20 years after his “Zappe Zappa”, Pierrejean Gaucher uses the same formula and applies it to Erik Satie, Zappa’s spiritual grandfather
Why Satie ?
It would be a mistake to confine Satie to the role of father of ambient music. And if we want to go beyond his hits (Gymnopédies, Gnossiennes), we discover little known, surprising and innovative pieces. This musician with his unusual work, offbeat in his time, has always had the attentive ear of jazz and pop musicians. Logical if we admit that his writing often uses elements common in contemporary music, especially rather short titles such as songs, with small repeated cadences. And his self-taughtness (at least in the beginning) forced him to develop a world devoid of the dogmas and virtuosity of the time, like many musicians today.
How do we get Satie back?
Rather than just take Satie back to the letter, I preferred to draw on her theme to build a kind of kaleidoscope of her work (as in the Zappe Zappa project). It is up to the public to locate the pieces of this puzzle through the scores, interpreted by variable geometry orchestral formulas, mixing “classical” and “electric” instruments. My work in progress is currently divided between various pieces, first orchestrated for large groups before being adapted for small ensembles. These range from arrangements that are fairly faithful to the original score, to versions that move further away from it and become variations of it. Others are new tracks, mixing or superimposing various musical fragments from such or such pieces, a bit like a remix.
création au Théâtre de Bourg en Bresse (2018)