Embryons desséchés ("Desiccated embryos") is a piano composition by Erik Satie, composed in the summer of 1913. The composition consists of three little movements, each taking about two to three minutes to play. The music The parts of the composition are: 1. (Desiccated embryo) of a Holothurian (30 June 1913), dedicated to Suzanne Roux: See: sea cucumber. This type of animal has no eyes. The music of this first part of the composition concentrates on the so-called "purring" of the holothurian, besides making fun of Loïsa Puget's song Mon rocher de Saint-Malo ("My rock of Saint-Malo" – a then popular salon composition, which Satie had probably played numerous times in his cabaret pianist career). That this song is intended is already suggested by the introduction: Satie writes above the score, "[...] I observed a Holothurian in the bay of Saint-Malo." Further he writes following remarks in the score, when "quoting" the melody of the song: "What a nice rock!" and the second time: "That was a nice rock! How sticky!". Going submarine in a bay in Brittany, might also have been a wink from Satie to his (former) friend Debussy: three years earlier this composer had published the piano piece La cathédrale engloutie (Préludes, book I, No. 10), alluding to the legendary city of Ys, submersed in a bay in Brittany. There's even a reproach implied: as friends, they had renounced romanticism in the late 19th century: since, Debussy apparently had turned to romanticised myths about submersed cities and the like, as a subject for his compositions. Satie's statement is clear: he had remained true to himself, taking as subject for his composition something "he had seen with his own eyes". 2. (Desiccated embryo) of an Edriophthalma (1 July 1913), dedicated to Edouard Dreyfus: Edriophthalma, also known as Arthrostraca, are crustaceans with immobile eyes. In more modern taxonomies they belong to sub-groups of the Tetradecapoda (i.e. fourteen-legged crustaceans), e.g. Amphipoda (several kinds of usually small shrimp), and Isopoda (see e.g. this giant isopod or these woodlice). It is not clear whether Satie had in mind any of these animals in particular, or that he just wanted to make reference to this group of crustaceans in general, for their "underdog"-like qualities (which he describes as subdue and morose in the score). In this part of the composition he makes fun of Frédéric Chopin's Funeral March from his Piano Sonata No. 2