One of the most modern aspects of Erik Satie‘s art is the way it sounds spontaneously created, not unlike Gershwin’s later classical-jazz interface. But while Rhapsody In Blue literally scored the great man’s improvisation, Satie achieved freshness with droll, quirky instructions on his sheet music (e.g. play “without pride”, “Fit yourself with clearsightedness”, etc.) in lieu of traditional Italian imperatives for tempo (e.g. largo, moderato, etc.) and volume (fortissimo, pianissimo, etc.) which allows for great interpretive latitude; so, for example, the Gnossiene no.3 here is taken at comparitively breakneck pace. I don’t think you get that level of variation elsewhere in classical music.
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