Satie's sonatina, even shorter than Clementi's example, was composed in July
1917 and published the same year. The composition is in three tiny movements, of which the last one exposes some pseudo-
development: the motifs of the first half of that movement are rearranged in another sequence by way of "development section", or rather as the
imitation of development. From a formal point of view the sonatina is Satie's most outspoken
neoclassical composition. It is one of the exceptional piano compositions he wrote down with
bar lines, which he probably would not have done if not for making an explicit reference to classicism. Satie would write a "neo-classical" composition a few months after the
succès de scandale of
Parade. Satie was on friendly terms with
Stravinsky from 1911, and after the latter had had his own
succès de scandale with
The Rite of Spring in 1913 (premiered with the same
Ballets Russes), he also moved towards neoclassicism – although for Stravinsky there was no distinct neoclassical composition published before Satie's sonatina. The
partition is full of funny remarks: for example, the final movement is called "Vivache" instead of the original
Vivace ("vache" being
French for "cow"). Satie directs at least part of the fun at himself: the
sourd muet ("deaf-mute") from
Lower Brittany, allegedly having provided the "
Peruvian air" that forms the first theme of the last movement, is Satie himself. The sonatina can also be seen as the composition with which Satie concluded his series of "funny" three-part solo piano compositions, which he had begun in 1911. ==Premiere and reception==