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Biography. Erik Satie - the founder of modern genres of music Erik Satie short biography |
eccentric French composer and pianist Erik Satie short biographyEric Satie(French Erik Satie, full name Eric-Alfred-Leslie Satie, fr. Erik Alfred Leslie Satie; May 17, 1866, Honfleur - July 1, 1925, Paris) - eccentric French composer and pianist, one of the reformers European music first quarter of the 20th century. His piano pieces influenced many modern composers, from Claude Debussy, the French Six to John Cage. Erik Satie is the forerunner and ancestor of such musical movements, such as impressionism, primitivism, constructivism, neoclassicism and minimalism. At the end of the 1910s, Satie came up with the genre of “furniture music,” which does not require special listening, an unobtrusive melody that continuously sounds in a store or at an exhibition. Satie was born on May 17, 1866 in the Norman city of Honfleur (department of Calvados). When he was four years old, the family moved to Paris. Then, in 1872, after the death of their mother, the children were sent back to Honfleur. In 1879, Satie entered the Paris Conservatory, but after two and a half years of not very successful studies, he was expelled. In 1885 he again entered the conservatory, and again did not graduate. In 1888, Satie wrote the work “Three Gymnopédies” (French: Trois gymnopédies) for solo piano, which was based on free use sequences of non-chords. A similar technique has already been used by S. Frank and E. Chabrier. Satie was the first to introduce sequences of chords built in fourths; this technique first appeared in his work “The Son of the Stars” (Le fils des étoiles, 1891). This kind of innovation was immediately used by almost all French composers. These techniques became characteristic of French modern music. In 1892, Satie developed his own system of composition, the essence of which was that for each play he composed several - often no more than five or six - short passages, after which he simply docked these elements to each other. Satie was eccentric, he wrote his essays in red ink and loved to play pranks on his friends. He gave his works titles such as “Three Pieces in the Shape of Pears” or “Dried Embryos.” In his play "Vexation" a small musical theme must be repeated 840 times. Erik Satie was an emotional person and, although he used the melodies of Camille Saint-Saëns for his “Music as Furnishings,” he sincerely hated him. His words even became a kind of calling card: It is stupid to defend Wagner just because Saint-Saens is attacking him; one must shout: Down with Wagner along with Saint-Saens! In 1899, Satie began working part-time as a pianist at the Black Cat cabaret, which was his only source of income. When you work as a pianist or accompanist in a café-chantan, many people consider it their duty to offer the pianist a glass or two of whiskey, but for some reason no one wants to treat him to at least a sandwich.
Satie was virtually unknown to the general public until his fiftieth birthday; sarcastic, bilious, introverted person, he lived and worked separately from the musical elite of France. His work became known to the general public thanks to Maurice Ravel, who organized a series of concerts in 1911 and introduced him to good publishers. “In short, at the very beginning of 1911, Maurice Ravel (as he said everywhere, “owed a lot to me”) made a double public injection - both by me and by me at the same time. Several concerts at once, performances in an orchestra, in a salon, in a piano, plus publishers, conductors, donkeys... and again - the obsessive lack of money, how tired I am of this rotten word! The applause and shouts of “encore!” had a strong, but bad, effect on me. Unfortunately, having yearned for them over the past years, I didn’t even immediately understand that they shouldn’t be taken too seriously... and at my own expense.” In 1917, Satie, commissioned by Sergei Diaghilev, wrote the ballet “Parade” for his “Russian Seasons” (libretto by Jean Cocteau, choreography by Leonide Massine, design by Pablo Picasso; orchestra conducted by Ernest Ansermet). During the premiere, which took place on May 18, 1917 at the Chatelet theater, a scandal erupted in the theater: the audience demanded to lower the curtain, shouting “Down with the Russians!” Russian Boches!”, a fight broke out in the auditorium. Irritated by the reception given to the performance not only by the audience, but also by the press, Satie sent one of the critics, Jean Pueg, an insulting letter - for which on November 27, 1917, he was sentenced by the tribunal to eight days in prison and an 800 franc fine (thanks to the intervention of Misia Sert, the Minister of the Interior Jules Pams gave him a “respite” from punishment on March 13, 1918). At the same time, the score of “Parade” was highly appreciated by Igor Stravinsky: “The performance struck me with its freshness and true originality. “Parade” just confirmed to me to what extent I was right when I so highly valued the merits of Satie and the role he played in French music by contrasting the vague aesthetics of the dying impressionism with his powerful and expressive language devoid of any pretentiousness or embellishment.” Erik Satie met Igor Stravinsky back in 1910 (the famous photograph taken by Stravinsky visiting Claude Debussy, in which all three can be seen, dates back to the same year) and experienced a strong personal and creative sympathy for him. However, closer and more regular communication between Stravinsky and Satie occurred only after the premiere of “Parade” and the end of the First World War. Erik Satie wrote two large articles about Stravinsky (1922), published at the same time in France and the USA, as well as about a dozen letters, the end of one of which (dated September 15, 1923) is especially often quoted in the literature dedicated to both composers. Already at the very end of the letter, saying goodbye to Stravinsky, Satie signed with his characteristic irony and a smile, this time a kind one, that happened to him not so often: “You, I adore you: aren’t you the same Great Stravinsky? And this is me - none other than little Erik Satie." In turn, both the poisonous character and the original, “unlike anything” music of Erik Satie aroused the constant admiration of “Prince Igor”, although neither close friendship nor any permanent relationship arose between them. Ten years after Sati’s death, Stravinsky wrote about him in the Chronicle of My Life: “I liked Sati at first sight. A subtle thing, he was all filled with slyness and intelligent anger.” In addition to Parade, Erik Satie is the author of four more ballet scores: Uspud (1892), The Beautiful Hysterical Woman (1920), The Adventures of Mercury (1924) and The Performance Is Canceled (1924). Also (after the author’s death) many of his piano and orchestral works were often used for staging one-act ballets and ballet numbers. Erik Satie died of cirrhosis of the liver as a result of excessive alcohol consumption (especially absinthe) on July 1, 1925 in the working-class suburb of Arceuil near Paris. His death went almost unnoticed, and only in the 50s of the 20th century his work began to return to the active space. Today, Erik Satie is one of the most frequently performed piano composers of the 20th century.
Creative influenceSatie's early work influenced the young Ravel. He was a senior comrade of the short-lived friendly association of composers, the Six. It did not have any common ideas or even aesthetics, but everyone was united by a commonality of interests, expressed in the rejection of everything vague and the desire for clarity and simplicity - exactly what was in Satie’s works. Satie became one of the pioneers of the idea of the prepared piano and significantly influenced the work of John Cage. Cage became fascinated by Erik Satie during his first trip to Europe, receiving sheet music from the hands of Henri Sauguet, and in 1963 he decided to present Satie's composition "Vexations" to the American public - a short piano piece accompanied by the instruction: “Repeat 840 times.” At six o'clock in the evening on September 9, Cage's friend Viola Farber sat down at the piano and began to play "Vexation." At eight in the evening, she was replaced at the piano by another of Cage's friends, Robert Wood, picking up where Farber left off. There were eleven performers in total, they replaced each other every two hours. The audience came and went, and a New York Times columnist fell asleep in his chair. The premiere ended at 0:40 on September 11, it is believed that it was the longest piano concert in the history of music. Under the direct influence of Satie, such famous composers were formed as Claude Debussy (who was his close friend for more than twenty years), Maurice Ravel, the famous French group "Six", in which the most famous are Francis Poulenc, Darius Milhaud, Georges Auric and Arthur Honegger . The work of this group (it lasted a little more than a year), as well as Satie himself, had a noticeable influence on Dmitri Shostakovich, who heard Satie’s works after his death, in 1925, during the tour of the French “Six” in Petrograd-Leningrad. His ballet Bolt shows the influence musical style Satie from the time of the ballet “Parade” and “The Beautiful Hysterical Woman”. Some of Satie's works made an extremely strong impression on Igor Stravinsky. This applies in particular to the ballet Parade (1917), the score of which he almost whole year asked the author for the symphonic drama “Socrates” (1918). It was these two works that left the most noticeable mark on Stravinsky's work: the first in his constructivist period, and the second in the neoclassical works of the late 1920s. Having experienced big influence Satie, he moved from the impressionism (and fauvism) of the Russian period to an almost skeletal style of music, simplifying his writing style. This can be seen in the works of the Parisian period - “The Story of a Soldier” and the opera “The Maura”. But even after thirty years this event continued to be remembered as nothing other than amazing fact history of French music:
Having invented in 1916 the avant-garde genre of “background” (or “furnishing”) industrial music that does not need to be specifically listened to, Erik Satie was also the discoverer and forerunner of minimalism. His haunting melodies, repeated hundreds of times without the slightest change or break, sounding in a store or in a salon while receiving guests, were ahead of their time by a good half century. Bibliography
In French
And minimalism. It was Satie who invented the genre of “furniture music”, which does not need to be listened to specifically, an unobtrusive melody that sounds in a store or at an exhibition. Biography
Erik Satie France / Impressionism, neoclassicism and Dada / Main genres: ballet, chamber-vocal lyrics and piano miniature Erik Satie was born in 1866 and died in 1925. He was practically the same age as Mahler, Rachmaninov, Richard Strauss, however, his name stands apart in the history of music. He does not belong to any artistic movement or direction. Nevertheless, his art greatly influenced the development of music in the 20th century, first in France and then throughout the world. At different periods of creativity and with varying degrees of intensity, he was the first urbanist, dadaist, cubist, impressionist, expressionist, and finally, one of the first French composers to use twelve-tone rows. And if in musicology it is customary to count the beginning of a new musical century from the 1910s, then Satie’s work pushes this line back two decades, to the 1890s. With his work, Satie tried to resist impressionism and Wagnerism. He is famous for saying: “ It is stupid to defend Wagner just because Saint-Saens is attacking him; one must shout: Down with Wagner along with Saint-Saens!“The composer’s main goals were clarity and simplicity, but his creative destiny, on the contrary, was full of complex metamorphoses and unresolved collisions. During his lifetime he became a “living legend.” The fact is that Satie was incredibly eccentric. All his actions were aimed primarily at shocking. His creativity, his style of life and communication did not leave anyone indifferent: some saw him as a genius, others as a charlatan. Contemporaries classified Satie as a member of the group of so-called “dreamers” composers. In addition to his pronounced musical talent, he was a very provocative writer and a paradoxical writer. Just look at the names of his compositions or the performance notes in them! Sometimes they are quite reasonable and really provide instructions for the performers. In other cases these are absolutely absurd lines. For example, he has a play “Funeral March”, where he simply takes the second movement from Chopin’s Sonata in b minor, transposes it into a different key, simplifies it a little, and, as if mockingly, writes: “Well, now you will hear a fragment from Schubert’s Mazurka " Of course, there is no quotation there, since Schubert did not write mazurkas at all. In the cycle “The Sting of the Jellyfish,” which, oddly enough, consists of seven monkey dances, we read: “the monkey dances gracefully, then goes into a rage (or pretends to). Instructions to the performer: “sit in the shadows and behave well - the monkey is watching you.” Further, according to Sati’s scenario: “the monkey is thinking about something else.” Instructions to the performer: laugh, but so that no one sees.” Satie's first work, which became an application for the future, was the piano triptych "Gymnopédie", which he composed in 1888 after leaving the conservatory. Let's ask ourselves: where did this come from? strange word- “gymnopedia”? There are a huge number of versions on this matter. One of them says that Gymnopedia was the name of the holiday in Ancient Sparta, which took place in July for about ten days and consisted of military dance, musical and gymnastic exercises. If we look at this word from an etymological point of view, we will see that the compound word from the Greek roots “hymnopaedia” (from hymnos solemn chanting of gods and heroes, and paideia education) ultimately refers to the songs that were sung during the competition of young men in strength and dexterity in ancient Greece. If we put everything together, the translation will be: “education with anthem.” Another version of the title of Satie’s work is hidden in a poem by the poet Contamine de Latour, who was quite famous at that time. Sati was friends with him and was probably very familiar with this verse. These lines are in my free translation, since the works of this author have never been published in Russian: Where amber atoms reflect themselves, There sarabands are mixed with Gymnopedias . Satie himself claimed that this name came to him after reading Flaubert’s novel “Salammbô”. From my point of view, Satie’s “Gymnopedia” can be recognized as the world’s first “ambient music”, the progenitor of the modern “lounge” style. Erik Satie's life was not at all easy. He twice entered the Paris Conservatory, and was twice expelled for incompetence. He joined the army, but he didn’t like it either. In order not to serve in the regiment, Sati stood with his torso naked for several hours in the cold. Result: bronchitis and release from service. His appearance, like his behavior, was extremely eccentric. Among his eccentricities are a wardrobe consisting of twelve completely identical gray velvet suits, and the statement that he only eats foods white: salt, sugar, ground bones, mold on fruit and white fish without skin. Sati often changed his appearance, could go out into society dressed like a tramp, and the next day he would appear as an impeccable dandy. This is how he described himself: “ I am eager to give you my characteristics: dark brown hair and eyebrows, gray eyes, low hairline, long nose, medium-sized mouth, wide chin, oval face» Throughout his life, Sati experienced financial difficulties. Living among the poor of a Parisian working-class suburb, sending desperate letters for help to his closest friends, out of pride he does not allow them into his miserable home. The composer’s only more or less permanent place of work was the famous Parisian cafe “The Black Cat” (“Le Chat Noir”), which is located in Montmartre. They say that this cabaret served as a model for the now cultural monument of the Silver Age, the St. Petersburg artistic cafe “Stray Dog”, where all the bohemians of that time gathered. In the 80s, Satie accompanied readers and actors (pantomimes were fashionable then), or even simply played something “for the background.” And this is very important. Satie considered music not only as an independent work of art and a way of self-expression of the creator, but also assigned it a more modest role - in his own words, “static sound decoration,” something like wallpaper or furniture (this is where the first name he proposed for this kind of musical background: “furniture music”). He wrote that “furniture music” in restaurants should be part of the ambient sounds, its task is to soften the clatter of knives and forks on plates and fill awkward pauses that occasionally arise between people. By the way, it was Erik Satie who can be considered the first film composer in the history of mankind. I mean Rene Clair's film "Intermission", the music for which Satie wrote while terminally ill. It was as if fate was pursuing this brilliant mocker and troublemaker of the first quarter of the century. He lived most of his life in obscurity, known only to those who went to the Black Cat cabaret. Among the creative bohemia, Satie was an outsider. However, in 1911 (the composer was already 45 years old at that time), Satie’s life began to change for the better. He gained fans, among whom were young composers Francis Poulenc and Georges Auric, but his acquaintance with Jean Cocteau, an artist, writer and playwright, played a special role. They met in 1915. Cocteau was so struck by the composer’s strange and original personality that he advised Diaghilev to involve Satie in staging the ballet “in a new spirit.” This is what Cocteau himself wrote about the composer: “ Outwardly, Sati looked like an ordinary official: a beard, pince-nez, bowler hat and umbrella. An egoist, a fanatic, he did not recognize anything other than his dogma, and tore and threw when anything contradicted it" Cocteau himself acted as the librettist of the ballet Parade, which became the most famous work Sati. The idea of the ballet belonged to Jean Cocteau (1889 - 1963), the leader and ideologist of the European avant-garde of the early 20th century. Cocteau became interested in Diaghilev's Russian Seasons from the first days of their existence. He painted posters and wrote articles for Russian ballet programs. To work on Parade, he brought Pablo Picasso (sets and costumes) and Leonid Massine (choreography) to the project. Cocteau recalled: “ I met Picasso on the Boulevard Montparnasse between the Rotunda and the Dome; there were few pedestrians. I invited him to come to Diaghilev to work on the scenery. He agreed and came. Italian futurists helped him in his work" The premiere of the ballet on May 18, 1917 turned into a scandal. By the way, specifically for the shocking effect, Cocteau and Satie were added to the ballet score unusual instruments, such as: typewriter, fire siren, revolver, set of milk bottles. A fight broke out in the hall. A highly respected theater critic wrote a devastating review, calling Satie " anti-harmonic, psychotic composer of typewriters and rattles"(the innovative technique of including the sound of a typewriter in the soundtrack was then met with hostility). Guillaume Apollinaire composed the text for the program (at the same time using a new word: “surrealism”). The motto of the production was the words of Apollinaire: “The New Spirit” (“L’Esprit Nouveau”). Written at the personal request of Diaghilev and Cocteau, the manifesto of the art of the future paved the way for the young music of France. Satie composed music like this: he wrote one fragment of approximately 5-6 bars, then another of the same, and then connected one to the other according to the principle of a constructor. Fragments could be in different keys, different rhythms and even different styles. It is precisely because of this method of composition that such a diversity of styles is obtained. This, in a sense, is the beginning of polystylistics as a phenomenon realized by the composer. At the same time, Satie also became the progenitor of minimalism, long before its appearance on the musical arena. The publication of Satie’s cycle under the unusual title “Three Pieces in the Shape of a Pear” caused a great stir, where he guesses a pear in the graphic design of the work. Satie was the Apollinaire of music. This cycle was a caustic mockery of the sophistication of titles and stage directions in impressionist plays. In his famous “Waltz-Fugue,” Satie combines two seemingly incompatible genres: a light salon waltz and a completely academic fugue. As we can see, Satie's composing thinking was unconventional and not clichéd. Maybe he, like Berlioz, was lucky in that from childhood they were not driven into the framework of the academic tradition. Satie's innovative music attracted a handful of young composers to him in 1920, who gathered in the famous "Six", and Satie became their godfather. They were united by a love of music hall, ragtime and jazz, seasoned with an explosive mixture of anti-war and anarchist spirit of Dadaism. The Six included: Louis Durey, Darius Milhaud, Arthur Honegger, Georges Auric, Francis Poulenc and Germaine Taillefer. Just as Maurice Ravel once revealed the composer Erik Satie to the general public in 1911, so John Cage in the second half of the 20th century became a conductor of Satie’s ideas. Cage loved his music early age. Without exaggeration, we can say that Satie owes his revival to this American composer. John Cage considered Satie to be the forerunner of all significant modernist movements in art: Dadaism, surrealism, modernism and even pop art in the spirit of Andy Warhol and Cage himself. He appointed Satie as the father of all modern art. The French maestro actually knew Tristan Tzara, who founded Dada. He even wrote literary exercises for Dada collections and took part in performances, evenings, and Dada demonstrations that were held starting in 1916. Cage’s passion for Satie’s music began when he discovered the play “Vexation,” which translated means “bitterness of resentment,” “trouble,” “oppression,” “annoyance.” This play was never performed during Sati's lifetime. It consists of three musical phrases. The main thing that struck Cage so much in this work was that on the manuscript it was written in Satie’s hand: “Perform 840 times in a row.” Finally, in 1963, Cage organized a performance of this work by Satie, which lasted almost eighteen hours and forty minutes, with the participation of twelve pianists in succession. Among the characters were: John Cage himself, Lewis Lloyd, David Tudor, Philip Korner, Viola Farber, Christian Wolf, Robert Wood, MacRae Cook, John Cale, David del Tredici, Howard Kline. There was an entrance fee for this marathon: five dollars. Listeners were given watches, and the longer they spent listening to Satie’s work, the more more money it was returned to them. Since then, "Vexation" has been performed numerous times. The originality of Satie's music and his innovative techniques influenced many composers. As a result, in addition to the fact that many of his works actually paved the way for the emergence of ambient music, Satie himself was a predecessor of such creative movements, like minimalism, “music of repetition” and “Theater of the Absurd”. A pleasant, unobtrusive melody that doesn’t call you anywhere, doesn’t tell about great passions, and doesn’t attract anyone’s attention at all. special attention, but it creates a comfortable environment - just like furniture... That’s what it’s called - “furniture music”. The creator of this peculiar phenomenon is the French composer Erik Satie. But, of course, his services to world art lie not only in this - many musical trends that flourished at the turn of the 19th-20th centuries and in the 20th centuries have their roots in the work of Satie. Like all talented people, Erik Satie showed early musical abilities and a love of music - but his parents did not pay attention to this at first: there were no people of art in the family, his father was a port broker. The boy began to seriously study music only at the age of twelve, when the family moved from Honfleur, where Erik Satie was born, to Paris. He entered the Paris Conservatory twice - at thirteen and at eighteen, but never finished: the first time he was expelled after two and a half years, since his studies could not be called successful, the second time he himself left the conservatory because studying was not interesting. He joined the army, after a year of service he returned to the capital and worked part-time as a tapper in a cafe. However, this did not interfere with the composer’s creativity - and in 1888 the piano cycle “Three Gymnopedies” was born. What was remarkable about him? The composer used free relationships of non-chords in it. It cannot be said that no one had used this harmonic technique before Satie - for example, Cesar Franck did it, but Satie subsequently developed it - in “Son of the Stars,” written in 1891, sequences of non-chords were built in fourths. As for the Three Gymnopedies, Claude Debussy, whom Satie met in a cafe in Montmartre and became friends with, suggested orchestrating them. It was thanks to his friendship with Satie that Debussy overcame his youthful passion for Wagnerian music. Extravagance has always distinguished Erik Satie. This quality was manifested in everything - in the apt sayings with which his notes are full, in the habit of writing his works in red ink and, of course, in the music itself. In 1892, he created a very unexpected method of composition - several short passages (no more than six) are combined with each other in different combinations, and in this way a play is composed. In an even more original way, in 1893, he expressed his annoyance at Suzanne Valadon, the composer’s beloved, who was by no means distinguished by a gentle character. The composer composed a piece which he called "Vexations" (with French this can be translated as “Annoyances” or “Troubles”). The piece sounds monotonous, ideally reflecting the state of a person experiencing troubles, and in itself is not particularly long, but the author instructs the pianist to repeat it many times, and how many times the piece must be decided by the performer himself. True, the composer did set a limit: a maximum of eight hundred and forty times. Depending on the tempo (which Satie also left to the musician’s discretion), this can range from twelve hours to a day. However, some other works of that period were written in a similar style: “Chimes of the Rose and Cross”, “Gothic Dances” and others. Devoid of contrasts and sharp transitions, some pieces were not even divided into bars. True, the composer did not require them to be repeated hundreds of times, but in style they were reminiscent of “Trouble.” Since 1898, Satie lived in Arceuil, a suburb of Paris. “The Hermit of Arkay” - that’s what they called him; he preferred not to meet with anyone, only occasionally visiting Paris to present a new work. However, the composer was almost unknown to the general public until in 1911 he organized a series of concerts from his works. Satie's works attract attention not only with their unusual style, but also with their extravagant titles: “Dried Embryos”, “Automatic Descriptions”, “Three Pieces in the Shape of Pears”.
In 1915, the composer met. On his initiative, Satie took part in the creation of a ballet for the troupe (the libretto was written by Cocteau, and the design was done by Pablo Picasso). The ballet, presented in 1917, was called “Parade”, and to say that Satie’s ballet music shocked the audience is to say nothing: deliberately primitive, with the howling of sirens, the clatter of a typewriter and other non-musical sounds... But the composer had even more original idea - in 1916 he proposed to couturier Germain Bongard a wonderful psychological technique: in salons and stores there should be unobtrusive music that influences customers. After two years, Bongar ordered him such music, and it was written, but the implementation of the idea was prevented by military actions. Pieces from “Furniture Music Invented by Erik Satie” (precisely invented - the composer considered it something more technical than creative) were performed only in 1919, during the intermission of Satie’s musical drama “Socrates”, written on the text of Plato’s dialogues. The death of the "Hermit of Arkay" in 1925 went unnoticed musical world. A true surge of interest in Satie's work followed in the mid-20th century, when it became obvious how ahead of his era the composer was. All rights reserved. Copying is prohibited. Erik Satie is considered one of the most amazing and controversial composers in the history of music. The composer's biography is replete with facts when he could shock his friends and admirers, first fiercely defending one statement, and then refuting it in his theoretical works. In the 90s of the nineteenth century, Erik Satie met Carl Debussy and denied following the creative developments of Richard Wagner - he advocated supporting the newly hatched impressionism in music, because this was the beginning of the reincarnation of the national art of France. Later, composer Erik Satie had an active skirmish with imitators of the impressionism style. In contrast to ephemerality and elegance, he emphasized the clarity, sharpness and certainty of linear notation. Satie had a huge influence on the composers who made up the so-called "Six". He was a real restless rebel who tried to refute the patterns in people's minds. He led crowds of followers who liked Satie's war on philistinism and his bold statements about art and music in particular. Early yearsErik Satie was born in 1866. His father worked as a port broker. From an early age, young Eric was drawn to music and showed remarkable abilities, but since no one close to him was involved in music, these attempts were ignored. Only at the age of 12, when the family decided to change their place of residence to Paris, Eric received the honor of constant music studies. At the age of eighteen, Erik Satie entered the conservatory in Paris. He studied a complex of theoretical subjects, among which was harmony. He also studied piano. Studying at the conservatory did not satisfy the future genius. He quits his studies and joins the army as a volunteer. A year later, Eric returns to Paris. He works part-time in small cafes as a tapper. It happened in one of these establishments in Montmartre fateful meeting with Carl Debussy, who was impressed and intrigued by the unusual choice of harmonies in the young musician’s seemingly simple improvisations. Debussy even decided to create an orchestration for Satie's piano cycle, Gymnopédie. The musicians became friends. Their opinions meant so much to each other that Satie was able to steer Debussy away from his youthful infatuation with the music of Wagner. Moving to ArkayAt the end of the nineteenth century, Satie left Paris for the suburb of Arceuil. He rented an inexpensive room above a small cafe and stopped letting anyone in there. Even close friends could not come there. Because of this, Sati received the nickname “The Hermit of Arkay.” He lived completely alone, did not see the need for meetings with publishers, and did not take large and profitable orders from theaters. Periodically, he appeared in the fashionable circles of Paris, presenting fresh musical work. And after that the whole city discussed it, repeating Satie’s jokes, his words and witticisms about the musical celebrities of that time and about art in general. Sati meets the twentieth century while studying. From 1905 to 1908, when he was 39 years old, Erik Satie studied at the Schola cantorum. He studied composition and counterpoint with A. Roussel and O. Serier. Erik Satie's early music dates from the late nineteenth century, 80-90s. This is the "Poor People's Mass" for choir and organ, the piano cycle "Cold Pieces" and the well-known "Gymnopedia". Collaboration with Cocteau. Ballet "Parade"Already in the 20s, Satie published collections of pieces for piano, which had a strange structure and an unusual title: “In Horse's Clothing”, “Three Pieces in the Shape of Embryos”, “Automatic Descriptions”. At the same time, he wrote several expressive, extremely melodic songs in a waltz rhythm, which the public liked. In 1915, Satie had a fateful meeting with Jean Cocteau, playwright, poet and music critic. He received an offer to create a ballet together with Picasso for the famous Diaghilev troupe. In 1917, their brainchild - the ballet "Parade" - was published. Intentional, emphasized primitivism and deliberate contempt for the euphony of music, the addition of alien sounds to the score, such as a typewriter, car sirens and other things, was the reason for loud condemnation of the public and attacks from critics, which, however, did not stop the composer and his associates. The music of the ballet "Parade" had a music hall response, and the motives were reminiscent of the melodies that were sung in the streets. Drama "Socrates"In 1918, Satie wrote a radically different work. The symphonic drama with singing "Socrates", the text for which was the original dialogues by Plato, is restrained, crystal clear and even strict. There are no frills and no playing for the audience. This is the antipode of "Parade", although only a year passed between their writing. After finishing Socrates, Erik Satie promoted the idea of furnishing, accompanying music that would serve as a background to everyday activities. last years of lifeSatie met the end of his life while living in the same suburb of Paris. He did not meet with his own people, including the Six. Erik Satie gathered around himself a new circle of composers. Now they called themselves the "Arkey School". It included Clique-Pleyel, Sauguet, Jacob, as well as the conductor Desormières. The musicians discussed new art of a democratic nature. Almost no one knew about Sati's death. It wasn't covered, it wasn't talked about. The genius left unnoticed. Only in the mid-twentieth century did people again become interested in his art, his music and philosophy. |
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- Buckwheat porridge recipes
- Affirmations for material well-being
- Oatmeal with milk, how to cook oatmeal with pumpkin (recipe)
- Education and formation of conditioned reflexes
- Organs of flowering plants Presentation on the topic of plant organs
- Presentation on environmental pollution Presentation on environmental pollution
- Biology quiz presentation for a biology lesson (8th grade) on the topic Biology riddles