Gymnopédie No. 1 薩悌 裸體戰士舞吉諾佩迪 長笛加鋼琴 朔特版

音樂界突然注意到了埃裡克-薩蒂（1866-1925 年）： 他的芭蕾舞劇《遊行》於 1917 年 5 月 18 日在全世界首演[參見 dt. 正文!]，引發了一場醜聞。謝爾蓋-迪亞吉列夫（Sergey Diaghilev）和他的 "俄羅斯芭蕾舞團"、巴勃羅-畢卡索（Pablo Picasso）（佈景和服裝）、讓-科克托（Jean Cocteau）（故事）以及萊奧尼德-馬辛（Léonide Massine）（編舞）參與了這部作品的製作，它分裂了巴黎的音樂界，卻讓作曲家廣為人知。薩蒂幾乎沒有接受過任何扎實的音樂訓練，他幾乎一生都生活在巴黎，並有意摒棄了當時的 "瓦格涅裡斯姆"（Wagnérisme），發展出一種新的音樂風格。古典形式模式、新和聲、輕鬆風格、冥想和小丑元素以一種獨創的方式融合在一起，1888 年的《3 首健身舞曲》就是一個完美的例子，其中第一首被編排為鋼琴伴奏獨奏曲： 因此，即使不是鋼琴家，現在也能演奏薩蒂的這首著名小品。由於易於演奏，它還可用於教學目的"

作曲家: Satie, Erik
校訂者: Birtel, Wolfgang
樂器: flute and piano
出版社: Schott Music
原文簡介:
The music scene took notice of Erik Satie (1866-1925) all of a sudden: The world premiere of his ballet 'Parade' on 18 May 1917 [siehe dt. Text!] caused quite a scandal. The production which involved Sergey Diaghilev with his 'Ballets Russes', Pablo Picasso (scenery and costumes), Jean Cocteau (story) as well as Léonide Massine (choreography) divided the music scene of Paris, yet made the composer widely known. Satie who hardly had had any solid musical training and lived in Paris for almost all his life developed a new musical style, in deliberate rejection of the 'Wagnérisme' of his time. Classical form models, new harmonies, stylistic ease, meditative and clownish elements amalgamated in an original way, the perfect example being his '3 Gymnopédies' of 1888 the first of which was here arranged for a solo instrument with piano accompaniment: Thus, it is now possible, even for non-pianists, to play this famous miniature by Satie. Thanks to its easy playability, it can also be used for educational purposes.