Un Chien Andalou directed exclusively to the artistic sensibility and to the reason of the spectator." Against his hopes and expectations, the film was a huge success amongst the French bourgeoisie, leading Buñuel to exclaim in exasperation, "What can I do about the people who adore all that is new, even when it goes against their deepest convictions, or about the insincere, corrupt press, and the inane herd that saw beauty or poetry in something which was basically no more than a desperate impassioned call for murder?" Through their accomplishment with "Un Chien Andalou", Dalí and Buñuel became the first filmmakers to be
Veritables Preludes flasques (pour un chien) dominate Western music during the nineteen-twenties." The "Véritables Préludes flasques (pour un chien)" represents Satie's determination to reconcile his belated education at the Schola Cantorum in Paris under Vincent d'Indy (1905-1912) with his own natural sense of wit and fantasy. It was in fact his second attempt at creating a composition on a canine theme, an idea that had long obsessed him. In July 1912 Satie composed his piano suite "Préludes flasques (pour un chien)", but after it was rejected for publication by the Durand firm he informed his protégé Alexis Roland-Manuel that he was going to rewrite it from