As the official website of Chaiko here you can check out some pieces of his most typical and impressive artworks that basically connect with him. After his first collection book came out in France in 2008 with success, he keeps being a productive author creating pictorial books which you can now find out around in France, Switzerland, Belgium, Germany, Netherlands, Italy, China, and the USA, etc. In 2005, Chaiko became an animation creator who produced various animated commercials and achieved awards then.
He was a visual development artist at the beginning of his career who spend a couple of years in the digital entertainment field and released tons of original illustrations on newspapers and magazines as well during that time. He was born in 1981 and started drawing at a very young age then had learned traditional painting at fine arts college before being an artist. The first commercial score for the Sonnerie was published by Editions BIM in 1981. In his Mémoires d'un amnésique (Memoirs of an Amnesiac) the composer himself claimed he always slept with one eye open. The title also takes into account Satie's fascination with eyes, a recurring theme in his work dating back to the "Christian ballet" Uspud (1892). On May 24, shortly before receiving the Fanfare invitation, Satie saw the belated premiere of his 1913 absurdist comedy Le piège de Méduse, in which the mechanical dancing monkey Jonas was the musical star of the show. The disproportionately long title of Sonnerie pour réveiller le bon gros Roi des Singes (lequel ne dort toujours que d'un œil) may have been stirred by a recent blast from his humoristic past. This was published in facsimile in Fanfare's debut issue on October 1.Īfter World War I Satie was focused primarily on theatre music and saved his verbal wit for journalism. He finished the piece in only two drafts before making a neat copy in his elegant calligraphy on August 30, 1921. Satie had learned his craft at the Schola Cantorum well, but his natural sense of proportion and occasion told him to make his last four bars more straightforward and climactic, though sufficiently quirky in harmonic terms to identify him unmistakably as their author". Robert Orledge wrote of it as "a rare example of a Satie piece that survived in its original contrapuntal conception (including a canon at the third by inversion which is suddenly left high and dry in bar 8, followed by invertible counterpoint in bars 9-12). Like his previous trumpet duet Marche de Cocagne (1919, later incorporated into the Trois petites pièces montées), Satie's Sonnerie is an example of pure Neoclassicism, though three times as long. Best known was its namesake feature of publishing original fanfares by noteworthy composers in each issue Manuel de Falla, Granville Bantock, Arnold Bax, Sergei Prokofiev, Havergal Brian, Arthur Bliss, and Francis Poulenc were among those who contributed. Although it ran for only seven biweekly numbers (OctoJanuary 1, 1922), it covered a wide range of contemporary musical subjects, from indigenous African to Russian avant-garde. The Sonnerie was commissioned by the new British periodical Fanfare: A Musical Causerie, edited by musicologist Leigh Vaughan Henry (1889-1958). Facsimile of Satie's autograph manuscript