Erik Satie Maurice Abravanel Conducting Utah Symphony Orchestra, The - Homage To Erik Satie

unicefnicaragua

Review by UNICEF Nicaragua

Homage To Erik Satie: A Wild Ride Through Weird and Wonderful Sounds Alright, buckle up. This isn’t your grandma’s classical album—unless your grandma was into avant-garde piano doodles and orchestral chaos. Homage To Erik Satie, released in 1968 by the Utah Symphony Orchestra under Maurice Abravanel, is a trip. It’s like someone took Erik Satie’s quirky genius, threw it into a blender with some heavy hitters like Darius Milhaud and Francis Poulenc, and hit "puree." The result? An album that feels equal parts elegant, bizarre, and just plain fun. First off, let’s talk about Gymnopédies Nos. 1 And 3. Oh man, these tracks slap. If you’ve ever wanted to float through space while also feeling slightly melancholic, this is your jam. Gymnopédie No. 1 is so chill it almost puts you to sleep—but not in a bad way. More like, “Oh crap, I forgot how beautiful simplicity could be.” Then No. 3 comes in and shakes things up just enough to keep you from drifting away completely. These pieces are proof that Satie wasn’t trying to impress anyone; he was just doing his thing, and honestly, good for him. Now, onto something wilder: Relâche (Ballet In Two Acts). Holy cow, what even IS this? Relâche sounds like a bunch of drunk musicians decided to throw a party at 3 AM after the opera crowd went home. There’s a saxophone solo that’s borderline unhinged, and the whole thing has this jagged, stop-and-go rhythm that makes you feel like you’re stumbling through a surrealist painting. Which, hey, maybe you are—Satie wrote this for a ballet full of absurd visuals, so listening to it without seeing anything is kind of like eavesdropping on a fever dream. You won’t forget it anytime soon, trust me. The production quality here is solid for 1968, though don’t expect modern-day polish. Sometimes the orchestra sounds a little rough around the edges, but honestly, that adds to the charm. Like, yeah, they’re playing Satie’s weird-ass compositions, and sometimes it feels like they’re figuring it out as they go along. But isn’t that the point? Satie wasn’t about perfection—he was about personality. One thing that really stands out is the liner notes by Darius Milhaud and S.W. Bennett. They’re nerdy as hell, diving deep into Satie’s life and work, but they make you appreciate the dude even more. Plus, there’s something kinda funny about reading essays about why Satie mattered while listening to music that actively tries to mess with your brain. So yeah, this album’s a keeper. It’s not gonna appeal to everyone—some folks will probably think it’s too random or pretentious—but if you dig stuff that breaks the rules, you’ll love it. Honestly, listening to Homage To Erik Satie feels like hanging out with an eccentric friend who tells amazing stories but occasionally forgets where they were going with them. Final thought: Who knew Utah could pull off such a gloriously weird project? Guess the Beehive State had more tricks up its sleeve than we gave it credit for.

Table of Contents

Download

Filename: erik-satie-maurice-abravanel-conducting-utah-symphony.zip
  • MP3 size: 78.1 mb
  • FLAC size: 364.1 mb

Tracks

TrackDurationPreview
En Habit De Cheval (In Riding Clothes)
Gymnopédies Nos. 1 And 3
Cinq Grimaces Pour "Un Songe D'une Nuit D'été" (Five Grimaces For "A Midsummer Night's Dream")
La Belle Excentrique (Grande Ritournelle)
Jack-In-The-Box
Relâche (Ballet In Two Acts)
Morceaux En Forme De Poire (Pieces In The Shape Of A Pear)
Le Fils Des Etoiles (The Son Of The Stars)
Deux Préludes Posthumes Et Une Gnossienne
Les Adventures De Mercure (Ballet)
Parade (Ballet)

Catalog Numbers

VCS-10037/38

Labels

Vanguard Cardinal Series

Listen online

  • online luisteren
  • lytte på nettet
  • escuchar en línea
  • ascolta in linea
  • ouvir online
  • écouter en ligne
  • kuunnella verkossa
  • lyssna på nätet
  • online anhören

Formats

  • 2 × Vinyl
  • LP
  • Stereo
  • Gatefold

Credits

RoleCredit
Composed ByErik Satie
IllustrationErik Satie
ConductorMaurice Abravanel
Liner NotesDarius Milhaud, S. W. Bennett
OrchestraUtah Symphony Orchestra, The
Orchestrated ByDarius Milhaud (tracks: D3), Francis Poulenc (tracks: D1), Roger Désormière (tracks: C3)
PaintingDavid Wilcox

Notes

  • Subtitle: "Original works for orchestra as well as orchestrations by friends"
  • ——Center labels info——
  • Black and red on white "Cardinal Series" labels
  • ——Sleeve info——
  • Cover painting: After Picasso's design for the curtain of the original Paris performance of the ballet, Parade.
  • Recorded with the Dolby System
  • Copyright 1968 / Vanguard Recording Society, Inc., New York, N.Y. / Printed in U.S.A.
  • Also released on CD 1991, Vanguard Classics OVC 4030, bar code 7 23918-4030-2 1; this version does not include three tracks that are on the LP:
  • "En Habit de Chaval", "Deux Préludes Posthumes Et Une Gnossienne", and "Le Fils Des Etoiles"

Barcodes

  • Matrix / Runout (Label A): XSV 14096
  • Matrix / Runout (Label B): XSV 14097
  • Matrix / Runout (Label C): XSV 14098
  • Matrix / Runout (Label D): XSV 14099

About Erik Satie Maurice Abravanel Conducting Utah Symphony Orchestra, The

Album herunterladen Erik Satie Maurice Abravanel Conducting Utah Symphony Orchestra, The - Homage To Erik Satietélécharger l'album Erik Satie Maurice Abravanel Conducting Utah Symphony Orchestra, The - Homage To Erik Satielast ned album Erik Satie Maurice Abravanel Conducting Utah Symphony Orchestra, The - Homage To Erik Satieladda ner album Erik Satie Maurice Abravanel Conducting Utah Symphony Orchestra, The - Homage To Erik Satiebaixar álbum Erik Satie Maurice Abravanel Conducting Utah Symphony Orchestra, The - Homage To Erik Satielataa albumi Erik Satie Maurice Abravanel Conducting Utah Symphony Orchestra, The - Homage To Erik Satie
Born: May 17, 1866 (Honfleur, France) Died: July 1, 1925 (Arcueil, France) Erik Satie, was a French composer and pianist. A colourful figure in the early 20th century Parisian avant-garde, he referred to himself as a "phonometrograph" or "phonometrician" (meaning "someone who measures (and writes down) sounds"), preferring this designation to that of "musician," after having been called "a clumsy but subtle technician" in a book on contemporary French composers published in 1911. Later, from the 1940s on, predominantly presented Satie's work as that of an inventor of a new and modern musical expression, and so he was slowly rediscovered and became a precursor to artistic movements such as minimalism, repetitive music, ambient (called "Furniture Music" by Satie) and the Theatre of the Absurd. In addition to his body of music, Satie also left a remarkable set of often humorous and witty writings.

Real Name

    • Alfred Éric Leslie Satie

Name Vars

  • Alfre Leslie Erik Satie
  • Alfred Erik Leslie Satie
  • E Satie
  • E. Sarti
  • E. Sati
  • E. Satie
  • E.Satie
  • Eric Sati
  • Eric Satie
  • Erick Satie
  • Erik Alfred Leslie Satie
  • Erik Alfredi Le Satie
  • Erik Alfredi Leslie Satie
  • Erik Saitie
  • Erik Satie Et Autres Messieurs
  • Satie
  • Satie Erik
  • Satie, Erik
  • Érik Satie
  • Сати
  • Э. Сати
  • Эрик Сати
  • ¨êïµÆ£
  • ¨êïûµÆ£
  • µÆ£
  • µÆ£ü

Interesting fact about Album

Here's an interesting fact: The album *Homage To Erik Satie* is a fascinating blend of creativity and collaboration. While Erik Satie composed the original works, it took three legendary musicians—Darius Milhaud, Francis Poulenc, and Roger Désormière—to orchestrate some of the tracks. Even more intriguing? The liner notes were written by Darius Milhaud himself, adding a personal touch to this tribute. And let’s not forget the cover art—it features a painting by David Wilcox, tying together music and visual art in true avant-garde fashion. Released in 1968, this album feels like a time capsule of modern classical innovation.