Erik Satie

A cogent and informative portrait, Erik Satie upends the accepted history of modernist music and restores the composer to his rightful pioneering status.

Erik Satie

A cogent and informative portrait, Erik Satie upends the accepted history of modernist music and restores the composer to his rightful pioneering status.

Satie the Composer

6 Satie , counterpoint and the Schola Cantorum Saties attitude to counterpoint as the essence of craftsmanship was briefly discussed in the previous two chapters , and it was his growing awareness that he could not progress without a ...

Satie the Composer

Erik Satie remains one of the most bizarre figures in music history, yet everything he did has its own curious logic, once it can be perceived. In this important new study Dr Orledge reveals what made Satie 'tick' as a composer, dealing with every aspect of Satie's complex career and relating his achievement to the other arts and to the society in which he lived. Almost every figure in contemporary art was involved with Satie in some way or another, from Matisse and Picasso to Apollinaire, Cocteau and Brancusi. This, however, is no mere life-and-works study but rather an exploration of the technique behind Satie's art, which foreshadowed most of the 'advances' of twentieth-century music from serialism to minimalism, and even muzak. As the book progresses Satie appears as far more than just the composer of the popular Gymnopédies and Parade.

Erik Satie

92 Robert Orledge points out that 'In 1924, Erik Satie echoed this phrase when he wrote “L'origine des Satie remonte, peut-être, aux temps les plus reculés” (“The origin of the Saties goes back, perhaps, to the most remote times”) in ...

Erik Satie

Satie's music and ideas are inextricably linked with the City of Light. This book situates Satie's work within the context and sonic environment of contemporary Paris.

Erik Satie Music Art and Literature

Erik Satie: bibliographie raisonnée (Paris: Mairie d'Arcueil/Fondation Erik Satie, 1995) Erik Satie: Correspondance presque complète (Paris: Fayard/IMEC, 2000). Vuillermoz, Emile, 'La Musique: Les Ballets Suédois', Excelsior (29 October ...

Erik Satie  Music  Art and Literature

Erik Satie (1866-1925) was a quirky, innovative and enigmatic composer whose impact has spread far beyond the musical world. As an artist active in several spheres - from cabaret to religion, from calligraphy to poetry and playwriting - and collaborator with some of the leading avant-garde figures of the day, including Cocteau, Picasso, Diaghilev and René Clair, he was one of few genuinely cross-disciplinary composers. His artistic activity, during a tumultuous time in the Parisian art world, situates him in an especially exciting period, and his friendships with Debussy, Stravinsky and others place him at the centre of French musical life. He was a unique figure whose art is immediately recognisable, whatever the medium he employed. Erik Satie: Music, Art and Literature explores many aspects of Satie's creativity to give a full picture of this most multifaceted of composers. The focus is on Satie's philosophy and psychology revealed through his music; Satie's interest in and participation in artistic media other than music, and Satie's collaborations with other artists. This book is therefore essential reading for anyone interested in the French musical and cultural scene of the late nineteenth and early twentieth century.

Satie the Bohemian

In this connection, Peladan singled out one Erick-Saties 'among the idealist composers whom the Rose- Croix will bring to light'. (This magnification of the spelling error noted above suggests that Peladan met Satie and inscribed his ...

Satie the Bohemian

Erik Satie (1866-1925) came of age in the bohemian subculture of Montmartre, with its artists' cabarets and cafés-concerts. Yet apologists have all too often downplayed this background as potentially harmful to the reputation of a composer whom they regarded as the progenitor of modern French music. Whiting argues, on the contrary, that Satie's two decades in and around Montmartre decisively shaped his aesthetic priorities and compositional strategies. He gives the fullest account to date of Satie's professional activities as a popular musician, and of how he transferred the parodic techniques and musical idioms of cabaret entertainment to works for concert hall. From the esoteric Gymnopédies to the bizarre suites of the 1910s and avant-garde ballets of the 1920s (not to mention music journalism and playwriting), Satie's output may be daunting in its sheer diversity and heterodoxy; but his radical transvaluation of received artistic values makes far better sense once placed in the fascinating context of bohemian Montmartre.

Eric Satie 3 Gymnopedie 3 Gnossienne And Je Te Veux In Tablature and Modern Notation For Baritone Ukulele

Нere are compositions by Eric Satie who combined the simple, tuneful melodies of Parisian nightlife with the snappiness of Аmerican Jazz, Satie created a new style of musical burlesque which made a lasting impression on many ...

Eric Satie 3 Gymnopedie 3 Gnossienne And Je Te Veux In Tablature and Modern Notation For Baritone Ukulele

Here are compositions by Eric Satie who combined the simple, tuneful melodies of Parisian nightlife with the snappiness of American Jazz, Satie created a new style of musical burlesque which made a lasting impression on many contemporary composers. Transcribed for the baritone ukulele or low G ukelele. Most are also playable on the tenor and soprano ukulele and, of course, they may all be played on the guitar.

Satie

These two fascinating works are combined into one volume that includes an interesting biography, background information on the writing of the music, indispensable performance suggestions and a listing of recommended readings and recordings.

Satie

These two fascinating works are combined into one volume that includes an interesting biography, background information on the writing of the music, indispensable performance suggestions and a listing of recommended readings and recordings.

Strange Mr Satie Composer of the Absurd

In a brilliant performance worthy of the composer, M. T. Anderson and Petra Mathers present a picture-book biography of the singular Erik Satie.

Strange Mr  Satie  Composer of the Absurd

In a brilliant performance worthy of the composer, M. T. Anderson and Petra Mathers present a picture-book biography of the singular Erik Satie. Throughout his life, Erik Satie wanted to make a new kind of music, a kind of music both very young and very old, very bold and very shy, that followed no rules but its own. At first glance, Erik Satie looked as normal as anyone else in Paris one hundred years ago. Beyond his shy smile, however, was a mind like no other. When Satie sat down at the piano to compose or play music, his tunes were strange and dreamlike, his melodies topsy-turvy and discordant. Many people hated his music. Few understood it. But to Erik Satie there was sense in nonsense, and the vibrant, surreal compositions of this eccentric man-child would go on to influence many artists.

Erik Satie

Jean-Pierre Armengaud prend la musique au mot, met les oeuvres et les textes de Satie, qui les accompagnent, sur le gril de son scalpel auditif, des délicates Gymnopédies si souvent entendues au scandale de Parade et à la méditation de ...

Erik Satie

Compositeur à la fois trop connu et mal connu, Satie attire et intrigue. Cet ouvrage aborde et explicite tous les paradoxes de sa vie et de son comportement, grâce à la vision en profondeur d'un interprète et musicologue, immergé de longue date dans cette oeuvre. Jean-Pierre Armengaud prend la musique au mot, met les oeuvres et les textes de Satie, qui les accompagnent, sur le gril de son scalpel auditif, des délicates Gymnopédies si souvent entendues au scandale de Parade et à la méditation de Socrate, bien loin des excentricités du Chat Noir où Satie était pianiste dans sa jeunesse. Tantôt il s'essaye à faire la synthèse des nombreuses études réalisées autour du compositeur, tantôt il prend de la distance par rapport aux idées reçues. D'une collaboration étroite avec les artistes les plus en vue (Cocteau, Picasso, Picabia...) à des brouilles retentissantes (les musiciens du groupe des Six), de la fréquentation de la haute société des années folles à la fraternité engagée avec les pauvres d'Arcueil, de la rêverie encore romantique des " Morceaux en forme de poire " au dadaïsme provocateur de la " Musique d'ameublement ", les extrêmes sont le fait de la vie de Satie, qui recouvre bien des mystères : l'homme privé a gardé ses secrets ; quant au compositeur, il a changé notre écoute et laisse une trace ironique dans laquelle se sont glissés bien des musiciens du xxe siècle qui constituent sa postérité.

Gymnop dies Gnossiennes and other works for piano

The affordable volume represents the largest collection of Satie piano works available.

Gymnop  dies  Gnossiennes  and other works for piano

The affordable volume represents the largest collection of Satie piano works available. Includes 17 pieces in all by the French composer and pianist, including his most famous piece, Gymnopédies, as well as Sarabandes, Poudre d'or, En habit de cheval, and Morceaux en forme de poire. Painstakingly reprinted from the original French editions.

Satie Seen Through His Letters

36 J.P. Contamine de Latour A.L. Erik Satie , 1892–93 , by Suzanne Valadon , chalk . Used by Satie for the cover of the libretto of Uspud , 1893 and 1895. Private coll . 38 Sketch for poster , Théâtre des Ombres parisiennes , 1893 , by ...

Satie Seen Through His Letters


Satie Gymnopedies and Gnossiennes

(Schirmer Performance Editions). Pedagogical in nature, these editions offer insightful interpretive suggestions, pertinent fingering, and historical and stylistic commentary.

Satie Gymnopedies and Gnossiennes

(Schirmer Performance Editions). Pedagogical in nature, these editions offer insightful interpretive suggestions, pertinent fingering, and historical and stylistic commentary. The charming inventiveness of Kabalevsky's 24 Pieces for Children Opus 39 has made this collection a favorite source of piano teaching repertoire since its first publication in the 1930s. Kabalevsky began composing in his teens, and many of his easier piano solos were written for his own students. The wide range of expression and exploration of varied dynamics, tempos, and articulations provide valuable opportunities for the late-elementary and early-intermediate student to hone their musical abilities.

Erik Satie

Calls to attention to Satie's temperament, talent, and idiosyncrasies, illuminates the world of art in late-nineteenth-century and early-twentieth-century France, and reveals the composer's impact upon romantic music.

Erik Satie

Calls to attention to Satie's temperament, talent, and idiosyncrasies, illuminates the world of art in late-nineteenth-century and early-twentieth-century France, and reveals the composer's impact upon romantic music.

Art as Music Music as Poetry Poetry as Art from Whistler to Stravinsky and Beyond

Chapter 4 Braque's Music In the last years of Erik Satie's life, Georges Braque was one of his closest friends. It is typical of Braque, always a man of few words, that of this friendship, few direct traces remain; it is thanks to the ...

Art as Music  Music as Poetry  Poetry as Art  from Whistler to Stravinsky and Beyond

In 1877, Ruskin accused Whistler of ‘flinging a pot of paint in the public’s face’. Was he right? After all, Whistler always denied that the true function of art was to represent anything. If a painting does not represent, what is it, other than mere paint, flung in the public’s face? Whistler’s answer was simple: painting is music – or it is poetry. Georges Braque, half a century later, echoed Whistler’s answer. So did Braque’s friends Apollinaire and Ponge. They presented their poetry as music too – and as painting. But meanwhile, composers such as Satie and Stravinsky were presenting their own art – music – as if it transposed the values of painting or of poetry. The fundamental principle of this intermedial aesthetic, which bound together an extraordinary fraternity of artists in all media in Paris, from 1885 to 1945, was this: we must always think about the value of a work of art, not within the logic of its own medium, but as if it transposed the value of art in another medium. Peter Dayan traces the history of this principle: how it created our very notion of ‘great art’, why it declined as a vision from the 1960s and how, in the 21st century, it is fighting back.

Words and Music

The year 1900 , besides seeing the completion of Satie's little shadow theatre opera Geneviève de Brabant and a prelude for La Mort de Monsieur Mouche ( both by Latour ) with Ragtime syncopations , also saw Satie's first piece of ...

Words and Music

The essays included in this volume tackle the study of words and music from a number of standpoints, examining artists as diverse as Eminem, Patti Smith and Arnold Schoenberg.

A Mammal s Notebook

This is the largest selection, in any language, of the writings of Erik Satie. Although he was dismissed as an eccentric by many, Satie has come to be seen as a key influence on modern music.

A Mammal s Notebook

This is the largest selection, in any language, of the writings of Erik Satie. Although he was dismissed as an eccentric by many, Satie has come to be seen as a key influence on modern music. The appeal of his writings, however, go far beyond their musical value. He is revealed as one of the most beguiling of absurdists, in the mode of Lewis Carroll or Edward Lear, but with a strong streak of Dadaism (a movement with which he collaborated).

Ambient Media

on Satie, appearing in the literary coterie magazine Kotoba at the start of the Showa period (1926). Following Sakaguchi's lead, much of the early interest in Satie in Japan would come from poets arriving at Satie via Cocteau.

Ambient Media

Ambient Media examines music, video art, film, and literature as tools of atmospheric design in contemporary Japan, and what it means to use media as a resource for personal mood regulation. Paul Roquet traces the emergence of ambient styles from the environmental music and Erik Satie boom of the 1960s and 1970s to the more recent therapeutic emphasis on healing and relaxation. Focusing on how an atmosphere works to reshape those dwelling within it, Roquet shows how ambient aesthetics can provide affordances for reflective drift, rhythmic attunement, embodied security, and urban coexistence. Musicians, video artists, filmmakers, and novelists in Japan have expanded on Brian Eno’s notion of the ambient as a style generating “calm, and a space to think,” exploring what it means to cultivate an ambivalent tranquility set against the uncertain horizons of an ever-shifting social landscape. Offering a new way of understanding the emphasis on “reading the air” in Japanese culture, Ambient Media documents both the adaptive and the alarming sides of the increasing deployment of mediated moods. Arguing against critiques of mood regulation that see it primarily as a form of social pacification, Roquet makes a case for understanding ambient media as a neoliberal response to older modes of collective attunement—one that enables the indirect shaping of social behavior while also allowing individuals to feel like they are the ones ultimately in control.

Modernism and Music

Surrealist dissonance — as opposed to the harmonic dissonance of the Schoenberg school — can be found everywhere in Satie's work . The titles generally discord with the music , either by being incomprehensible or by arousing ...

Modernism and Music

If in earlier eras music may have seemed slow to respond to advances in other artistic media, during the modernist age it asserted itself in the vanguard. Modernism and Music provides a rich selection of texts on this moment, some translated into English for the first time. It offers not only important statements by composers and critics, but also musical speculations by poets, novelists, philosophers, and others-all of which combine with Daniel Albright's extensive, interlinked commentary to place modernist music in the full context of intellectual and cultural history.

The Dada Painters and Poets

Pre - dada From the numerous proto - dada personalities , two were arbitrarily chosen to be represented in the pre - dada section , Arthur Cravan , the little known French poet and amateur boxer , and Erik Satie , the composer .

The Dada Painters and Poets

Presents a collection of essays, manifestos, and illustrations that provide an overview of the Dada movement in art, describing its convictions, antics, and spirit, through the words and art of its principal practitioners.

A Day with Picasso

I take advantage of to Cocteau at the front in June 1916 , “ I know this moment.49 that if Satie wants to do something for Serge [ Diaghilev ] , your presence would be useless . ” Cocteau later hinted that his health was affected And ...

A Day with Picasso

In 1978, while collecting documentary photographs of the artists' community in Montparnasse from the first decades of the century, Billy Klüver discovered that some previously unassociated photographs fell into significant groupings. One group in particular, showing Picasso, Max Jacob, Moïse Kisling, Modigliani, and others at the Café de la Rotonde and on Boulevard du Montparnasse, all seemed to have been taken on the same day. The people were wearing the same clothes in each shot and had the same accessories. Their ties were knotted the same way and their collars had the same wrinkles. A total of twenty-four photographs—four rolls of film with six photographs each—were eventually found. With the challenge of identifying the date, photographer, and circumstances, Klüver embarked on an inquiry that would illuminate the minute texture of that time and place. Biographical research into the subjects' lives led Klüver to focus on the summer of 1916 as the likely time the photos were taken. He then measured buildings and plotted angles and lengths of shadows in the photographs to narrow the time frame to a spread of three weeks. Further investigation eventually allowed Klüver to identify the photographer as Jean Cocteau and to determine the day that Cocteau had taken the photographs: August 12, 1916. A computer printout of the sun's positions on that date, obtained from the Bureau des Longitudes, together with the length of the shadows, enabled Klver to calculate the time of day of each photograph, and thus to put them in proper sequence. In a tour de force of art historical research, Klüver then reconstructed a scenario of the events of the four hours depicted in the photographs. With evocative attention to detail—noting when Picasso is no longer carrying an envelope or Max Jacob has acquired a decoration in his lapel—Klüver recreates a single afternoon in the lives of Picasso and friends, a group of remarkable people in early twentieth-century Paris. Besides the central "portfolio" of photographs by Cocteau, the book contains additional photographs and drawings, short biographies of all the subjects, and a historical section on the events and activities in the Paris art world at the time.