3 Embryons desséchés : Work information

Erik (Alfred Leslie) Satie ( Music, Images,)
Performed by
France Clidat (Piano)

This work

Work name
3 Embryons desséchés
Work number
1913-00-00 02:00:00

This recording

Forlane CI
Ivan Pastor
Jean-Martial Golaz
Recording date
1982-01-01 00:00:00

Track listing

  • D'Holothurie 1:44 min
  • D'Edriophthalma 3:04 min
  • De Podophthalma 1:54 min


Satie produced many so-called 'humorous' piano pieces in the decade betwen 1910 and 1920, though the humour is to be found mainly in their eccentric titles and annotations written in the score. By this time, Satie's style had crystalised fully, often using sharply defined two-part textures. The intimacy of these works also suggest private rather than public performance is often more appropriate.

Embryons Desséchés, a group of three character studies, was composed in 1913. The subjects are all sea creatures: the sea cucumber; the Edriophthalma; and the Podophthalma. Each of these miniature portraits is based on the characteristics of the animals themselves: the melancholy crustacean Edriophthalma, for example, is suggested by Satie's transformation of Chopin's Funeral March!

The Composers

Erik (Alfred Leslie) Satie

If the professors of the Paris Conservatoire had ever had to elect a student as least likely to succeed, it is possible that Erik Satie would have won hands down.  Slow to progress, his skills at the piano were so poor that he was said to take three months to learn even the simplest of pieces.  Satie, however, was not prepared to let an institution stand in his way and set about writing works which, although imbued with originality and a novel use of harmony, were simple enough for him to play in the salons and cafés of bohemian Paris.

Regarded by some as the father of minimalism in music, Satie wrote simple, frequently unobtrusive pieces.  His musical vision perhaps seems sadly prescient - on one occasion he instructed a group of musicians to play a piece, which he had composed as background music, during the interval of a concert.  He was horrified when the audience began to return to their seats and implored them to carry on as if nothing were any different.

Many of the minimalists Satie inspired picked up on his use of "white note" harmony, an aversion to modulation which drives composers to make new uses of old scales by means such as composing in the church modes or using extended chords.  However, Satie also made references to Eastern chromaticism in a similar manner to Debussy.  The two were close friends and influenced each other to a degree.  Even such a technician as Stravinsky acknowledged that "...French music is Bizet, Chabrier and Satie".

Satie collaborated with many of the finest creative minds in Paris, including Picasso, Milhaud and Cocteau, but he was an intensely private man.  He was only known to have had one relationship in his life, and he allowed no one inside his apartment.  Eventually he fell victim to alcoholism, which led to his death from cirrhosis of the liver.

To many, Satie is known chiefly as an eccentric who filled his wardrobe with umbrellas and wrote pieces with titles like "Trois morceaux en forme de poire" (Three pieces in the form of a pear) just to be obstreperous.  Although his bizarre reputation may have contributed his music's popularity, it has perhaps meant that his work is seen as a collection of stunts and tricks.  It would be a shame if the odd titles of his pieces and details of his life were to detract from what is often honest, unique music.

Related Composers: Debussy, Ravel, Poulenc, Milhaud

- MIDI FILE - "Gnossienne" for Piano (7'57'')