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.

Early years

Erik 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 Arkay

At 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 have a strange structure and unusual name: "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 life

Satie 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.

His piano pieces influenced many modern composers. Erik Satie is the forerunner and ancestor of such musical movements like impressionism, primitivism, constructivism, neoclassicism 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.

In 1888, Satie wrote the work “Three Gymnopedies” (fr. Trois gymnopedies) 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 have become typical for French music modern trends 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.

The general Parisian public recognized Satie thanks to Diaghilev's Russian Seasons, where at the premiere of Satie's ballet “Parade” (choreography by L. Massine, scenery and costumes by Picasso).

“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.” ( Igor Stravinsky. Chronicle of my life.) Erik Satie met Igor Stravinsky back in 1910.

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.

Under his direct influence such famous composers, like Claude Debussy (who was his 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 strong influence on Dmitri Shostakovich. Shostakovich heard Satie’s works after his death, in 1925, during a tour of the French “Six” in Petrograd. His ballet Bolt shows the influence of Satie's music.

Erik Satie became one of the pioneers of the idea of ​​the prepared piano and significantly influenced the work of John Cage.

Having invented in 1916 the avant-garde genre of “background” (or “furniture”) music that does not need to be specifically listened to, Erik Satie was also the discoverer and forerunner of minimalism. His unobtrusive 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.

(Erik Satie, full name Eric Alfred Leslie Satie - extravagant French composer and pianist, one of the reformers of European music of the 1st quarter of the 20th century. His piano pieces influenced many modern composers. Erik Satie is the forerunner and founder of such musical movements as impressionism, primitivism, constructivism, neoclassicism 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.

Erik Satie was born on May 17, 1866 in the Norman city of Honfleur (department of Calvados). From the age of four to six, when his mother died, Eric lived with his family in Paris. In 1879 and 1885, Satie twice entered the Paris Conservatory without completing his studies.

In 1888, Satie wrote the work “Three Gymnopédies” (Trois gymnopédies: Gymnopédie No. 1, Gymnopédie No. 2, Gymnopédie No. 3) for solo piano, which was based on the free use of sequences of non-chords (a similar technique had already been found in S. Franck and E. Chabrier. Satie was the first to introduce sequences of chords built in fourths, using this technique for the first time in 1891 in the composition “The Son of the Stars” (Le fils des étoiles). This kind of innovation was immediately used by almost all French composers. These techniques became characteristic of French modern music.In 1892, Erik Satie developed his own system of composition, the essence of which was that for each piece Satie composed several - often no more than five or six - short passages, after which he simply docked these elements to each other With the help of this system, Satie composed the first plays of a new type.

Erik Satie is eccentric and emotional, at the same time withdrawn and sarcastic. He lived and worked separately from the musical elite of France, and was practically unknown to the general public almost until his fiftieth birthday. Since 1899, Satie earned his living as an accompaniment in a cabaret, and only in 1911 his work became known to the general public thanks to Maurice Ravel, who organized a series of concerts and introduced him to good publishers, and especially after the scandalous premiere of the ballet “Parade” in 1916, staged at music by Satie.

Erik Satie died on July 1, 1925, his death went almost unnoticed, and only in the 50s of the 20th century his work again became relevant. Today Erik Satie is one of the most frequently performed piano composers XX century.

Sati's system and his early work had a strong influence on the young man. He became one of the pioneers of the idea of ​​the prepared piano and significantly influenced the work of John Cage. Under his direct influence, such famous composers as the famous French group of composers “Les Six” were also formed. The work of Satie and the association of composers, which existed for just over a year, had a strong influence on. For a decade, one of Satie's brightest followers was Igor Stravinsky.

Having invented in 1916 the avant-garde genre of background “furniture music”, which 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.

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 1888, Satie wrote Trois gymnopédies for solo piano, which was based on the free use of non-chord sequences. A similar technique has already been used by S. Frank and E. Chabrier.

In 1879, Satie entered the Paris Conservatoire, but after two and a half years he was not very successful studies was excluded. In 1885 he again entered the conservatory - and again did not graduate.

In 1892, he developed his own system of composition, the essence of which was that for each play Satie composed several - often no more than five or six - short passages, and then joined these elements to each other without any system.

This work of Satie influenced the young Ravel. He was a senior comrade of the short-lived friendly association of composers, the Six. It did not have any 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.

Satie was eccentric, he wrote his works in red ink, and loved to play pranks on his friends. He gave titles to his works 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 emotional person and, although he used the melodies of Camille Saint-Saëns for his “Music as a Furnishings”, he sincerely hated him.

As a result of excessive alcohol consumption, Satie received cirrhosis of the liver and died on July 1, 1925 in the working-class suburb of Arceuil near Paris.

Satie himself, until his fiftieth birthday, was practically unknown to the general public, a sarcastic, bilious, withdrawn person; he lived and worked separately from the musical beau monde of France.

Best of the day

Satie became known to the general public thanks to Maurice Ravel, who organized a series of his concerts in 1911 and introduced him to good publishers, and three years later - thanks to Diaghilev’s Russian Seasons, where at the premiere of Satie’s ballet “Parade” (choreography by L. Massine, scenery and costumes by Picasso ) took place in 1916 big scandal, accompanied by a fight in the auditorium and shouts of “Down with the Russians!” Russian Boches! Sati became famous after this scandalous incident. Nevertheless, they note that the music of “Parade” was clearly influenced by “Spring” by Igor Stravinsky, as well as the work of many composers.

Having invented in 1916 the avant-garde genre of “background” (or “furniture”) 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.

The death of Erik Satie 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 influence of Sati

Under his direct influence, such famous composers as Claude Debussy (who was his friend for more than twenty years), Maurice Ravel, the famous French group “Six”, in which Francis Poulenc is best known, Darius Milhaud, Georges Auric and Arthur Honegger, were formed. The work of this group (it lasted a little over a year), as well as Satie himself, had a strong influence on Dmitri Shostakovich. Shostakovich heard Satie’s works after his death, in 1925, during a tour of the French “Six” in Petrograd. His ballet Bolt shows the influence of Satie's music.

For a decade, one of Satie's brightest followers was Igor Stravinsky, continuing the Parisian period of his work. 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 in the opera “The Maura”.

Composed - not too much music. Anyway, exactly can be judged from the point of view of the illusory science of statistics and its - the same - statisticians. If you wish, to sum it up, you can even say that he was - not very prolific..., or prolific below average. Of course, this is not at all a reproach or an accusation, and if it is an accusation, it is by no means - not to him, but exactly the opposite.

If nothing more... - However, let's not repeat ourselves?

Looking from (their) side at the prolific author, the French usually say - pondeur(- unfortunately, the French generally talk too much). The word, frankly speaking, is not particularly pleasant, even if pronounced in Russian: "ponder". - That’s it: “ponder” – and that’s it, nothing more. A prolific chicken that lays a lot (and even eggs, perhaps). In short, this word evokes associations far...,” I wanted to say, “are far from the most rosy. And yet, I return back to Erik Satie.

Back - it’s always back for them... - Empty talk.

No, of course, Satie was not ponder, not on either side. And he was not a professional either. One of you, gentlemen... But he was - amateur and in any case had the desire to declare this: directly and unambiguously. That's right: never not a professional, but always - an amateur and lover(amateur) of his own music (although it does not at all follow from this that he loved it, rather on the contrary - only was studying..., with her). - And he... didn’t like people too much. Only... by calculation. - And here I may have to resort to my (dis)favorite euphemisms. Because he always feared and despised these... people, perfectly understanding the price (and even, scary to say, the cost) of this monkey, so fatally and so untimely bald. Or better yet, let's put it a little more simply: despised and feared, - although few people in the world will understand these simple words. And yet, he was invariably disdainful. Everyone. Starting from myself, my beloved, of course. Nose to the ground, smoke to the skies... In general, everything is as it should be for anyone who respects (or even does not respect) himself misanthrope: the only title worthy of a person.

So, that means Why he had to... at times... so much drink (it seems to be the cheapest publicly available way to come to terms with and even love, - their). At least for a minute...

And yet, despite the fact that Satie did not compose very much music, she- (amateur and amateur in the highest sense) - deserves a very special consideration from all sides: both in the form of a carcass, and in the form of a stuffed animal, and in the form of wallpaper... Remaining completely separate island, separate - from the mainland of all others music of this small world: both during the life of its own author and after it. For she (I'm talking about music again), without wanting it, - became a completely special and separate phenomenon around herself... - like himself. Her strange, always strange writer..., “bald from birth.” :306 - That's why, hastily finishing a small preface to a non-existent article, I composed this almost full list. "Complete list of Erik Satie's works." It couldn't be fuller... and even moreover. - Satie himself, I can say this with confidence, would not have been able to compile a more complete list than this one, mine.

This is certain. And even in spite of everything.

It is equally certain That, that he would probably add a dozen more to any list own essays(not to say: a hundred..., slightly black), having discovered their glaring flaw - and shaking a finger after me, not at all musical. And he would be absolutely right, wonderful old man, even if these works were sucked out of his (same) finger. Just now. Like everything else in the world.

Because... as one of my unfaithful friends said during his lifetime... by name Yuri Khanon:

“...If this whole life is really sucked out of thin air,
Who Is there anything else stopping you from sucking it out?..”

Beginning of life (1866-1899)

Brief introduction

Erik Satie was born..., - as witnesses lie, he was born... May 17, 1866 at nine o'clock in the morning. So it was... However, I'm sorry. The beginning of any life (not excluding human life..., and even your own, mademoiselle...) has a rather unsightly appearance that (Not) put it on display. Or, on the contrary... And therefore, let’s shorten it a little, modestly lowering our eyes.

If you understand me enough..., - madam, monsieur...

In November 1879, Erik Satie entered..., so it was like this: Satie entered the Paris Conservatory as a “free listener” (as it was called, almost Jesuitically). - However, as it soon became clear, the degree of his conceivable and inconceivable “liberty” significantly exceeded any ideas of local teachers and demagogues about this dubious subject. The usual student drill and the lack of elementary creative freedom invariably disgusted him. Of course, laziness played an important role in this disgust. Quite normal laziness: not only childish, but also universally human..., common... for all primates. And yet, it's not that simple. Not at all like that. By nature, Sati is not only a Disabled person (and it is not by chance that I write this word with a capital letter), but also a real anarchist in character. Of course, he is frankly lazy (as a person, one of the people), but he also does not like generally accepted nonsense and responsibilities. None. Even the very important and smart ones (although, are there really such people?) But this is how people accept it: fulfilling duties and roles is always a necessary pass into an environment, a clan, a flock..., especially one as complex and deeply worked out as this music... ( academic). Therefore, after five years of futile study, pianist Eric deserves a strong reputation as one of the “worst students.” Emile Descombes (harmony teacher) characterizes Satie as “the laziest student at the Conservatory,” great composer Ambroise Thomas speaks of him as a student of “the most insignificant”, and piano teacher Georges Mathias even writes in his next annual report that Satie’s student is "complete zero". That's right, no more and no less: “complete zero”. :27-29
Five years later, although reluctantly, the former student (allegedly) forgave his teachers for their impenetrable stupidity and inertia. Let's take this little childish lie on faith..., obvious and blatant. And yet, until the end of his life, the word “conservatory” remained for him a symbol of the clan: no matter how stupid and cruel, so unsuitable.

...As a pure child, I first entered your classroom; and my Soul was so tender that you were unable to comprehend it; and even the flowers on the windowsill were surprised by my habits; and they thought they saw a stuffed Zebra.<...>
And, despite my extreme youth and incomprehensible Dexterity, you, due to your unreasonableness, soon made me hate your rough and lifeless Art, which you teach; With your inexplicable stubbornness, you made me despise you for a long time - from all sides. And I turned away, and I walked away from your rough wooden hammer to my elastic thoughts and words... :67 - Erik Satie, "Personal Word on Prayerful Chastity", 1892

However, let’s quickly leave this topic for the sake of another, perhaps no more valuable...

The beginning of creativity

In 1886, Satie composed the first three romances (for voice and piano) based on poems by his friend, Contamine de Latour (don’t believe it, this beautiful name- just a pseudonym) in full anticipating all the main features of the future musical style called impressionism. Separately, it should be noted that no one had yet used this term in relation to music in those days: simply put, it did not exist (even in the territory of analogies or metaphors). A few dry facts for comparison: in the same year, the eternal teacher Caesar (Frank) writes his dry (to the limit) Wagnerian symphony in D minor, and greenish-gray uncle Giuseppe (Verdi) is working on an opera "Othello".

Another disgraceful failure was not long in coming. Unable to withstand the oppressive situation in two houses at once: with his father and at the Conservatory, twenty-year-old Satie in November 1886, as a “typical teenage protest,” enlisted... in the army (having concluded a volunteer contract for a period of three years). "Je retire" just away!.. However, the charge (pro’testo) did not last too long. Less than four months had passed before the army became more disgusted with the rookie composer than the conservatory with his dad. - And so..., one day in the icy winter season..., simply put, one devilish (glorious) February night, stripped to the waist, Sati spent several hours in the piercing French cold in order to free himself again. This time, from service... to be freed. "Je retire"- just get away, get away from here!.. anywhere, just get away!.. Delightful result: pneumonia, hospital, medical commission, way back. And so, in April 1887, Private Erik Satie, discharged from the army, triumphantly and discouragedly returned to Paris, so that there he would no longer return either to the pope or to the Conservatory. Now, having rented a room in the attic, he believes it is right to live separately - from the damn stepmother, the same father and the rest of the world. :27-29

Fortunately, Sati is still quite young and dexterous to bear your own mistakes on your feet.

In 1887, Satie composed another bomb (extremely quiet and inconspicuous): “Three Sarabands”. For simplicity, let's say this: the first impressionist opus in instrumental music. And then, in order not to mark time, in the next three years the bizarre “Gymnopaedia” and “Gnossienne” appear, perhaps to this day the most popular of Satie’s piano works, the style of which is difficult to define in one word, to such an extent they are (anti)traditional , simple and at the same time - no matter what not alike. At one time, a normative (Soviet socialist) professor (in the field of music history) Galina Filenko had the magnificent imprudence to express the following thought in three dozen words:

...Gymnopedias in ancient Greece called youth sports exercises to music. Satie's plays in three-beat meter are maintained in a continuous monotonous iambic rhythm and for some reason at a slow tempo; they are harmonized mainly by seventh chords, have a melancholic-elegiac character and are more like a lazy Boston waltz than music sports exercises, suggesting lively, energetic movements... :54 - Galina Filenko, from the chapter “Erik Satie”

Sati on impressionistic picture "El Bohemiao, Montmartre Poet"

Bravo, professor!.. It was a delightful reprise! - Not knowing either Filenko herself, or the Gymnopedies, or Erik Satie, or his music (which was then almost impossible to get and, especially, to hear), but being perfectly knowledgeable, what's happened immortal human (and even more so, female or official) stupidity, it was from that time that I sincerely fell in love with Sati along with his strange sports exercises (by the way, the last remark was also pure absurdity, for those who understand). That's why I still grateful to Professor Filenko for her extremely fresh and fragrant “idea”: to express one’s own bewilderment(and misunderstanding) in such an undisguised (direct and childish) form.

However, let's come back for the best- to him, to Erik Satie himself.

At the end of 1888 a certain very refined a Parisian plumber named Vital Ocquet, who in his free time from his main job wrote poetry under the pseudonym Narcissus Lebeau, (which means Pretty Narcissus) recommended one of his friends (and it turned out to be Erik Satie) to become a member of the Masonic cabaret club " Black cat" It was there that the “extraordinary” acquaintance of both two (not to say two) fellow countrymen took place, born on the same street, but only twelve years apart. Also extremely eccentric, and also a Norman, Alphonse Allais was then the head (if such “bodies” have any May be head) and the ideological leader of “fumism”, the avant-garde movement of “smoke blowers” ​​in the eyes, nose and ears. :34-37 And then follows a phrase that in all cases I would call “chewed”... In all cases (except for this one, perhaps). Because (in fact) the importance of this meeting for Sati himself cannot be exaggerated... (nor can it be understated either). Although not at all a composer (but rather a joker, storyteller and permanent resident of black humor), this Alphonse turned out to be perhaps the most (much) significant meeting in Satie’s life. And although their friendship did not last long, culminating (as one would expect) with the burning resentment of Sati and almost long almost complete almost gap, Alphonse’s direct and latent influence continued - until his death (in this case understood as the “end of life”), and also for some time - after.

Much less significant and interesting..., but also - meeting with the "Great" Monsieur "Sarom", or, more simply put, Josephine Peladan, a theatrical mystic and priest of his own sect, decisively turned Satie towards cheap effects, where he also managed to make his new word - as an inventive inventor of “medieval and esoteric” harmonies (and even melodies, as strange as it may seem to say ). And here his music (with twists and turns) again turned out to be completely original and decisively no matter what not similar. Meditative modal, sometimes explicit atonal music(often in fourth harmonies) was ahead of its time by a full two decades.

However, to be more precise, then - forever.

And a few more words about “eternal” values..., if I may... In 1891 (in the cabaret “Tavern in Clou”, where Satie worked as the second pianist) he met with a certain Claude Debussy, in those days “only » laureate Rome Prize and an ardent (to the core) Wagnerist. :60-61 Three years later, a sharply changed Debussy, who became an ardent anti-Wagnerist, writes his “ Afternoon of a Faun"(as it turned out later, something like a manifesto) and gradually, year after year (step by step) turns into a recognized leader of a new musical direction: impressionism.

...Debussy’s aesthetics in many of his works is close to symbolism: it impressionistic throughout his work. Forgive me for my too simple words: but wasn’t I partly the reason for this?
At least that's what they say. And here's an explanation, if you like:
When we first met, at the very beginning of our communication, he was like a blotter, thoroughly saturated with Mussorgsky and painstakingly searching for his path, which he could not find and find. It was in this matter that I far surpassed him: neither the Prize of Rome... nor the “prizes” of any other cities in this world weighed down my gait, and I did not have to carry them either on myself or on my back... For I am a man in the race of Adam (from Paradise), who has never received any prizes, but only big shots - the biggest lazy person, undoubtedly.
At that moment I was writing “Son of the Stars” - based on the text by Joseph Péladan; and Debussy explained many times the need for us French to finally free ourselves from the overwhelming influence of Wagner, which is completely inconsistent with our natural inclinations. But at the same time I made it clear to him that I was not at all an anti-Wagnerist. The only question was that we should have our own music - and, if possible, without German sauerkraut.
But why not for these purposes use the same visual means that we have long seen in Claude Monet, Cezanne, Toulouse-Lautrec and others? Why not transfer these funds to music? Nothing could be simpler. Isn't this what real expressiveness is?
This was the starting point of the right path of fruitful searches, which were almost perfectly realized - and even yielded the first green apples, but... Who could show him an example? Demonstrate findings and discoveries already made? Show me the ground to dig in? Provide him with the first striking evidence and achievements?.. Who?..
- I don’t want to answer: I’m no longer interested in this. :510-511 - Erik Satie, from the article "Claude Debussy", 1922

Three times (in a narrow interval between 1892 and 1896), Erik Satie nominated “himself” for the title and chair of Academician (in the section of the Academy of Fine Arts): respectively, in place of the deceased composers Guiro, Gounod and Thomas. Perhaps this act resembled (somewhat) public suicide. Or a slap in the face to idiots. Or, in the end, unprecedented persistence performance...as they love now. But that's how it was (back then)...
- The age of the amazing (& surprisingly arrogant) applicant was 26 at his first application, and 30 at his last. All three times, Satie’s candidacy was perceived by academics as anecdotal and rejected with virtually no consideration (each time he managed to receive only one “consoling” vote in his favor). :649 Having spoken in the press with angry rebuke and sent Saint-Saens(to the then permanent head of the Academy) an insulting letter, :93 after the third failure, Sati (spit and) stopped knocking on the oak doors of the palace Mazarin. A decade and a half later, he described the story of “his three candidates” in a harshly ironic form in the third article (fragment) from “Memoirs of a Memory Loss Person.” :265

Some may ask: what is this latest invention for? - Shocking?.. - An attempt to attract attention?..

As always, the question is demonstrably stupid. - Of course, only for the sake of conquering the world. And nothing more. Throughout his life, this Great Invalid tried and could not find a place for himself. And every time, it’s a shame to say, I looked for him for some reason in the Center. Trying to understand the center in different ways, and yet each time hitting (with your foot) the same obsessive point.

“True to the traditions of the Christian barons, my ancestors, to the glorification of my race and the honor of my name, I am ready for this fight. I will destroy all the infidels, I will chop them into the smallest pieces with the most pure ax of Charles Martel and the most luminous sword of Saint Louis. Their malice and intrigues are powerless against me, because I am protected by the indestructible armor of the true Faith. And let them, grinding with anger, know that I am invincible, for I act in the name of true virtue, which no mortal can take or give. Great power, who patronizes me, she is such that she breaks all barriers in front of her. I have a name that worries them, and I hide the whole world in my brain. I have the power to command and command, and my purpose is enormous and extraordinary. I have come to my Hour, but this will only be understood a little later, for what is now being prepared is truly enormous. The face of the World will be completely renewed by a terrible shock. It is necessary that all the evildoers simultaneously repent and bow down in deep prayer and martyrdom; otherwise, they will all die as one. And today I warn them about this in high and strict language...":94 - Erik Satie the First, "Appeal"

The results will not be long in coming. Step by step, Satie plunged deeper and deeper into poverty... At first he could not pay for his luxurious attic and from the top floor he had to move to the first, into the modest abode of the Parisian stench. His room was so small that he had every reason to call it a “closet.” But then there was absolutely nothing left to pay for even this room, and Satie denoted his state of chronic bankruptcy in one short word: "Bebe", quite “Bibe”, - after the name of the owner of the closet, attic and the rest of the house, habitat and other delights of this small world. :123

Unfortunately..., very unfortunately, no one in this world (and, perhaps, in all others) is immune from failure, or even complete failure. Including, even He, the Chief Surgeon Himself, is not insured... along with his assistants, servants and secretary. (So ​​that you do not doubt, in this case I meant Him, the Lord God Himself, I will say with emphasis). Perhaps this happened because he did not create a sufficiently reliable insurance company for himself (on the last day of Creation). And from then on, we act as the most obvious artifact of this failure - partly, involuntarily. all of us, vile and sublunary, just as uninsured, as well as He Himself, who suffered (but still endured, by some miracle) a complete fiasco in the matter of retreat?.. Answer more than simple - While in the position of Head Universal Church The Arts of Jesus the Guide, and as a result, being a Companion (or Parsier) of the Lord God, a certain man named Erik Satie (now I will not explain again: Who this is such) suffered the same... or almost the same fiasco with him. It can be said that they Joint-Stock Company Dieu & quietly went bankrupt about three years after its thunderous establishment. In principle, there is nothing unique here: this is a completely normal, traditional lifespan... for a commercial enterprise. Some even cope faster... with God's help. And yet, not everything is so good: although this was the main, but far from the only trouble. For what? No matter what Parsier undertook, failure awaited him everywhere: immediately or gradually. Month after month, year after year, his situation became more and more difficult and desperate. And the more acutely it his felt this despair that he had two... (at least two) aggravating circumstances.

Now I’ll try to tell you in order, if anyone needs it...

Firstly. Yes... - First of all, Sati is too good knew the price. And, perhaps, after these two words we can put a full stop... They do not require explanation. Or they demand, but too much, which I am not ready to give, and you... madam, monsieur, - take... And yet, I involuntarily (imagine) dissatisfied faces in front of me. Demanding, expecting an explanation, satisfaction... or something else, no less pleasant... - If you please. Unfortunately, I must disappoint you. Price is a universal word. You can say almost anything about him... - Anything. Just as the Lord God Himself is, in essence, the universal Nothing (or Everything), so is any “price”... The extreme (& extreme coal) corner of the human, animal, living and inanimate world. Something excellent and fundamental - a pedestal, to say the least. Because All, - yes, and I repeat, - All in the world has its own price, quite specific and, as a rule, not in money. And Mr. Satie (as I already said five lines above) is too good knew this price. He knew... his worth - both to himself and to the people around him; he knew the value - both of things and of his presence among them... In short, the list cannot be continued. In such cases, usually, without even trying to penetrate the mechanisms or phenomena, professionals put a mark or seal on top of them (a formal type of authenticity check, no more complicated than money). “Delusions of grandeur”... “Inferiority complex”... “Inflated level of aspirations.” - Truth be told, I’m not yet completely ready to play an idiot... - sorry, one of you - up to this degrees. So I’ll say it simply. Alas, the people around Sati were too small and insignificant to understand their place. Purpose. Role. Practically - insects, not people... who did not play the necessary role, did not fulfill their assignments and did not occupy the place allocated to them once and for all. - That's what was the root of this problem, as old as everything else. The world created by the Supreme Surgeon fatally did not correspond to the internal picture that Parsier, Eric, created of it. - And here neither curses, nor condemnation, nor renunciation helped. The world, dull and inert, continued to stand its ground... Like a cast-iron cabinet.

This is the “first thing” so as not to stop for too long.

And secondly, Sati in his everyday life did not have the slightest rear... Supplies... Fat, so to speak. - Alone, solemnly alone everywhere. Or almost alone. He had no capital, position, sinecure, rich (or caring) parents, bald patrons and donors, in the end, he did not even have tolerable friends. - Alone, alone everywhere. Almost naked, almost barefoot, almost skinless - one like a finger (with a hammer in his pocket) in the middle of a big bustling city. Urbi & orbi. Sorry. City and peace... Burgher and bourgeois. Ordinary and philistine. Where absolutely no one cared about him. And almost everyone had - It, their own place, which needed to be equipped, expanded and raised in every possible way. Not consistent with any tables of ranks and job schedules... - Be it the Parsier of God or God Himself, these wretched Parisians absolutely did not care about their own everyday insignificance and other people's greatness... - the greatness of a small artist, so enormously huge and not fitting inside its own unique and unlike anything else world.

Borrowing and not giving (money) is possible. And Sati practiced this possibility quite a lot. But, unfortunately, this operation does not provide too long or sustainable well-being, especially in the absence due scope. So to speak, the scale of the individual (our brave people from the Kremlin will easily understand me) ... The support of the (younger) brother Conrad (also Sati, oddly enough)... - alas, these are pitiful crumbs against the background of overwhelming poverty. True, among the memories there was one wonderful amount left, a gorgeous gift from childhood friends (brothers Louis and Fernand Le Monnier) from Honfleur, who unexpectedly received an inheritance..., but it slipped through their fingers in a matter of months, weeks and days. In short, the joint venture “Sati & God inc.°” very quickly cracked and began to crumble before our eyes. And the main one who failed to cope with the responsibilities assigned to him was, of course, the director...

Director of the enterprise, I wanted to say.

“...I ended up believing that the Good God is just one of those eternal bastards that are so many running around me, from side to side. His unobtrusive, pretentious mercy... I see too well how he little by little crumbles and scatters it in different directions... but he does it reluctantly, and only in extreme cases.
And what do you want, my brother and therefore... now I will have to return for two years. Just for two years. What, in essence, is a trifle. It was then, desperately struggling with poverty (and not at all small, as one would like to say), and trying to earn at least some money to live among people, Satie began working part-time in cafe-concerts with various singers: first as an accompanist, and then and - the author of the most real cafe songs, “terrible rubbish” - as he called them with full intent, almost completed: the songs he composed... some of which had great and stable success with the public, allowed somehow stretch out he is still five, six, eight years old... Almost until the time when at least something else appeared on the horizon of life other than “terrible rubbish.” "... - this is your life. This is what I would like to say. But I will refrain. Because it's not the time. And this is not the place... - Same with Sati. Literally as soon as the first small opportunity presented itself, he (with genuine disgust and relief) gave up composing vile, profitable songs and plays - “for the public”: public people and women. However, this happened much later, only in 1909.

Yes, monsieur... There was once such a year, you know... However, it was This long enough.

Few people will be able to remember now... If you understand, of course...