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Erik Satie

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"It is divided into three movements, which closely approximate a symphony in form. The first, 'From Dawn to Noon on the Sea', begins with a thin, hauntingly grayed quality and grows animated in such a spiritual manner that it is hard to see how Debussy's friend Erik Satie could have forsaken his customary elegance to remark that he particularly enjoyed the part at a quarter past eleven."
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From the (unattributed) sleeve-notes on the 1988 RCA Victor release of Claude Debussy's La Mer.

 
Erik Satie

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The Sea of Debussy does not call for many words of comment. The three parts of which it is composed are entitled From Dawn till Noon, Play of the Waves and Dialogue of the Wind and the Sea, but as far as any pictorial suggestiveness is concerned, they might as well have been entitled On the Flatiron Building, Slumming in the Bowery and A Glimpse of Chinatown During a Raid. Debussy's music is the dreariest kind of rubbish. Does anybody for a moment doubt that Debussy would not write such chaotic, meaningless, cacophonous, ungrammatical stuff, if he could invent a melody?... Even his orchestration is not particularly remarkable.

 
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He is considered to have a strong bond with the Juventus fans, once stating; "I'm proud to be a Juventino, to be a "bandiera", like you define me to be often, in reality I'm just a small part of a big black & white "bandiera" (flag) that grows with the years and if you look closely your name is part of it... To continue making this "bandiera" grow we need everybody: let's stay united."

 
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Just as I was starting on my journey the idea came to me for a new symphony, this time with a program, but a program which will remain an enigma to all— let them guess it who can. It will be called "A Programmatic Symphony" (No. 6). During my trip, while composing in my mind, I frequently shed tears. When I got home I settled down to sketch it, and the work went so furiously that I had the first movement completely ready in less than four days and the remaining movements are already clearly outlined in my head. Half the third movement is already done. There will be much innovation of form in this symphony— and incidentally, the finale will not be a noisy allegro but, on the contrary, a long drawn-out adagio. You can't imagine what bliss I feel, being convinced that my time is not yet passed and I can still work. Perhaps, of course, I'm mistaken, but I don't think so.

 
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When asked by a grumpily puzzled professor what "rules" he followed, Debussy is said to have retorted, mon plaisir — "whatever I please" — and he further claimed that more was to be gained by watching the sun rise than by listening to the Pastoral Symphony. Although such remarks were intended to shock, they contain a core of Debussyan verity...

 
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"I know you," he said. "I know your scent. Long ago, yes, but I never forget. I know your name."
"A friend of a friend, perhaps?" I eyed his spear-tip nervously. Unlike Eagle-beak, he didn't wave it about at all.
"No... an enemy..."
"Terrible when you can't remember something that's right on the tip of your tongue," I observed. "Isn't it, though? And you try so hard to recall it, but often as not you can't because some fool's interrupting you, prattling away so you can't concentrate, and-"
Bull-head gave a bellow of rage. "Shut up! I almost had it then!"

 
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