Includes score and separate parts.
Score: 20 pages
Parts: 15 pages each
It is often said that Claude Debussy once criticized Satie, suggesting he should take more consideration of form in his music, to which he responded with his three pear-shaped pieces. This anecdote may not be entirely accurate, but is certainly typical of Satie’s eccentric humor and personality.
It is evident from the titles of the movements – of which there are seven, amusingly, rather than three as the title of the work suggests – that Satie was jabbing at music that follows traditional formal structures. In addition to the three pear-shaped pieces, which are simply numbered sequentially, the work contains four “bookend” movements – two preceding and two following those that are supposedly in the shape of a pear:
Manière de Commencement (manner of beginning)
Prolongation du même (prolongation of the same)
En plus (once more)
Despite the titles suggesting excessive repetition of material across movements, they bear no direct musical relationship. The seven movements are essentially standalone pieces with meaningless titles, and nothing about the music suggests a pear. Satie was ever the absurdist.
Trois morceaux was originally composed for piano four-hands, and I have arranged it for guitar eight-hands. This arrangement was first performed by the Fredonia Guitar Quartet of SUNY Fredonia in 2015, at the time comprising of Matthew Downey, Kieran Franzone, Matthew Kingsley, and myself.