de toute son oeuvre,Ce sont des pièces pédagogiques, écrites pour un niveau de deuxième cycle, offrant aux jeunes pianistes l'occasion d'exprimer toute une gamme de caractères peu conformistes parfois attirants à l'adolescence : la moquerie, le ridicule, l'humeur sombre, la causticité? et la naïveté d'un Pierre et le loup pastiche qui conclut le cycle dans la ' révérence ' finale, 1, Tempo di valser beffada (1'13)2, Andante irritante (1'45)3, Veloce e furbo (1'45)4, Largo sostenuto (2'30)5, Allegro giocoso (1'35)6, Minuetto lamentoso (1'50)7, Sarcastico (1'45)8, Andante tranquillo (2'21)9, Allegro malizioso (1'30)10, Allegretto ingenuo (1'46) / Piano

Arranged by Trevor Wye. Nine of Satie's most popular melodies including the Gymnopedies and three of the Cinq Grimaces superbly arranged for the intermediate flautist with piano accompaniment.

This new, completely revised and reset centenary edition of Satie?s complete piano music in three volumes has returned to Satie?s manuscripts and first editions to give pianists completely accurate and reliable texts to play from. As well as presenting every piece for piano solo or piano reduction that Satie published, this edition also includes some previously unknown pieces, like the Petite Sonate that he wrote for Vincent d?Indy at the Schola Cantorum, as well as some interesting first versions of well-known pieces, like San Bernardo, a trial version of Españaña (1913) and the markedly different first version of Les Pantins dansent (1914). In addition, there areexamples of the different types of exercises that Satie completed at the Schola between 1905 and 1912, some extra trial Enfantines, and some earlier drafts of his famous Sports et divertissements. To help pianists, suggested metronome marks have been added throughout, and there are also some performance suggestions for the Rose Croix pieces of the 1890s, which otherwise appear to be all quiet and slow. The notation has been made as user-friendly as possible, without detracting from Satie?s concerns about the ?extériorisation? of his musical thought in print.