Might the misunderstanding of Satie the militant avant-gardist be dissipating? Would a handful of brief, sensitive, famous pieces
(Gymnopédies, Gnossiennes…), or others, ill known (Cinq Grimaces, Sarabandes…), of which the burlesque is limited to ‘annotations’, only be tributes to the friend Debussy who sincerely held him in esteem, far from the pom-pom of Parade which is juxtaposed with the humorous 'haikus' of a piano-bar, an improviser both popular and scholarly?
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PRD/DSD 250 299
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