Well, it is an Amanita for sure. All of the identifying characteristics are not visible, but from what I can see, and given that what is common is common, I would say you have Amanita flavoconia. My confidence level is in the 95-98% range given the season, color palate, unlined rim of the cap, and the appearance of what look like ‘crumbs’ (bits of the universal veil) on the smaller button in the lower right of the main image. This epithet may have been changed given the new emphasis on DNA evidence, but …. meh! who carries a DNA/PCR/Electrophoresis kit around with them… Not I said the old-timer.
It looks to me like you have photographed Boletus frostii, generally thought to be one of, if not the most beautiful of the fungi. If you looked closely you might have seen the red pores with golden yellow droplets, and if injured, the flesh turns instantly blue…. this, the ragged stem and apple red top are so distinctive…
Eric Satie, Cinq Grimaces pour “Le songe d’une nuit d’ete” (1915)
The story behind Cinq Grimaces may be found here. Below are excerpts:
The score calls for a circus orchestra of 1 piccolo, 1 flute, 1 oboe, 1 cor anglais, 1 clarinet, 1 bassoon, 1 contrabassoon, 2 trumpets, 2 trombones, 1 tuba, percussion for 2 players (timpani, snare drum, cymbals, bass drum), and strings. Satie’s pieces are characteristically terse and a performance of the complete set lasts under 4 minutes.
1. Préambule (Preamble)
2. Coquecigrue (Fiddle-faddle)
3. Chasse (Chase)
4. Fanfaronnade (Bluster)
5. Pour sortir (For Exit)
. . .
Satie’s later refusal to perform or publish the Cinq Grimaces – the only mature orchestral composition he suppressed – is one of the more curious episodes of his career. Satie scholar Ornella Volta observed that “Varèse later claimed to have contributed to the orchestration of this score. It was just the kind of assistance that Satie – who was often accused of ‘not knowing how to orchestrate’ – hardly appreciated.” In February 1916, when Varèse asked his permission to perform the Cinq Grimaces in the United States, Satie not only declined but, “almost certainly from a need for revenge”, sent as a substitute a score by one of his obscure pupils which he had orchestrated himself. And when Cocteau wanted to program the Cinq Grimaces as part of his celebrated “Spectacle-Concert” in Paris in February 1920, Satie again refused and composed his Trois petites pièces montées instead.
Credits: Sources for the quotations may be found at the links in the text.