Sonnerie pour réveiller le bon gros Roi des Singes

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.

[2] 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.

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".

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.

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.