https://www.newyorker.com/culture/culture-desk/a-dangerous-and-evil-piano-piece

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On September 9, 1963, a small classroom-size crowd of abstract artists, Off Broadway actors, and miscellaneous beatniks gathered at the Pocket Theatre—a former vaudeville house on Third Avenue and Thirteenth Street—to witness the début of a seventy-year-old piece of mysterious piano music. Though Erik Satie’s “Vexations” (1893) consisted of only a half sheet of notation, its recital had previously been deemed impossible, as the French composer had suggested at the top of his original manuscript that the motif be repeated eight hundred and forty times. Even before repetition, the piano line is unnerving: mild but menacing, exquisite but skewed, modest but exacting. Above the mus... Full story

5 July

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