Erik Satie

Éric Alfred Leslie Satie (French: [eʁik sati]; 17 May 1866 – 1 July 1925) – he signed his name Erik Satie after 1884 – was a French composer and pianist. Satie was a colourful figure in the early 20th century Parisian avant-garde. His work was a precursor to later artistic movements such as minimalism, Surrealism, repetitive music, and the Theatre of the Absurd.

An eccentric, Satie was introduced as a "gymnopedist" in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a "phonometrician" (meaning "someone who measures sounds"), preferring this designation to that of "musician", after having been called "a clumsy but subtle technician" in a book on contemporary French composers published in 1911.

In addition to his body of music, Satie was "a thinker with a gift of eloquence" who left a remarkable set of writings, having contributed work for a range of publications, from the dadaist 391 to the American culture chronicle Vanity Fair. Although in later life he prided himself on publishing his work under his own name, in the late 19th century he appears to have used pseudonyms such as Virginie Lebeau and François de Paule in some of his published writings.

Surname

A surname or family name is a name added to a given name. In many cases, a surname is a family name and many dictionaries define "surname" as a synonym of "family name". In the western hemisphere, it is commonly synonymous with last name because it is usually placed at the end of a person's given name.

In most Spanish-speaking and Portuguese-speaking countries, two or more last names (or surnames) may be used. In China, Hungary, Japan, Korea, Madagascar, Taiwan, Vietnam, and parts of India, the family name is placed before a person's given name.

The style of having both a family name (surname) and a given name (forename) is far from universal. In many countries, it is common for ordinary people to have only one name or mononym.

The concept of a "surname" is a relatively recent historical development, evolving from a medieval naming practice called a "byname". Based on an individual's occupation or area of residence, a byname would be used in situations where more than one person had the same name.

1 (number)

1 (one; /ˈwʌn/ or UK /ˈwɒn/, also called unit, unity, and (multiplicative) identity), is a number, a numeral, and the name of the glyph representing that number. It represents a single entity, the unit of counting or measurement. For example, a line segment of unit length is a line segment of length 1.

As a number

One, sometimes referred to as unity, is the integer before two and after zero. One is the first non-zero number in the natural numbers as well as the first odd number in the natural numbers.

Any number multiplied by one is that number, as one is the identity for multiplication. As a result, one is its own factorial, its own square, its own cube, and so on. One is also the result of the empty product, as any number multiplied by one is itself. It is also the only natural number that is neither composite nor prime with respect to division, but instead considered a unit.

As a digit

The glyph used today in the Western world to represent the number 1, a vertical line, often with a serif at the top and sometimes a short horizontal line at the bottom, traces its roots back to the Indians, who wrote 1 as a horizontal line, much like the Chinese character 一. The Gupta wrote it as a curved line, and the Nagari sometimes added a small circle on the left (rotated a quarter turn to the right, this 9-look-alike became the present day numeral 1 in the Gujarati and Punjabi scripts). The Nepali also rotated it to the right but kept the circle small. This eventually became the top serif in the modern numeral, but the occasional short horizontal line at the bottom probably originates from similarity with the Roman numeral I. In some countries, the little serif at the top is sometimes extended into a long upstroke, sometimes as long as the vertical line, which can lead to confusion with the glyph for seven in other countries. Where the 1 is written with a long upstroke, the number 7 has a horizontal stroke through the vertical line.

Eric

The given name Eric, Erik, or Erick is derived from the Old Norse name Eiríkr (or Eríkr in Eastern Scandinavia due to monophthongization). The first element, ei- is derived either from the older Proto-Norse *aina(z) meaning "one" or "alone" or from Proto-Norse *aiwa(z) meaning "ever" or "eternal". The second element -ríkr derives either from *rík(a)z meaning "ruler" or "prince" (cf. Gothic reiks) or from an even older Proto-Germanic *ríkiaz which meant "powerful" and "rich". The name is thus usually taken to mean "one ruler", "autocrat", "eternal ruler" or "ever powerful", "warrior", and "government".

The most common spelling in Scandinavia is Erik. In Norway, another form of the name (which has kept the Old Norse diphthong) Eirik is also commonly used. In Finland, the form Erkki is also used. The modern Icelandic version is Eiríkur, while the modern Faroese version is Eirikur. Éric [eʁik] is used in French, and in Germany Eric, Erik and Erich are used.

Although the name was in use in Anglo-Saxon England, its use was reinforced by Scandinavian settlers arriving before the Norman Invasion. It was an uncommon name in England until the Middle Ages, when it gained popularity, and finally became a common name in the 19th century. This was partly because of the publishing of the novel Eric, or, Little by Little by Frederick William Farrar in 1858.

Pascal Rogé

Pascal Rogé (born 6 April 1951) is a French pianist.

His playing includes the works of compatriot composers Saint-Saëns, Fauré, Debussy, Ravel, Satie, and Poulenc, among others. However, his repertoire also covers the German masters Haydn, Mozart, Brahms, and Beethoven.

Biography

Rogé first appearance in public was in 1960 with a performance of Claude Debussy's Préludes. He won the piano prize at the Paris Conservatory and worked for several years with Julius Katchen. At seventeen, he gave his first recitals in major European cities, landing an exclusive contract with Decca in the process. He has a particular affinity with French composers such as Claude Debussy, Gabriel Fauré, Maurice Ravel and Francis Poulenc. He also performs chamber works, with the Pasquier Trio, and with musicians such as Pierre Amoyal or Michel Portal, with whom he recorded Poulenc and Tchaikovsky. He gives recitals worldwide, in all the major centres. A friend of conductor Charles Dutoit, he was regularly invited to Canada to work with the Montreal Symphony Orchestra while Dutoit was conductor there.