Choses vues à droite et à gauche (sans lunettes), commonly translated as Things Seen Right-to-Left (Without Glasses), is a suite for violin and piano by Erik Satie. Composed in January 1914 and published in 1916, it is the only work he produced for violin-piano duet. A typical performance lasts about 5 minutes.

The Nocturnes are a set of five piano pieces (initially planned as a set of seven, but left unfinished) by Erik Satie. They were written between August and November 1919. With the exception of the Premier Menuet (1920), they were his final works for solo piano, and are considered among his most significant achievements in the genre. The Nocturnes stand apart from Satie's piano music of the 1910s in their complete seriousness—lacking the zany titles, musical parody, and extramusical texts that he typically featured in his scores of the time. The completed set of five nocturnes takes about 13 minutes to perform.

Pince-nez (, , or , plural form same as singular; French pronunciation: [pɛ̃s.ne]) is a style of glasses, popular in the late 19th and early 20th centuries, that are supported without earpieces, by pinching the bridge of the nose. The name comes from French pincer ('to pinch') and nez ('nose'). Although pince-nez were used in Europe since the late 14th century, modern ones appeared in the 1840s and reached their peak popularity around 1880 to 1900. Because they did not always stay on the nose when placed, and because of the stigma sometimes attached to the constant wearing of eyeglasses, pince-nez were often connected to the wearer's clothing or ear via a suspension chain, cord, or ribbon so that they could be easily removed and not lost.

The Gnossiennes (French pronunciation: [ɲosjɛn]) are several piano compositions by the French composer Erik Satie in the late 19th century. The works are for the most part in free time (lacking time signatures or bar divisions) and highly experimental with form, rhythm and chordal structure. The form was invented by Satie but the term itself existed in French literature before Satie's usage.

The Gymnopédies (French pronunciation: [ʒim.nɔ.pe.di]), or Trois Gymnopédies ('Three Nude Dances"), are three piano compositions written by French composer and pianist Erik Satie. He completed the whole set by 2 April 1888, but they were at first published individually: the first and the third compositions were published in 1888, while the second would not be published until 1895.

The Messe des pauvres (Mass for the Poor) is a partial musical setting of the mass for mixed choir and organ, written from 1893 through 1895 by Erik Satie. It was intended for liturgical use in the Metropolitan Church of Art of Jesus the Conductor. The mass is Satie's only liturgical work and the culmination of his "Rosicrucian" or "mystic" period. It was published posthumously in 1929. A performance lasts around 18 minutes.

Eric Alfred Leslie Satie (17 May 1866 – 1 July 1925), better known as Erik Satie, was a French composer and pianist. The son of a French father and a British mother, he studied at the Paris Conservatoire but was undistinguished and did not obtain a diploma. In the 1880s he worked as a pianist in café-cabarets in Montmartre, Paris, and began composing works, mostly for solo piano, such as his Gymnopédies and Gnossiennes. He also wrote music for a Rosicrucian sect to which he was briefly attached. Following a period of sparse compositional productivity, Satie entered Paris's second music academy, the Schola Cantorum, as a mature student. His studies there were more successful than those at the Conservatoire. From about 1910 he became the focus of successive groups of young composers attracted by his unconventionality and originality. Among them were the group known as Les Six. A meeting with Jean Cocteau in 1915 led to the creation of the ballet Parade (1917) for Sergei Diaghilev, with music by Satie, sets and costumes by Pablo Picasso, and choreography by Léonide Massine. Satie's example guided a new generation of French composers away from post-Wagnerian Impressionism towards a sparer, terser style. During his lifetime, he influenced Maurice Ravel, Claude Debussy, and Francis Poulenc, and he is seen as an influence on more recent composers such as John Cage and John Adams. His harmony is often characterised by unresolved chords; he sometimes dispensed with bar-lines, as in his Gnossiennes; and his melodies are generally simple and often reflect his love of old church music. He gave some of his later works absurd titles, such as Véritables Préludes flasques (pour un chien) ("True Flabby Preludes (for a Dog)", 1912), Croquis et agaceries d'un gros bonhomme en bois ("Sketches and Exasperations of a Big Wooden Man", 1913) and Sonatine bureaucratique ("Bureaucratic Sonatina", 1917). Most of his works are brief, and the majority are for solo piano. Exceptions include his "symphonic drama" Socrate (1919) and two late ballets Mercure and Relâche (1924). Satie never married, and his home for most of his adult life was a single small room, first in Montmartre and, from 1898 to his death, in Arcueil, a suburb of Paris. He adopted various images over the years, including a period in quasi-priestly dress, another in which he always wore identically coloured velvet suits, and is known for his last persona, in neat bourgeois costume, with bowler hat, wing collar, and umbrella. He was a lifelong heavy drinker, and died of cirrhosis of the liver at the age of 59.

The Sarabandes are three dances for solo piano composed in 1887 by Erik Satie. Along with the famous Gymnopédies (1888) they are regarded as his first important works, and the ones upon which his reputation as a harmonic innovator and precursor of modern French music, beginning with Debussy, principally rests. The Sarabandes also played a key role in Satie's belated "discovery" by his country's musical establishment in the 1910s, setting the stage for what became his international fame. French composer and critic Alexis Roland-Manuel wrote in 1916 that the Sarabandes represented "a milestone in the evolution of our music...pieces of an unprecedented harmonic technique, born of an entirely new aesthetic, which create a unique atmosphere, a sonorous magic of complete originality."

The Ogives are four pieces for piano composed by Erik Satie in the late 1880s. They were published in 1889, and were the first compositions by Satie he did not publish in his father's music publishing house. Satie was said to have been inspired by the form of the windows of the Notre Dame Cathedral in Paris when composing the Ogives. An ogive is the curve that forms the outline of a pointed gothic arch. The calm, slow melodies of these pieces are built up from paired phrases reminiscent of plainchant. Satie wanted to evoke a large pipe organ reverberating in the depth of a cathedral, and achieved this sonority by using full harmonies, octave doubling and sharply contrasting dynamics. Satie wrote this music without bar-lines.

Eric Alfred Leslie Satie (17 May 1866 – 1 July 1925), better known as Erik Satie, was a French composer and pianist. The son of a French father and a British mother, he studied at the Paris Conservatoire but was undistinguished and did not obtain a diploma. In the 1880s he worked as a pianist in café-cabarets in Montmartre, Paris, and began composing works, mostly for solo piano, such as his Gymnopédies and Gnossiennes. He also wrote music for a Rosicrucian sect to which he was briefly attached. Following a period of sparse compositional productivity, Satie entered Paris's second music academy, the Schola Cantorum, as a mature student. His studies there were more successful than those at the Conservatoire. From about 1910 he became the focus of successive groups of young composers attracted by his unconventionality and originality. Among them were the group known as Les Six. A meeting with Jean Cocteau in 1915 led to the creation of the ballet Parade (1917) for Sergei Diaghilev, with music by Satie, sets and costumes by Pablo Picasso, and choreography by Léonide Massine. Satie's example guided a new generation of French composers away from post-Wagnerian Impressionism towards a sparer, terser style. During his lifetime, he influenced Maurice Ravel, Claude Debussy, and Francis Poulenc, and he is seen as an influence on more recent composers such as John Cage and John Adams. His harmony is often characterised by unresolved chords; he sometimes dispensed with bar-lines, as in his Gnossiennes; and his melodies are generally simple and often reflect his love of old church music. He gave some of his later works absurd titles, such as Véritables Préludes flasques (pour un chien) ("True Flabby Preludes (for a Dog)", 1912), Croquis et agaceries d'un gros bonhomme en bois ("Sketches and Exasperations of a Big Wooden Man", 1913) and Sonatine bureaucratique ("Bureaucratic Sonatina", 1917). Most of his works are brief, and the majority are for solo piano. Exceptions include his "symphonic drama" Socrate (1919) and two late ballets Mercure and Relâche (1924). Satie never married, and his home for most of his adult life was a single small room, first in Montmartre and, from 1898 to his death, in Arcueil, a suburb of Paris. He adopted various images over the years, including a period in quasi-priestly dress, another in which he always wore identically coloured velvet suits, and is known for his last persona, in neat bourgeois costume, with bowler hat, wing collar, and umbrella. He was a lifelong heavy drinker, and died of cirrhosis of the liver at the age of 59.

The Nocturnes are a set of five piano pieces (initially planned as a set of seven, but left unfinished) by Erik Satie. They were written between August and November 1919. With the exception of the Premier Menuet (1920), they were his final works for solo piano, and are considered among his most significant achievements in the genre. The Nocturnes stand apart from Satie's piano music of the 1910s in their complete seriousness—lacking the zany titles, musical parody, and extramusical texts that he typically featured in his scores of the time. The completed set of five nocturnes takes about 13 minutes to perform.

The Gnossiennes (French pronunciation: [ɲosjɛn]) are several piano compositions by the French composer Erik Satie in the late 19th century. The works are for the most part in free time (lacking time signatures or bar divisions) and highly experimental with form, rhythm and chordal structure. The form was invented by Satie but the term itself existed in French literature before Satie's usage.

In this list of Erik Satie's musical compositions, those series or sets comprising several pieces (e.g., Gnossienne 1, Gnossienne 2, etc.) with nothing but tempo indications to distinguish the movements by name, are generally given with the number of individual pieces simply stated in square brackets. If the pieces in a series have distinct titles, for example the 21 pieces in Sports et divertissements, all titles are given. Many of Satie's works were not published until many years after they were composed, including a considerable number first published posthumously. This article gives the known or approximate date of composition for each work.

Eric Alfred Leslie Satie (17 May 1866 – 1 July 1925), better known as Erik Satie, was a French composer and pianist. The son of a French father and a British mother, he studied at the Paris Conservatoire but was undistinguished and did not obtain a diploma. In the 1880s he worked as a pianist in café-cabarets in Montmartre, Paris, and began composing works, mostly for solo piano, such as his Gymnopédies and Gnossiennes. He also wrote music for a Rosicrucian sect to which he was briefly attached. Following a period of sparse compositional productivity, Satie entered Paris's second music academy, the Schola Cantorum, as a mature student. His studies there were more successful than those at the Conservatoire. From about 1910 he became the focus of successive groups of young composers attracted by his unconventionality and originality. Among them were the group known as Les Six. A meeting with Jean Cocteau in 1915 led to the creation of the ballet Parade (1917) for Sergei Diaghilev, with music by Satie, sets and costumes by Pablo Picasso, and choreography by Léonide Massine. Satie's example guided a new generation of French composers away from post-Wagnerian Impressionism towards a sparer, terser style. During his lifetime, he influenced Maurice Ravel, Claude Debussy, and Francis Poulenc, and he is seen as an influence on more recent composers such as John Cage and John Adams. His harmony is often characterised by unresolved chords; he sometimes dispensed with bar-lines, as in his Gnossiennes; and his melodies are generally simple and often reflect his love of old church music. He gave some of his later works absurd titles, such as Véritables Préludes flasques (pour un chien) ("True Flabby Preludes (for a Dog)", 1912), Croquis et agaceries d'un gros bonhomme en bois ("Sketches and Exasperations of a Big Wooden Man", 1913) and Sonatine bureaucratique ("Bureaucratic Sonatina", 1917). Most of his works are brief, and the majority are for solo piano. Exceptions include his "symphonic drama" Socrate (1919) and two late ballets Mercure and Relâche (1924). Satie never married, and his home for most of his adult life was a single small room, first in Montmartre and, from 1898 to his death, in Arcueil, a suburb of Paris. He adopted various images over the years, including a period in quasi-priestly dress, another in which he always wore identically coloured velvet suits, and is known for his last persona, in neat bourgeois costume, with bowler hat, wing collar, and umbrella. He was a lifelong heavy drinker, and died of cirrhosis of the liver at the age of 59.

Heures séculaires et instantanées (Age-Old and Instantaneous Hours) is a 1914 piano composition by Erik Satie. One of his humoristic keyboard suites of the 1910s, it features Satie's famous warning to pianists against reading aloud the fanciful texts that adorned his scores. In performance it lasts about 4 minutes. Publication of the Heures, like several of Satie's 1914 works, was delayed by the outbreak of World War I. It was finally issued by the firm E. Demets in 1916. Ricardo Viñes gave the premiere at the Galerie Barbazanges in Paris on March 11, 1917.

The Allegro is a brief piano piece by Erik Satie. Dated September 9, 1884, when Satie was 18, it is his earliest known composition. It also marked the first time he signed his given name as "Erik" instead of "Éric".

The Avant-dernières Pensées (Penultimate Thoughts) is a 1915 piano composition by Erik Satie. The last of his humoristic piano suites of the 1910s, it was premiered by the composer at the Galerie Thomas in Paris on May 30, 1916, and published that same year. A typical performance lasts 3–4 minutes.

In this list of Erik Satie's musical compositions, those series or sets comprising several pieces (e.g., Gnossienne 1, Gnossienne 2, etc.) with nothing but tempo indications to distinguish the movements by name, are generally given with the number of individual pieces simply stated in square brackets. If the pieces in a series have distinct titles, for example the 21 pieces in Sports et divertissements, all titles are given. Many of Satie's works were not published until many years after they were composed, including a considerable number first published posthumously. This article gives the known or approximate date of composition for each work.

In Search of Lost Time (French: À la recherche du temps perdu), first translated into English as Remembrance of Things Past, and sometimes referred to in French as La Recherche (The Search), is a novel in seven volumes by French author Marcel Proust. This early twentieth-century work is his most prominent, known for both its length and its theme of involuntary memory. The novel gained fame in English through translations by C. K. Scott Moncrieff and Terence Kilmartin and was known in the Anglosphere as Remembrance of Things Past. The title In Search of Lost Time, a literal rendering of the French, became ascendant after D. J. Enright adopted it for his revised translation published in 1992. In Search of Lost Time follows the narrator's recollections of childhood and experiences into adulthood in late 19th-century and early 20th-century high-society France. Proust began to shape the novel in 1909; he continued to work on it until his final illness in the autumn of 1922 forced him to break off. Proust established the structure early on, but even after volumes were initially finished, he continued to add new material and edited one volume after another for publication. The last three of the seven volumes contain oversights and fragmentary or unpolished passages, as they existed only in draft form at the time of Proust's death. His brother Robert oversaw editing and publication of these parts. The work was published in France between 1913 and 1927. Proust paid to publish the first volume (with Éditions Grasset) after it had been turned down by leading editors who had been offered the manuscript in longhand. Many of its ideas, motifs and scenes were anticipated in Proust's unfinished novel, Jean Santeuil (1896–1899), though the perspective and treatment there are different, and in his unfinished hybrid of philosophical essay and story, Contre Sainte-Beuve (1908–09). The novel had great influence on twentieth-century literature; some writers have sought to emulate it, others to parody it. For the centenary of the French publication of the novel's first volume, American author Edmund White pronounced In Search of Lost Time "the most respected novel of the twentieth century". It holds the Guinness World Record for longest novel.

The Enfantines are three sets of beginner piano pieces by Erik Satie, "written with the aim of preparing children for the sound patterns of modern music." They were composed in October 1913 and published the following year. Two additional sets were published posthumously.

The Pièces froides (Cold Pieces) are two sets of piano pieces composed in March 1897 by Erik Satie. Unpublished until 1912, they marked Satie's break from the mystical-religious music of his "Rosicrucian" period (1891–95), and were a harbinger of his humoristic piano suites of the 1910s. Biographer Rollo Myers placed the Pièces froides high among Satie's piano works, writing, "Only a born musician of the finest sensibility could have conceived these limpid and so essentially 'musical' pieces which ought to be in the repertory of every pianist who is more interested in music than virtuosity." A third set of Pièces froides, written in 1907 but shelved by the composer, was published posthumously.

In this list of Erik Satie's musical compositions, those series or sets comprising several pieces (e.g., Gnossienne 1, Gnossienne 2, etc.) with nothing but tempo indications to distinguish the movements by name, are generally given with the number of individual pieces simply stated in square brackets. If the pieces in a series have distinct titles, for example the 21 pieces in Sports et divertissements, all titles are given. Many of Satie's works were not published until many years after they were composed, including a considerable number first published posthumously. This article gives the known or approximate date of composition for each work.

The Descriptions automatiques (Automatic Descriptions) is a 1913 piano composition by Erik Satie. The second of his humoristic keyboard suites (1912-1915), it set the tone for the rest of the series by introducing elements of musical parody, and in the increasingly important role played by the verbal commentary. In performance it lasts about 4 minutes.

In this list of Erik Satie's musical compositions, those series or sets comprising several pieces (e.g., Gnossienne 1, Gnossienne 2, etc.) with nothing but tempo indications to distinguish the movements by name, are generally given with the number of individual pieces simply stated in square brackets. If the pieces in a series have distinct titles, for example the 21 pieces in Sports et divertissements, all titles are given. Many of Satie's works were not published until many years after they were composed, including a considerable number first published posthumously. This article gives the known or approximate date of composition for each work.

Stéphane Blet (9 March 1969 – 7 January 2022) was a French classical pianist and composer.

The Prélude d'Eginhard (Prelude to Eginhard) is an 1893 composition for solo piano by Erik Satie. It is a notable example of his "Rosicrucian" or "mystic" period. Unpublished during his lifetime, it was issued posthumously in 1929. A typical performance lasts under 3 minutes. Although it stands as one of Satie's more obscure pieces, it has been admired for its succinctness and well-balanced musical construction. Composer-musicologist Patrick Gowers ventured that the Prélude d'Eginhard was "perhaps the most perfect miniature" in all of Satie's Rose + Croix music.

Embryons desséchés ("Desiccated embryos") is a piano composition by Erik Satie, composed in the summer of 1913. The composition consists of three little movements, each taking about two to three minutes to play.

In this list of Erik Satie's musical compositions, those series or sets comprising several pieces (e.g., Gnossienne 1, Gnossienne 2, etc.) with nothing but tempo indications to distinguish the movements by name, are generally given with the number of individual pieces simply stated in square brackets. If the pieces in a series have distinct titles, for example the 21 pieces in Sports et divertissements, all titles are given. Many of Satie's works were not published until many years after they were composed, including a considerable number first published posthumously. This article gives the known or approximate date of composition for each work.

Eric Alfred Leslie Satie (17 May 1866 – 1 July 1925), better known as Erik Satie, was a French composer and pianist. The son of a French father and a British mother, he studied at the Paris Conservatoire but was undistinguished and did not obtain a diploma. In the 1880s he worked as a pianist in café-cabarets in Montmartre, Paris, and began composing works, mostly for solo piano, such as his Gymnopédies and Gnossiennes. He also wrote music for a Rosicrucian sect to which he was briefly attached. Following a period of sparse compositional productivity, Satie entered Paris's second music academy, the Schola Cantorum, as a mature student. His studies there were more successful than those at the Conservatoire. From about 1910 he became the focus of successive groups of young composers attracted by his unconventionality and originality. Among them were the group known as Les Six. A meeting with Jean Cocteau in 1915 led to the creation of the ballet Parade (1917) for Sergei Diaghilev, with music by Satie, sets and costumes by Pablo Picasso, and choreography by Léonide Massine. Satie's example guided a new generation of French composers away from post-Wagnerian Impressionism towards a sparer, terser style. During his lifetime, he influenced Maurice Ravel, Claude Debussy, and Francis Poulenc, and he is seen as an influence on more recent composers such as John Cage and John Adams. His harmony is often characterised by unresolved chords; he sometimes dispensed with bar-lines, as in his Gnossiennes; and his melodies are generally simple and often reflect his love of old church music. He gave some of his later works absurd titles, such as Véritables Préludes flasques (pour un chien) ("True Flabby Preludes (for a Dog)", 1912), Croquis et agaceries d'un gros bonhomme en bois ("Sketches and Exasperations of a Big Wooden Man", 1913) and Sonatine bureaucratique ("Bureaucratic Sonatina", 1917). Most of his works are brief, and the majority are for solo piano. Exceptions include his "symphonic drama" Socrate (1919) and two late ballets Mercure and Relâche (1924). Satie never married, and his home for most of his adult life was a single small room, first in Montmartre and, from 1898 to his death, in Arcueil, a suburb of Paris. He adopted various images over the years, including a period in quasi-priestly dress, another in which he always wore identically coloured velvet suits, and is known for his last persona, in neat bourgeois costume, with bowler hat, wing collar, and umbrella. He was a lifelong heavy drinker, and died of cirrhosis of the liver at the age of 59.

The Gnossiennes (French pronunciation: [ɲosjɛn]) are several piano compositions by the French composer Erik Satie in the late 19th century. The works are for the most part in free time (lacking time signatures or bar divisions) and highly experimental with form, rhythm and chordal structure. The form was invented by Satie but the term itself existed in French literature before Satie's usage.

The Gnossiennes (French pronunciation: [ɲosjɛn]) are several piano compositions by the French composer Erik Satie in the late 19th century. The works are for the most part in free time (lacking time signatures or bar divisions) and highly experimental with form, rhythm and chordal structure. The form was invented by Satie but the term itself existed in French literature before Satie's usage.

The Gnossiennes (French pronunciation: [ɲosjɛn]) are several piano compositions by the French composer Erik Satie in the late 19th century. The works are for the most part in free time (lacking time signatures or bar divisions) and highly experimental with form, rhythm and chordal structure. The form was invented by Satie but the term itself existed in French literature before Satie's usage.

The Gymnopédies (French pronunciation: [ʒim.nɔ.pe.di]), or Trois Gymnopédies ('Three Nude Dances"), are three piano compositions written by French composer and pianist Erik Satie. He completed the whole set by 2 April 1888, but they were at first published individually: the first and the third compositions were published in 1888, while the second would not be published until 1895.

Eric Alfred Leslie Satie (17 May 1866 – 1 July 1925), better known as Erik Satie, was a French composer and pianist. The son of a French father and a British mother, he studied at the Paris Conservatoire but was undistinguished and did not obtain a diploma. In the 1880s he worked as a pianist in café-cabarets in Montmartre, Paris, and began composing works, mostly for solo piano, such as his Gymnopédies and Gnossiennes. He also wrote music for a Rosicrucian sect to which he was briefly attached. Following a period of sparse compositional productivity, Satie entered Paris's second music academy, the Schola Cantorum, as a mature student. His studies there were more successful than those at the Conservatoire. From about 1910 he became the focus of successive groups of young composers attracted by his unconventionality and originality. Among them were the group known as Les Six. A meeting with Jean Cocteau in 1915 led to the creation of the ballet Parade (1917) for Sergei Diaghilev, with music by Satie, sets and costumes by Pablo Picasso, and choreography by Léonide Massine. Satie's example guided a new generation of French composers away from post-Wagnerian Impressionism towards a sparer, terser style. During his lifetime, he influenced Maurice Ravel, Claude Debussy, and Francis Poulenc, and he is seen as an influence on more recent composers such as John Cage and John Adams. His harmony is often characterised by unresolved chords; he sometimes dispensed with bar-lines, as in his Gnossiennes; and his melodies are generally simple and often reflect his love of old church music. He gave some of his later works absurd titles, such as Véritables Préludes flasques (pour un chien) ("True Flabby Preludes (for a Dog)", 1912), Croquis et agaceries d'un gros bonhomme en bois ("Sketches and Exasperations of a Big Wooden Man", 1913) and Sonatine bureaucratique ("Bureaucratic Sonatina", 1917). Most of his works are brief, and the majority are for solo piano. Exceptions include his "symphonic drama" Socrate (1919) and two late ballets Mercure and Relâche (1924). Satie never married, and his home for most of his adult life was a single small room, first in Montmartre and, from 1898 to his death, in Arcueil, a suburb of Paris. He adopted various images over the years, including a period in quasi-priestly dress, another in which he always wore identically coloured velvet suits, and is known for his last persona, in neat bourgeois costume, with bowler hat, wing collar, and umbrella. He was a lifelong heavy drinker, and died of cirrhosis of the liver at the age of 59.

En habit de cheval (In Riding Gear) is a 1911 suite for piano four hands by Erik Satie. He arranged it for orchestra that same year. It is a transitional work, composed towards the end of Satie's studies at the Schola Cantorum in Paris (1905-1912) and foreshadowing his pre-World War I "humoristic" or "fantaisiste" period. Robert Orledge wrote that "En habit de cheval offers the best example of Satie integrating Schola teaching with his own composition, and in it he also worked out his own individual concept of orchestration." In performance it lasts about 7 minutes.

Jack in the Box (sometimes seen as Jack-in-the-Box) is a work written by Erik Satie in 1899 for a pantomime-ballet (Satie called it a "clownerie", and also a "suite anglaise") to a scenario by the illustrator Jules Depaquit. Satie gave it an English title because English phrases were considered fashionable in Parisian society at the time. Satie's intention was to score it also for orchestra. However, after he wrote the piano score, he lost it some time after 1905. Satie believed it had gone missing on a bus and that it would never be found, but after his death it was found in his squalid apartment in Arcueil (some sources say it was hidden inside a notebook lodged down the back of his decrepit piano), along with the lost score for his marionette opera Geneviève de Brabant. Depaquit's scenario has not survived. Sergei Diaghilev had approached Satie for ballet music in 1922 and again in 1924, but nothing was forthcoming either time. Satie died in July 1925, and in June 1926, to commemorate the 60th anniversary of his birth, Jack in the Box was produced by Diaghilev's Ballets Russes, with choreography by George Balanchine, settings by André Derain, and the music orchestrated by Satie's friend Darius Milhaud. The ballet received mainly negative comments: French critics called it "banal", while English critics decried it as "pert but hollow." It was also published as a short suite for solo piano in the form in which Satie left it. The piano and orchestral versions have both received numerous recordings. The work has three short movements, lasting less than seven minutes. All the movements are in C major, and all undergo many meter changes between 24 and 34, the changes often lasting for only a single measure at a time. The music is said to exhibit a bouncy humour and an appealing naivete. It has perky, jaunty rhythms and blurred harmonies.

The Enfantines are three sets of beginner piano pieces by Erik Satie, "written with the aim of preparing children for the sound patterns of modern music." They were composed in October 1913 and published the following year. Two additional sets were published posthumously.

Le Fils des étoiles (The Son of the Stars) is an incidental music score composed in December 1891 by Erik Satie to accompany a three-act poetic drama of the same name by Joséphin Péladan. It is a key work of Satie's "Rosicrucian" period (1891–1895) and played a role in his belated "discovery" by the French musical establishment in the 1910s. Satie provided some 75 minutes' worth of music for Péladan's play, apparently intended for flutes and harps, and this represents his longest through-composed surviving score. However, only his three short act Preludes were performed at the premiere in Paris on March 22, 1892. Satie subsequently arranged the Preludes for solo piano and published them in 1896. It is through these keyboard excerpts that the music for Le Fils des étoiles is primarily known. The Preludes have been cited as among Satie's most radical compositions, with their forward-looking explorations of quartal harmony and the composer's conception of theatre music as a "static sound décor", functioning independently of the stage action. In 1922 the American critic Lawrence Gilman heard in Le Fils des étoiles "harmonic inventions which sound for all the world like passages to which Stravinsky and Schoenberg, twenty years later, were signing their names with a noble gesture of revolutionary defiance ..."

Eric Alfred Leslie Satie (17 May 1866 – 1 July 1925), better known as Erik Satie, was a French composer and pianist. The son of a French father and a British mother, he studied at the Paris Conservatoire but was undistinguished and did not obtain a diploma. In the 1880s he worked as a pianist in café-cabarets in Montmartre, Paris, and began composing works, mostly for solo piano, such as his Gymnopédies and Gnossiennes. He also wrote music for a Rosicrucian sect to which he was briefly attached. Following a period of sparse compositional productivity, Satie entered Paris's second music academy, the Schola Cantorum, as a mature student. His studies there were more successful than those at the Conservatoire. From about 1910 he became the focus of successive groups of young composers attracted by his unconventionality and originality. Among them were the group known as Les Six. A meeting with Jean Cocteau in 1915 led to the creation of the ballet Parade (1917) for Sergei Diaghilev, with music by Satie, sets and costumes by Pablo Picasso, and choreography by Léonide Massine. Satie's example guided a new generation of French composers away from post-Wagnerian Impressionism towards a sparer, terser style. During his lifetime, he influenced Maurice Ravel, Claude Debussy, and Francis Poulenc, and he is seen as an influence on more recent composers such as John Cage and John Adams. His harmony is often characterised by unresolved chords; he sometimes dispensed with bar-lines, as in his Gnossiennes; and his melodies are generally simple and often reflect his love of old church music. He gave some of his later works absurd titles, such as Véritables Préludes flasques (pour un chien) ("True Flabby Preludes (for a Dog)", 1912), Croquis et agaceries d'un gros bonhomme en bois ("Sketches and Exasperations of a Big Wooden Man", 1913) and Sonatine bureaucratique ("Bureaucratic Sonatina", 1917). Most of his works are brief, and the majority are for solo piano. Exceptions include his "symphonic drama" Socrate (1919) and two late ballets Mercure and Relâche (1924). Satie never married, and his home for most of his adult life was a single small room, first in Montmartre and, from 1898 to his death, in Arcueil, a suburb of Paris. He adopted various images over the years, including a period in quasi-priestly dress, another in which he always wore identically coloured velvet suits, and is known for his last persona, in neat bourgeois costume, with bowler hat, wing collar, and umbrella. He was a lifelong heavy drinker, and died of cirrhosis of the liver at the age of 59.

Le Piccadilly is a 1904 composition for piano or string orchestra by Erik Satie. Written as a light cabaret or café-concert tune, it was one of Satie's early experiments with ragtime influences. A performance lasts under 2 minutes.

Le Piège de Méduse ("The Ruse of Medusa") is a short play of which Erik Satie wrote both the text and the incidental music. The text of the play was written as a comédie lyrique in one act, February–March 1913. In June of the same year Satie added the music, a set of seven little dances, originally composed for piano. The first printed edition of the text of the play in 1921 contained 3 cubist woodcut engravings by Georges Braque. The piano version of the music was first published in 1929, a few years after the composer's death. The orchestral score was not published until 40 years later.

The Enfantines are three sets of beginner piano pieces by Erik Satie, "written with the aim of preparing children for the sound patterns of modern music." They were composed in October 1913 and published the following year. Two additional sets were published posthumously.

In this list of Erik Satie's musical compositions, those series or sets comprising several pieces (e.g., Gnossienne 1, Gnossienne 2, etc.) with nothing but tempo indications to distinguish the movements by name, are generally given with the number of individual pieces simply stated in square brackets. If the pieces in a series have distinct titles, for example the 21 pieces in Sports et divertissements, all titles are given. Many of Satie's works were not published until many years after they were composed, including a considerable number first published posthumously. This article gives the known or approximate date of composition for each work.

The Pièces froides (Cold Pieces) are two sets of piano pieces composed in March 1897 by Erik Satie. Unpublished until 1912, they marked Satie's break from the mystical-religious music of his "Rosicrucian" period (1891–95), and were a harbinger of his humoristic piano suites of the 1910s. Biographer Rollo Myers placed the Pièces froides high among Satie's piano works, writing, "Only a born musician of the finest sensibility could have conceived these limpid and so essentially 'musical' pieces which ought to be in the repertory of every pianist who is more interested in music than virtuosity." A third set of Pièces froides, written in 1907 but shelved by the composer, was published posthumously.

Eric Alfred Leslie Satie (17 May 1866 – 1 July 1925), better known as Erik Satie, was a French composer and pianist. The son of a French father and a British mother, he studied at the Paris Conservatoire but was undistinguished and did not obtain a diploma. In the 1880s he worked as a pianist in café-cabarets in Montmartre, Paris, and began composing works, mostly for solo piano, such as his Gymnopédies and Gnossiennes. He also wrote music for a Rosicrucian sect to which he was briefly attached. Following a period of sparse compositional productivity, Satie entered Paris's second music academy, the Schola Cantorum, as a mature student. His studies there were more successful than those at the Conservatoire. From about 1910 he became the focus of successive groups of young composers attracted by his unconventionality and originality. Among them were the group known as Les Six. A meeting with Jean Cocteau in 1915 led to the creation of the ballet Parade (1917) for Sergei Diaghilev, with music by Satie, sets and costumes by Pablo Picasso, and choreography by Léonide Massine. Satie's example guided a new generation of French composers away from post-Wagnerian Impressionism towards a sparer, terser style. During his lifetime, he influenced Maurice Ravel, Claude Debussy, and Francis Poulenc, and he is seen as an influence on more recent composers such as John Cage and John Adams. His harmony is often characterised by unresolved chords; he sometimes dispensed with bar-lines, as in his Gnossiennes; and his melodies are generally simple and often reflect his love of old church music. He gave some of his later works absurd titles, such as Véritables Préludes flasques (pour un chien) ("True Flabby Preludes (for a Dog)", 1912), Croquis et agaceries d'un gros bonhomme en bois ("Sketches and Exasperations of a Big Wooden Man", 1913) and Sonatine bureaucratique ("Bureaucratic Sonatina", 1917). Most of his works are brief, and the majority are for solo piano. Exceptions include his "symphonic drama" Socrate (1919) and two late ballets Mercure and Relâche (1924). Satie never married, and his home for most of his adult life was a single small room, first in Montmartre and, from 1898 to his death, in Arcueil, a suburb of Paris. He adopted various images over the years, including a period in quasi-priestly dress, another in which he always wore identically coloured velvet suits, and is known for his last persona, in neat bourgeois costume, with bowler hat, wing collar, and umbrella. He was a lifelong heavy drinker, and died of cirrhosis of the liver at the age of 59.

The Enfantines are three sets of beginner piano pieces by Erik Satie, "written with the aim of preparing children for the sound patterns of modern music." They were composed in October 1913 and published the following year. Two additional sets were published posthumously.

Vieux Sequins et vieilles cuirasses (Old Sequins and Ancient Breastplates) is a 1913 piano composition by Erik Satie. One of his humoristic keyboard suites, it was published by the firm E. Demets that year but not premiered until 1917. In performance it lasts about 5 minutes.

In this list of Erik Satie's musical compositions, those series or sets comprising several pieces (e.g., Gnossienne 1, Gnossienne 2, etc.) with nothing but tempo indications to distinguish the movements by name, are generally given with the number of individual pieces simply stated in square brackets. If the pieces in a series have distinct titles, for example the 21 pieces in Sports et divertissements, all titles are given. Many of Satie's works were not published until many years after they were composed, including a considerable number first published posthumously. This article gives the known or approximate date of composition for each work.

This is a list of Private Passions episodes from 1995 to 1999. It does not include repeated episodes or compilations.

The Petite Ouverture à danser (Little Overture to a Dance) is a piece for solo piano composed around 1897 by Erik Satie. Unknown for many years, it is one of the more popular works to emerge from his posthumous manuscripts. A performance lasts under 3 minutes.

The Enfantines are three sets of beginner piano pieces by Erik Satie, "written with the aim of preparing children for the sound patterns of modern music." They were composed in October 1913 and published the following year. Two additional sets were published posthumously.

Eric Alfred Leslie Satie (17 May 1866 – 1 July 1925), better known as Erik Satie, was a French composer and pianist. The son of a French father and a British mother, he studied at the Paris Conservatoire but was undistinguished and did not obtain a diploma. In the 1880s he worked as a pianist in café-cabarets in Montmartre, Paris, and began composing works, mostly for solo piano, such as his Gymnopédies and Gnossiennes. He also wrote music for a Rosicrucian sect to which he was briefly attached. Following a period of sparse compositional productivity, Satie entered Paris's second music academy, the Schola Cantorum, as a mature student. His studies there were more successful than those at the Conservatoire. From about 1910 he became the focus of successive groups of young composers attracted by his unconventionality and originality. Among them were the group known as Les Six. A meeting with Jean Cocteau in 1915 led to the creation of the ballet Parade (1917) for Sergei Diaghilev, with music by Satie, sets and costumes by Pablo Picasso, and choreography by Léonide Massine. Satie's example guided a new generation of French composers away from post-Wagnerian Impressionism towards a sparer, terser style. During his lifetime, he influenced Maurice Ravel, Claude Debussy, and Francis Poulenc, and he is seen as an influence on more recent composers such as John Cage and John Adams. His harmony is often characterised by unresolved chords; he sometimes dispensed with bar-lines, as in his Gnossiennes; and his melodies are generally simple and often reflect his love of old church music. He gave some of his later works absurd titles, such as Véritables Préludes flasques (pour un chien) ("True Flabby Preludes (for a Dog)", 1912), Croquis et agaceries d'un gros bonhomme en bois ("Sketches and Exasperations of a Big Wooden Man", 1913) and Sonatine bureaucratique ("Bureaucratic Sonatina", 1917). Most of his works are brief, and the majority are for solo piano. Exceptions include his "symphonic drama" Socrate (1919) and two late ballets Mercure and Relâche (1924). Satie never married, and his home for most of his adult life was a single small room, first in Montmartre and, from 1898 to his death, in Arcueil, a suburb of Paris. He adopted various images over the years, including a period in quasi-priestly dress, another in which he always wore identically coloured velvet suits, and is known for his last persona, in neat bourgeois costume, with bowler hat, wing collar, and umbrella. He was a lifelong heavy drinker, and died of cirrhosis of the liver at the age of 59.

The Prélude de La Porte héroïque du ciel is an 1894 piano composition by Erik Satie, intended as a musical introduction to the play The Heroic Gate of Heaven by Jules Bois. It is considered one of the finest works of his "Rosicrucian" or "mystic" period. A typical performance lasts around 6 minutes. Satie was so fond of the piece he dedicated it to himself.

In this list of Erik Satie's musical compositions, those series or sets comprising several pieces (e.g., Gnossienne 1, Gnossienne 2, etc.) with nothing but tempo indications to distinguish the movements by name, are generally given with the number of individual pieces simply stated in square brackets. If the pieces in a series have distinct titles, for example the 21 pieces in Sports et divertissements, all titles are given. Many of Satie's works were not published until many years after they were composed, including a considerable number first published posthumously. This article gives the known or approximate date of composition for each work.

The Premier Menuet (First Minuet) is a Neoclassical piano piece by Erik Satie. Written in June 1920, it was his last composition for solo piano. It was published by Les Éditions de La Sirène in 1921.

Trois Sonneries de la Rose+Croix ('Three Sonneries of the Rose+Cross') is a piano composition by Erik Satie, first published in 1892, while he was composer and chapel-master of the Rosicrucian Ordre de la Rose-Croix Catholique, du Temple et du Graal, led by Sâr Joséphin Péladan. Other ways of transcribing the title of this work include Sonneries de la Rose + Croix, Trois sonneries de la Rose-Croix and Sonneries de la Rose†Croix. The composition has three movements, totalling about 11 minutes execution time: Air de l'Ordre ('Air of the Order') Air du Grand Maître ('Air of the Grand-Master', i.e. Sâr Péladan) Air du Grand Prieur ('Air of the Grand-Prior', i.e. Count Antoine de La Rochefoucauld) A composition dated 20 January 1891, having only Modéré (Moderato) marked on the score, is generally known as Première pensée Rose+Croix, after its first publication in 1968. The three sections are written with no bar lines, implying a free metric structure. Each piece is written in an elegant melody/accompaniment chorale style, exhibiting an interplay of two themes in austere but cleverly designed juxtaposition, with repetition and occasional departure from the initial exposition. In 1988, Alan Gillmor of Carleton University, Ottawa, Ontario, published his Erik Satie. Here was revealed his finding that, in all three movements, the ratios of beat counts of these complementary sections within all three pieces fell close enough to the Golden ratio as to evade mistaking for anything but design intent by the composer. Dr. Gillmor was led to explore this by research which suggested that, around the time of the composition of the Sonneries, Satie and Debussy had discussed the possibilities for using the Golden ratio in their work.

In this list of Erik Satie's musical compositions, those series or sets comprising several pieces (e.g., Gnossienne 1, Gnossienne 2, etc.) with nothing but tempo indications to distinguish the movements by name, are generally given with the number of individual pieces simply stated in square brackets. If the pieces in a series have distinct titles, for example the 21 pieces in Sports et divertissements, all titles are given. Many of Satie's works were not published until many years after they were composed, including a considerable number first published posthumously. This article gives the known or approximate date of composition for each work.

In this list of Erik Satie's musical compositions, those series or sets comprising several pieces (e.g., Gnossienne 1, Gnossienne 2, etc.) with nothing but tempo indications to distinguish the movements by name, are generally given with the number of individual pieces simply stated in square brackets. If the pieces in a series have distinct titles, for example the 21 pieces in Sports et divertissements, all titles are given. Many of Satie's works were not published until many years after they were composed, including a considerable number first published posthumously. This article gives the known or approximate date of composition for each work.

The Sonatine bureaucratique (Bureaucratic sonatina) is a 1917 piano composition by Erik Satie. The final entry in his humoristic piano music of the 1910s, it is Satie's only full-scale parody of a single musical work: the Sonatina Op. 36 N° 1 (1797) by Muzio Clementi. In performance it lasts around 4 minutes. Satie's modern, irreverent reinterpretations of 18th Century music in this little pastiche have been hailed as a notable forerunner of Neoclassicism, a trend that would dominate Western concert hall music in the years between the World Wars.

In this list of Erik Satie's musical compositions, those series or sets comprising several pieces (e.g., Gnossienne 1, Gnossienne 2, etc.) with nothing but tempo indications to distinguish the movements by name, are generally given with the number of individual pieces simply stated in square brackets. If the pieces in a series have distinct titles, for example the 21 pieces in Sports et divertissements, all titles are given. Many of Satie's works were not published until many years after they were composed, including a considerable number first published posthumously. This article gives the known or approximate date of composition for each work.

Trois Sonneries de la Rose+Croix ('Three Sonneries of the Rose+Cross') is a piano composition by Erik Satie, first published in 1892, while he was composer and chapel-master of the Rosicrucian Ordre de la Rose-Croix Catholique, du Temple et du Graal, led by Sâr Joséphin Péladan. Other ways of transcribing the title of this work include Sonneries de la Rose + Croix, Trois sonneries de la Rose-Croix and Sonneries de la Rose†Croix. The composition has three movements, totalling about 11 minutes execution time: Air de l'Ordre ('Air of the Order') Air du Grand Maître ('Air of the Grand-Master', i.e. Sâr Péladan) Air du Grand Prieur ('Air of the Grand-Prior', i.e. Count Antoine de La Rochefoucauld) A composition dated 20 January 1891, having only Modéré (Moderato) marked on the score, is generally known as Première pensée Rose+Croix, after its first publication in 1968. The three sections are written with no bar lines, implying a free metric structure. Each piece is written in an elegant melody/accompaniment chorale style, exhibiting an interplay of two themes in austere but cleverly designed juxtaposition, with repetition and occasional departure from the initial exposition. In 1988, Alan Gillmor of Carleton University, Ottawa, Ontario, published his Erik Satie. Here was revealed his finding that, in all three movements, the ratios of beat counts of these complementary sections within all three pieces fell close enough to the Golden ratio as to evade mistaking for anything but design intent by the composer. Dr. Gillmor was led to explore this by research which suggested that, around the time of the composition of the Sonneries, Satie and Debussy had discussed the possibilities for using the Golden ratio in their work.

Le Bœuf Angora (The Angora Ox) is an unfinished tone poem composed around 1901 by Erik Satie. Based on a tale by Lord Cheminot (alias J. P. Contamine de Latour), it was his first attempt at writing for large orchestra. The original score has never been published, though Satie reused a portion of it as the Redite movement of his Trois morceaux en forme de poire (1903). Today the existing work can be heard in a reconstruction for solo piano. In performance it lasts about 8 minutes.

Eric Alfred Leslie Satie (17 May 1866 – 1 July 1925), better known as Erik Satie, was a French composer and pianist. The son of a French father and a British mother, he studied at the Paris Conservatoire but was undistinguished and did not obtain a diploma. In the 1880s he worked as a pianist in café-cabarets in Montmartre, Paris, and began composing works, mostly for solo piano, such as his Gymnopédies and Gnossiennes. He also wrote music for a Rosicrucian sect to which he was briefly attached. Following a period of sparse compositional productivity, Satie entered Paris's second music academy, the Schola Cantorum, as a mature student. His studies there were more successful than those at the Conservatoire. From about 1910 he became the focus of successive groups of young composers attracted by his unconventionality and originality. Among them were the group known as Les Six. A meeting with Jean Cocteau in 1915 led to the creation of the ballet Parade (1917) for Sergei Diaghilev, with music by Satie, sets and costumes by Pablo Picasso, and choreography by Léonide Massine. Satie's example guided a new generation of French composers away from post-Wagnerian Impressionism towards a sparer, terser style. During his lifetime, he influenced Maurice Ravel, Claude Debussy, and Francis Poulenc, and he is seen as an influence on more recent composers such as John Cage and John Adams. His harmony is often characterised by unresolved chords; he sometimes dispensed with bar-lines, as in his Gnossiennes; and his melodies are generally simple and often reflect his love of old church music. He gave some of his later works absurd titles, such as Véritables Préludes flasques (pour un chien) ("True Flabby Preludes (for a Dog)", 1912), Croquis et agaceries d'un gros bonhomme en bois ("Sketches and Exasperations of a Big Wooden Man", 1913) and Sonatine bureaucratique ("Bureaucratic Sonatina", 1917). Most of his works are brief, and the majority are for solo piano. Exceptions include his "symphonic drama" Socrate (1919) and two late ballets Mercure and Relâche (1924). Satie never married, and his home for most of his adult life was a single small room, first in Montmartre and, from 1898 to his death, in Arcueil, a suburb of Paris. He adopted various images over the years, including a period in quasi-priestly dress, another in which he always wore identically coloured velvet suits, and is known for his last persona, in neat bourgeois costume, with bowler hat, wing collar, and umbrella. He was a lifelong heavy drinker, and died of cirrhosis of the liver at the age of 59.

Les Pantins dansent (The Puppets are Dancing) is a "poème dansé" for small orchestra or piano composed in 1913 by Erik Satie. It was commissioned for an experimental theatrical event starring Futurist author and dancer Valentine de Saint-Point. Maurice Droeghmans conducted the premiere at the Salle Léon-Poirier (now the Théâtre de la Comédie des Champs-Elysées) in Paris on December 20, 1913. A typical performance of the piece lasts under two minutes. It is most often heard in its version for solo piano.

The Jacques Loussier Trio was a French Third Stream jazz piano trio, led by pianist Jacques Loussier, that became known for its jazz interpretations of European classical music. They were colloquially known in France as "le trio Play Bach" after the title of their first LPs. The trio was formed in 1959 by Loussier, bass player Pierre Michelot and percussionist Christian Garros. They reworked mostly Baroque music, in particular that by Johann Sebastian Bach but also by Vivaldi and other composers, to fit their own style and instruments. The group was commercially successful but less popular with critics and jazz purists. They toured Germany in 1966. In 1985, Loussier formed a new trio with percussionist André Arpino and double-bassist Vincent Charbonnier. In 1997 the latter role was taken over by Benoit Dunoyer de Segonzac.

The Véritables Préludes flasques (pour un chien) (True Flabby Preludes for a Dog) is a 1912 piano composition by Erik Satie. The first of his published humoristic piano suites of the 1910s, it signified a breakthrough in his creative development and in the public perception of his music. In performance it lasts about 5 minutes. Satie's English biographer Rollo H. Myers, writing in 1948, remarked on the prophetic nature of this seemingly unassuming keyboard suite: "In the heyday of Impressionism...came the Flabby Preludes which in their linear austerity heralded the Neoclassic vogue which was to dominate Western music during the nineteen-twenties."

Aperçus désagréables (Unpleasant Glimpses) is a suite for piano four hands composed between 1908 and 1912 by Erik Satie. It shows the early development of his mature style, a product of his studies at the Schola Cantorum de Paris. In performance it lasts about 5 minutes. For its publication in 1913 Satie wrote, "The beautiful and limpid Aperçus désagréables...are written in the most superior style and enable us to understand why the subtle composer is justified in declaring: 'Before writing a work I go round it several times accompanied by myself'".

In this list of Erik Satie's musical compositions, those series or sets comprising several pieces (e.g., Gnossienne 1, Gnossienne 2, etc.) with nothing but tempo indications to distinguish the movements by name, are generally given with the number of individual pieces simply stated in square brackets. If the pieces in a series have distinct titles, for example the 21 pieces in Sports et divertissements, all titles are given. Many of Satie's works were not published until many years after they were composed, including a considerable number first published posthumously. This article gives the known or approximate date of composition for each work.

In this list of Erik Satie's musical compositions, those series or sets comprising several pieces (e.g., Gnossienne 1, Gnossienne 2, etc.) with nothing but tempo indications to distinguish the movements by name, are generally given with the number of individual pieces simply stated in square brackets. If the pieces in a series have distinct titles, for example the 21 pieces in Sports et divertissements, all titles are given. Many of Satie's works were not published until many years after they were composed, including a considerable number first published posthumously. This article gives the known or approximate date of composition for each work.

Verset laïque et somptueux (Secular and Sumptuous Verse) is a pièce d'occasion for piano composed in 1900 by Erik Satie. With it he bid an ironic farewell to the style of his "Rosicrucian" or "mystic" period, which he ultimately dismissed as "musique à genoux" ("music on its knees"). It was written for an ephemeral publication and never performed in Satie's lifetime.