tag yourself as movements in classical music
  • Medieval: often ignored, shy, secretly gay, likes to stay in the same place all the time, dreams of being a monk
  • Renaissance: loves to dance, likes fancy things (but not too fancy), nobody else could pick them out in a crowd but everyone is friendly to them
  • Baroque: very particular about everything, draws immensely detailed doodles, gets super side-tracked on pointless tangents, everyone's distracted dad friend
  • Classical: very neat bedroom, makes bad puns constantly, has a 9-5 job, everyone's helpful but slightly exasperated mom friend
  • Romantic: can never make up their mind about anything, gets shivers when they go to art museums, cries a lot (and you'll know about it), sad bisexual (TM)
  • Impressionist: super gay, loves music that isn't in their native language, cries easily, just wants to have a good time
  • Early Modernist: just like Romantic but also does drugs and is afraid of but also super interested in sex
  • Serialist: angry at everything, "you don't understand my torment", probably a communist
  • Neoclassical: wants to be just like classical but has never gone to sleep before 1AM, keeps a very neat bedroom except for a single massive pile of clothes in the closet they refuse to acknowledge, occasionally steals Renaissance's hoodies
  • Total Serialist: 500% angrier than serialist and proud of it, has never had fun, has probably killed someone
  • Academic Avant-Garde: has never done the same thing twice, trusts nobody else, has an on-again-off-again relationship with total serialism
  • Minimalism: loves technology, still wears Google Glass and the Apple Watch, meditates for fun, trying to learn Hindi (and horribly failing), often incomprehensible to everyone else but is actually super friendly
  • Polystylism: originator of the term "pastel grunge", wears immensely clashing outfits, steals everyone's looks, memes

Satie - Embryons Desséchés

Desiccated embryos. A short work of three movements that presents an example of Satie’s musical jokes. Each movement has a little quip towards music history and other composers. The first movement is to a sea cucumber, and quotes a popular cabaret song at the time “My rock of Saint-Malo”, and in the score he writes “I observed a sea cucumber in the bay of Saint-Malo”. This is probably him poking fun at the music of his good friend Debussy, who he criticized for his prelude “The Sunken Cathedral”. That prelude was referring to a church in a fictitious underwater city, and Satie wanted to respond by writing music depicting something real. The movement ends with an overwritten coda of the tonic chord played over and over, keeping the listener on edge as to when the music actually ends. The second movement is for a type of small shrimp. It is in the form of a short funeral march, referencing Chopin’s famous funeral march from the second piano sonata, but he calls it a famous Mazurka by Schubert. The final movement is for crustaceans like crabs and lobsters, and after a fun toccata it ends with another overwritten coda, “obligatory cadenza [by the composer]” and its pomposity and false grandeur is silly to put at the end of such a short and nonsensical work. Again, Satie likes to delight in the absurd.


1. Holothurian

2. Edriophthalma

3. Podophthalma

Stay tuned this week for more music by Erik Satie, here on Musica in Extenso! 

- Nick Olinger

Top 25 Favorite Composers

No.24: Claude Debussy (22 August 1862 - 25 March 1918)

Debussy is one of the great and iconic French composers, and is essentially the Father of Impressionism in music. How is music impressionist? By focusing on ambiguity, and the sense of musical works as a whole instead of specific details, very loose programs, giving hints of ideas but making the audience put them together. Debussy’s strength was the recognition of individual subjectivity, and how any artistic experience will impact a listener in different ways. My top favorite works are La Mer, an epic poem to the sea, Nocturnes, three orchestral impressionist paintings, and his two sets of Preludes for piano, bringing a new dimension to the genre.

String Artist. Richard Emil Miller (American, 1875-1943).

One of the many Americans who worked at Giverny, Miller became a familiar of Frederick Frieseke and together they often met at Monet’s home to paint, critique, and socialize. Miller readily adopted an aesthetic similar to that of Frieseke: wistful maidens relaxing in sun-flecked gardens or interiors painted with broken strokes in impressionist colors.

Elégie In C Minor, Op. 24
Jacqueline Du Pré & Gerald Moore
Elégie In C Minor, Op. 24

Gabriel Urban Fauré (1845-1924).

Fauré's talent became clear when he was a small boy. At the age of nine, he was sent to a music college in Paris, where he was trained to be a church organist and choirmaster. Among his teachers was Camille Saint-Saëns, who became a lifelong friend.

The Élégie (Elegy)Op. 24, was written in 1880, and first published and performed in public in 1883. Originally for cello and piano, the piece was later orchestrated by Fauré.

The Heart of the Fauré Elegy is the vivid expression of the wide-ranging emotions that accompany loss; when Fauré was 34, devastated and grieving over his broken engagement to his long-time love. Tonal shifts, the use of dissonance and harmonic ambiguity, and expansive register changes on the cello give this piece tremendous emotional range and depth. 


Maurice Ravel - Pavane for A Dead Princess

Pavane pour une infante défunte

Works of art make rules; rules do not make works of art.
—  Claude Debussy (French Composer 1862-1918, one of the most prominent figures associated with Impressionist music)

Debussy - Prèludes

Ok, yes, I know I shared just the first prelude only yesterday, but I have to admit: this is one of those big collections that I had yet to get to. Now, I’m listening through an older recording by Walter Gieseking, and this has been quite the journey through wild waters. Refreshing, crisp, bright, some familiarity here and there, wonderful harmonic choices, magic…I could go on. While I could just pick my personal favorites of the set and share several of them, and even though Debussy never indicated that these pieces were meant to be played as a whole set, I’m sharing the complete preludes anyway. If you haven’t heard these before, you’re in for a treat.

Book I

Danseuses de Delphes 
Le vent dans la plaine 
Les sons et les parfums tournent dans l’air du soir 
Les collines d’Anacapri 
Des pas sur la neige 
Ce qu’a vu le vent d’Ouest 
La fille aux cheveux de lin 
La sérénade interrompue 
La Cathédrale engloutie 
La danse de Puck

Book II

Feuilles mortes 
La Puerta del Vino 
“Les fées sont d’exquises danceuses” 
Général Lavine, excentric
La Terasse des audiences du clair de lune
Hommage à S. Pickwick Esq., P.P.M.P.C. 
Les tierces alternées
Feux d’artifice 

(He dropped his sheet music.)
This is the Jotaro Kujo of Pt8’s Morioh, a traveling jazz musician like his father. Enjoying the relative peacefulness of the city while on tour, Jotaro came back for a vacation. Except it’s not quite the same as last time.
While trying to find a way to the beach, he wandered too close to the wall eyes and got a strange wound, eventually obtaining a Stand.
Jotaro himself is actually shy, scared quite easily, and would rather not hurt anyone or anything if he can avoid it. (Thankfully his Stand doesn’t really have a destructive ability.) The only time he really expresses himself is when he’s sitting in front of a piano. Despite being a jazz musician he prefers classical and especially loves impressionist music.
His hobbies include reading about botany, rock collecting, and hiking. Loves chocolate too much for his own good. Gets along really well with kids, but not so much with older women.
If he’s not at a piano, then he’s meandering around Morioh or sitting somewhere nearby the ocean.

Daily Practice Tip # 44

44. When you reach an intense, loud section in a piece you’re playing, intensify your vibrato too. It should be smaller and faster. (This is more classical/baroque style - less rubato, cleaner, precise.) Likewise, when you reach a lyrical, soaring section, your vibrato should reflect that as well - it should be slower and wider. (This is probably going to be used more in romantic, impressionistic, and Russian music. More rubato, more dramatic, more lyrical.)