里克·阿尔弗雷德·莱斯利·萨蒂（Erik Satie，1866年5月17日－1925年7月1日），法国作曲家。 十九世纪末、二十世纪初法国著名作曲家萨蒂（Eric Satie），其作品与行动完全脱离传统，全然反学院主义与浪漫主义，作品则以钢琴曲为中心。早年即开始尝试无视机能和声的大胆手法，虽曾受德彪西与「法国六人组」的影响，但其后的作品便随着讽刺性与怪异的标题，进而追求一种纯音乐感性或带幽默的奔放表现。 出生于都灵（Turin）的意大利女钢琴家克莉丝蒂娜·阿瑞亚诺（Cristina Ariagno），长期以钻研并录制十九世纪末到二十世纪初，常被遗忘的作曲家作品为职志。这套于2006年完成的全集，特别将萨蒂作品分成六大类。本辑无论在录音上或演奏上都属近年来最佳的萨蒂钢琴录音，全集发行更是爱乐者之福。 (Brilliant) Satie's music, in sound and aesthetics, was fundamentally different from the prevailing 19th century German school that prized ideals of continuity and development. It is music as sound per se (Musique D'ameublement, i.e., "Furniture Music" or "Music for Furnishing," 1920). In Musiques Intimes et Secretes ("Intimate and Secret Music") and the famous "Vexations" (from Pages Mystiques, 1892-1895), Satie describes the conceptual nature of human mental activity and then requires the performers to experience and scrutinize, simultaneously, the exact moments of shifting psychological states. "Vexations" is a short musical passage of neutral feeling (augmented and diminished chords) repeated 840 times very slowly. Satie emphasizes natural and spontaneous mentation apart from "ideas" in The Dreaming Fish, Heures Séculaires et Instantanées ("Ordinary and Snapshot Times"), and Véritables Préludes Flasquers: Pour un Chien ("Authentic Flabby Preludes: For a Dog"). Ironic titles and commentaries poke fun at pomposity, as in Le Duc de Connaught et le President aux Manoeuvers ("The Duke of Connaught and the President on Maneuver") and Enfantines ("Infantile Pieces," 1913, which go by such titles as "The Bean-King's War Chant"; "Importune Peccadillos, I"; "Being Jealous of His Comrade with the Big Head, II"; "Him Eat His Cookie, III"; and "Taking Advantage of His Corns to Steal His Hoop"). Satie's religious feeling was of a mystical, pre-clerical kind, expressed in works such as Première Pensée Rose + Croix ("First Rosey Thought + Cross," 1891, French word play on "Rosicrucians"); the beautiful and compassionate Messe des Pauvres ("Mass for the Poor," 1893-1895); and the moving Socrate (1918) on the death of Socrates based on texts by Plato. Satie invented many musical techniques: the use of whole-tone scales, chords built in fourths, pattern melodies, unresolved "dissonances" used for their value as sounds, "open" large forms without contrasting or developing sections, and others. Perhaps more important, he was the first conceptual composer.