Settling the Score, Redux
I thought I’d nailed down the score for Simon Crane, but once I gave it a listen it turned out that the first act was, erm.
It was very Satie.
Don’t take me wrong—I more or less love Eric Satie’s entire oeuvre. But as the score for a ballet, it turns out that “All Satie, All The Time” isn’t really all that effective.