{"id":47953,"date":"2024-09-19T16:39:00","date_gmt":"2024-09-19T14:39:00","guid":{"rendered":"http:\/\/d8bc1c88-9793-4d32-9a77-e22eb0285c8a"},"modified":"2024-09-19T17:07:20","modified_gmt":"2024-09-19T15:07:20","slug":"erik-satie-the-enigmatic-eccentric-who-concealed-his-true-self-behind-hypnotic-visionary-music","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/rss_feed\/erik-satie-the-enigmatic-eccentric-who-concealed-his-true-self-behind-hypnotic-visionary-music\/","title":{"rendered":"Erik Satie: the enigmatic eccentric who concealed his true self behind hypnotic, visionary music"},"content":{"rendered":"<p class=\"rssexcerpt\"><\/p><p class=\"rssauthor\">By <\/p><p class=\"rssbyline\">Published: Thursday, 19 September 2024 at 14:39 PM<\/p><hr class=\"no-tts wp-block-separator\"\/><?xml version=\"1.0\" encoding=\"UTF-8\" standalone=\"yes\"?>\n<!DOCTYPE html PUBLIC \"-\/\/W3C\/\/DTD HTML 4.0 Transitional\/\/EN\" \"http:\/\/www.w3.org\/TR\/REC-html40\/loose.dtd\">\n<html><body><p>Do you like Erik Satie? Well, the acid test \u2013 though it\u2019s more like skimmed milk in this case \u2013 is <em>Socrate<\/em>. A 30-minute setting of over 2,000 words from the Platonic dialogues, Erik Satie\u2019s \u2018drame symphonique\u2019 is deliberately featureless, neutral in expression, minimally colourful, scarcely symphonic and dramatic only by virtue of <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-is-harmony-in-music\">harmonic<\/a><\/strong> and instrumental abstinence. Having set out to create a work \u2018as white and pure as antiquity\u2019, Satie certainly succeeded.<\/p><p>\u2018How boring!\u2019 you might think, and you would be in distinguished company. <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/maurice-ravel\">Ravel<\/a><\/strong>, for instance, who did much to establish Satie\u2019s reputation as an authentic composer, flatly rejected <em>Socrate<\/em>. <\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Trois M\u00e9lodies: Les Anges\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/miUD-B_mjo8?list=PLKn5DIpjWwWyHuv4htKYArb0QCHKIwUHW\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><p>According to Darius Milhaud, \u2018He didn\u2019t understand it, that\u2019s all. And he told me he could never agree with a work which for him was so poor \u2013 in invention, poor in everything.\u2019 <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/igor-stravinsky\">Stravinsky<\/a><\/strong>, on the other hand, was heard to exclaim after a performance in 1919, \u2018There is <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/georges-bizet\">Bizet<\/a><\/strong>, Chabrier and Satie!\u2019 \u2013 which is a peculiar view of the recent history of French music but no less of a testimonial for that.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/articles\/five-essential-works-bizet\">Best of Bizet: five essential works<\/a><\/strong><\/li><\/ul><h2 class=\"wp-block-heading\">There is probably no other piece of music so faultless<\/h2><p>The only problem with <em>Socrate<\/em> \u2013 declared Satie\u2019s masterpiece by biographer Robert Orledge \u2013 is that it is perfect, like the Brancusi sculpture inspired by it. There is probably no other piece of music so faultless, so unquestionably natural in its setting of a French text \u2013 an achievement which, prosaic though it is, has its own aesthetic value. <\/p><p>In the same way, as harmony and instrumental colour are reduced at the end to a near minimum and rhythm to a simple <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-ostinato\">ostinato<\/a><\/strong>, the death of Socrates is calmly accepted as an inevitability. Perfection, so patiently and so austerely accomplished, is difficult to live with. At the same time, it is impossible to imagine without a shudder the same text being set in a different way.<\/p><p>Failing the skimmed-milk test is not a disqualification. <em>Socrate<\/em> \u2013 originally scored for four sopranos and small orchestra but no less effective with one voice and piano, as recorded by <strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/barbara-hannigan\">Barbara Hannigan<\/a><\/strong> and Reinbert de Leeuw \u2013 was completed in 1918, towards the end of bewilderingly many-sided career. If you don\u2019t like Satie the classicist you could well engage with one or more of the other Saties.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/reviews\/barbara-hannigan-and-reinbert-de-leeuw-perform-works-satie\">Read our review of Barbara Hannigan and Reinbert de Leeuw&#8217;s\u00a0<em>Socrate<\/em><\/a><\/strong><\/li><\/ul><h2 class=\"wp-block-heading\">Erik Satie and the <em>Trois Gymnop\u00e9dies<\/em><\/h2><p>Go back 30 years and there is the Satie who introduced himself at the Chat Noir cabaret in Montmartre as a \u2018gymnop\u00e9diste\u2019. To the Chat Noir management it meant nothing; to us it means the composer of the <em>Trois Gymnop\u00e9dies<\/em>, now one of the most frequently performed works of its time and place. <\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Erik SATIE - Gymnopedies 1, 2, 3 (60 min)\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/FS6o3qFimsc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><p>Because of the popularity of the three dances, and because they are apparently so artless, the <em>Gymnop\u00e9dies<\/em> are seriously underrated. Even <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/claude-debussy\">Debussy<\/a><\/strong>, who in a situation of mutual admiration had befriended Satie and who orchestrated two of the <em>Gymnop\u00e9dies <\/em>in 1898, expressed surprise at their success \u2013 to the disgruntlement of their <strong><a href=\"https:\/\/www.classical-music.com\/articles\/satie-jail\">all-too-easily offended composer<\/a><\/strong>. They are the work of a consummate harmonist. In their textural nudity \u2013 in ancient Sparta the <em>gymnopaedia<\/em> was danced by naked young men \u2013 every dissonant contact of the slow-moving melodic line with the shifting chords below it registers like a touch on the skin.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/six-best-satie-works\">Six of the best: Erik Satie works<\/a><\/strong><\/li><\/ul><p>The similarly hypnotic <em>Gnossiennes<\/em>, the first set of which was written two years later, are another indication of harmonic sensitivity. Impressed on hearing Romanian folk music at the 1889 Exposition Universelle, Satie was fascinated by the modal harmonies and <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-is-a-melody\">melodic<\/a><\/strong> decorations that were later to be a major preoccupation of <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/bela-bartok\">Bart\u00f3k<\/a><\/strong> in the following century. <\/p><h2 class=\"wp-block-heading\">The piece that takes around 18 hours to perform<\/h2><p>Perhaps the most surprising of all these early piano works is the <em>Trois Sarabandes<\/em>. It may be that Satie\u2019s harmonies here owe something to Chabrier, the other great Parisian nonconformist of his time. But there can be little doubt of the influence of the <em>Sarabandes<\/em> on both Ravel, to whom the second is dedicated and who gave the first performance of that piece shortly before its belated publication in 1911, and Debussy, who echoes the work not only in his own <em>Sarabande<\/em> but also in his <em>Pr\u00e9ludes<\/em>.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Erik Satie - Trois Sarabandes\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/oud1Vs3aVoo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><p>Another Satie piece performed by Ravel in 1911 was a piano version of the first of the three preludes to <em>Le fils des \u00e9toiles<\/em>, which had no immediate future in French music but which re-emerged a generation later in similarly visionary situations in music by <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/olivier-messiaen\">Messiaen<\/a><\/strong>, including the <em>Vingt regards sur l\u2019enfant J\u00e9sus<\/em>. <\/p><p>And, without wanting to trace all of Satie\u2019s anticipations of later developments, perhaps this is the place to mention <em>Vexations<\/em>, which consists of 840 repetitions of a short experiment in atonality to be preceded by a period of silent meditation. Written in about 1893, it was apparently first performed by a 13-year-old pupil of Lewes Grammar School in 1958. A more celebrated performance, lasting 18 hours 40 minutes, was given by <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/john-cage\">John Cage<\/a><\/strong> and colleagues in New York in 1963.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/news\/john-cage-as-slow-as-possible-2024-chord\">A piece by John Cage has been played continuously for 23 years<\/a><\/strong><\/li><\/ul><h2 class=\"wp-block-heading\">Erik Satie the pianist and conductor<\/h2><p>More congenial perhaps than Erik Satie the precursor and even \u2018Esoterik\u2019 Satie, the composer of quasi-religious music, is Erik Satie the <em>tapeur \u00e0 gages <\/em>(hired pianist), who not only played the piano for tips in clubs and cabarets but also wrote, or improvised, much of his own material. <\/p><p>His career in this area began in the late 1880s with a comparatively superior appointment as conductor of the orchestra at the Chat Noir, where his duties no doubt included providing the music for Rodolphe Salis\u2019s famous shadow theatre. By 1901, however, presumably because of his awkward temperament rather than any musical inadequacy, he had been demoted to second pianist at the Auberge du Clou. <\/p><p>Erik Satie continued to scrape a living this way for another ten years or so, daily undertaking the 10km walk to Montmartre from Arceuil-Cachan, the suburb to which poverty had banished him in 1898. Accompanying popular singers like Vincent Hyspa and Paulette Darty might have been drudgery but it did produce a few masterpieces of their kind: he set ten Hyspa songs, including the irresistibly sentimental \u2018Tendrement\u2019, and for Darty \u2018the queen of the slow waltz\u2019 he wrote the seductive \u2018Je te veux\u2019 as well as the delightfully naughty <em>marche chant\u00e9e<\/em> \u2018La diva de l\u2019Empire\u2019. <\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Satie - Je te veux\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/wbT9DeULzU4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><h2 class=\"wp-block-heading\">Satie rejected Romanticism and Impressionism<\/h2><p>The cabaret idiom extended to his piano music too, not only in such directly popular pieces as the <em>Poudre d\u2019or<\/em> waltz and the <em>Piccadilly<\/em> march but also in more personal works: for instance the 1903 piano-duet <em>Trois morceaux en forme de poire<\/em> makes extensive use of his caf\u00e9-concert and cabaret songs.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/how-satie-liberated-music\">&#8216;His music could have come from another planet&#8217;: how French composer Erik Satie liberated music<\/a><\/strong><\/li><\/ul><p>In a way Satie\u2019s attachment to the cabaret and the caf\u00e9-concert was regrettable \u2013 partly because it encouraged the improvisatory pianist\u2019s habit, already evident in the <em>Gymnop\u00e9dies<\/em> and <em>Gnossiennes<\/em>, of sustaining a steady rhythm in the left hand while developing a melodic idea in the right, an all-too-common feature of the piano music of much of his career. But, in practical terms, he had a living to make and, from a stylistic point of view, what else was a composer in his position to do? <\/p><p>He had rejected <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/best-romantic-composers\">Romanticism<\/a><\/strong> and, having experimented with or parodied Impressionism in <em>The Dreamy Fish<\/em>, he\u2019d rejected that too. \u2018Impressionism,\u2019 he said, \u2018is the art of imprecision; today we tend towards precision.\u2019 In fact, in turning to the popular idiom, Satie divined an aesthetic undercurrent that would soon rise to the surface. <\/p><h2 class=\"wp-block-heading\">Erik Satie goes back to school<\/h2><p>He both anticipated and inspired the new music proclaimed by Jean Cocteau in <em>Le coq et l\u2019arlequin<\/em> in 1918 and practised in the \u201920s by <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/les-six-composers\">Les Six<\/a><\/strong>, the group of young composers including Darius Milhaud, Arthur Honegger, and\u00a0<strong><a href=\"https:\/\/www.classical-music.com\/composers\/francis-poulenc\/\">Francis Poulenc<\/a><\/strong>\u00a0who gathered round him.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Erik Satie ~1901~ The Dreamy Fish\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/nO53tXq0tMs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><p>It was surely because of the impasse he found himself in at the age of 40 \u2013 after 15 or more years as a cabaret musician and 15 years before he would find himself suddenly flavoursome with the most progressive elements in Parisian culture \u2013 that Satie so bravely enrolled at the Schola Cantorum, to subject himself to the musical disciplines that as \u2018the laziest student at the Conservatoire\u2019 he had avoided in his teens. <\/p><p>He did it against Debussy\u2019s advice and, indeed, his work on counterpoint with Roussel and on composition with d\u2019Indy did lead to too many not very interesting chorales, <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/prelude\">preludes<\/a><\/strong> and <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-fugue\">fugues<\/a><\/strong>. But it would have taken more than that to suppress a personality as strong as his. Besides, he needed the experience to produce the two serious works of his last period, <em>Socrate<\/em> and the more melodious but similarly cabaret-free <em><strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/nocturne-definition\">Nocturnes<\/a><\/strong><\/em> for piano.<\/p><h2 class=\"wp-block-heading\"><em>Parade<\/em>: the perfect Satie work?<\/h2><p>Perhaps the most inspired synthesis of several different sides of Satie\u2019s creativity is his score for <em>Parade<\/em> which, with choreography by Leonid Massine and designs by Pablo Picasso, was first performed by Sergey Diaghilev\u2019s <strong><a href=\"https:\/\/www.classical-music.com\/articles\/ballets-russes-guide\">Ballets Russes<\/a><\/strong> at the Th\u00e9\u00e2tre du Ch\u00e2telet in 1917. The ballet is unique in its position in cultural history, celebrated as the beginning of Surrealism among other things. <\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"PARADE - Erik Satie\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/WFWI8p8FPOs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><p>It&#8217;s also brilliantly entertaining, not least by way of a score that represents Satie the contrapuntist, the parodist, the protagonist of popular music, and the innovator \u2013 the last in his use of everyday sound-objects such as whistle, typewriter, roulette wheel, gunshots and siren. At the same time, while dancing on ostinato rhythms and remaining in the same tempo from beginning to end, it retains a neutrality in expression comparable to that of <em>Socrate<\/em>. Although he was to write two more, similarly amusing ballet scores, <em>Mercure<\/em> and <em>Rel\u00e2che<\/em>, he was not to equal the achievement of <em>Parade<\/em>.<\/p><h2 class=\"wp-block-heading\">What is the legacy of Erik Satie?<\/h2><p>The answer to \u2018Which is the real Satie?\u2019 should probably be \u2018None of the above!\u2019: in his music, as in his everyday life, he made every effort to conceal his true self. Unless, that is, he let his guard drop in the first of his <em>Quatre petites m\u00e9lodies<\/em>, \u2018El\u00e9gie\u2019, a desolate setting of lines from Lamartine written after Debussy\u2019s death \u2018in remembrance of an admiring and sweet friendship of 30 years\u2019.<\/p><p><em>Gerald Larner<\/em><\/p> <\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"<p>By Published: Thursday, 19 September 2024 at 14:39 PM Do you like Erik Satie? Well, the acid test \u2013 though it\u2019s more like skimmed milk in this case \u2013 is Socrate. A 30-minute setting of over 2,000 words from the Platonic dialogues, Erik Satie\u2019s \u2018drame symphonique\u2019 is deliberately featureless, neutral in expression, minimally colourful, scarcely [&hellip;]<\/p>\n","protected":false},"author":24,"featured_media":47954,"template":"","categories":[1,17],"acf":{"readingTimeMinutes":"8"},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/09\/erik-satie-the-enigmatic-eccentric-who-concealed-his-true-self-behind-hypnotic-visionary-music.jpg",1200,800,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/09\/erik-satie-the-enigmatic-eccentric-who-concealed-his-true-self-behind-hypnotic-visionary-music-150x150.jpg",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/09\/erik-satie-the-enigmatic-eccentric-who-concealed-his-true-self-behind-hypnotic-visionary-music-300x200.jpg",300,200,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/09\/erik-satie-the-enigmatic-eccentric-who-concealed-his-true-self-behind-hypnotic-visionary-music-768x512.jpg",768,512,true],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/09\/erik-satie-the-enigmatic-eccentric-who-concealed-his-true-self-behind-hypnotic-visionary-music-1024x683.jpg",800,534,true],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/09\/erik-satie-the-enigmatic-eccentric-who-concealed-his-true-self-behind-hypnotic-visionary-music.jpg",1200,800,false],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/09\/erik-satie-the-enigmatic-eccentric-who-concealed-his-true-self-behind-hypnotic-visionary-music.jpg",1200,800,false]},"uagb_author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"uagb_comment_info":0,"uagb_excerpt":"By Published: Thursday, 19 September 2024 at 14:39 PM Do you like Erik Satie? Well, the acid test \u2013 though it\u2019s more like skimmed milk in this case \u2013 is Socrate. A 30-minute setting of over 2,000 words from the Platonic dialogues, Erik Satie\u2019s \u2018drame symphonique\u2019 is deliberately featureless, neutral in expression, minimally colourful, scarcely&hellip;","_links":{"self":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed\/47953"}],"collection":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed"}],"about":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/types\/rss_feed"}],"author":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/users\/24"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media\/47954"}],"wp:attachment":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media?parent=47953"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/categories?post=47953"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}