|1||I: Portrait De Socrate (Le Banquet)||6:11|
|2||II: Bords De L'Ilissus (Phèdre)||7:22|
|3||III: Mort De Socrate (Phédon)||14:49|
|5||II: Prélude Du Rideau Rouge||1:40|
|6||III: N° 1: Prestidigitateur Chinois||2:26|
|7||IV: N° 3: Petite Fille Américaine||1:28|
|8||V: Rag-time Du Paquebot||2:11|
|9||VI: N° 2: Acrobates||3:36|
|11||VIII: Suite Au Prélude Du Rideau Rouge||0:24|
|Musique D'Ameublement (1923)|
|12||I: Tenture De Cabinet Préfectoral||3:07|
|13||II: Tapisserie En Fer Forgé||1:26|
|14||III: Carrelage Phonique||0:52|
Track 15 recorded at Fukushima Hall, July 1st 1987.
1917 "ballet réaliste" <I>Parade</I>'s subject matter has been described by Jean Cocteau as follows:
"The scenery represents the houses of Paris one Sunday. Fairground booth. Three music-hall numbers serve as an introduction to the entretainment inside: Chinese Conjuror, Acrobats, Little American Girl. Three Circus Barkers drum up trade. They communicate in their terrible language so that the crowd mistakes their comic turn for the real show inside, a mistake which they try in their borrish way to disabuse them of. No one enters.
After the final number of the parade, the exhausted Barkers collapse in a heap. The Chinaman, the Acrobats and the Little Girl emerge from the empty theatre. Seeing the supreme effort and collapse of the Barkers, they try in their own turn to explain that the real show takes place inside.
N.B. The management reserves the right to change the order of the numbers in the parade."
Inspired by his concern for ostinato repetition, <I>Musique d'Ameublement</I> and <I>Vexations</I> illustrate Satie's anticipation of minimalism. It is worth noticing that an important number of the original manuscripts for these piece of work nowadays belong to John Cage hismelf.
Presented here in a shortened 13 minutes long version, <I>Vexations</I> consists in a single theme, followed by two harmonizations meant to be played 840 times repeatedly. Satie wrote that: "before palying this motif, it would be advisable to prepare oneself well in advance, in the most profound silence, by observing a period of serious immobility". John cage is in fact the only musician who has organized a complete 24 hours long performance of it in 1963.