A charlatan or a genius? “A precursor both brilliant and clumsy.” Maurice Ravel
"Less is more, and too much is always less." Erik Satie
Satie was the ideological, aesthetic mentor of a new generation of composers—Les Six—who gained prominence after WW1 and who epitomized the dry ironic wit of the intellectual climate of the times.
Represents a complete break with 19th-century romanticism, a violent reaction against Wagnerism, excessive emotionalism, and overwrought large forms.
Entered the Paris Conservatoire at 13. School records say “gifted, exceptionally lazy, often absent, incapable of sight reading.”
1880's at Le CHAT NOIR. The Cabaret Artistique was a revelation for Satie: its ironic tone, eccentric humor, revolutionary and intellectual debates, and bohemian lifestyle fed Satie’s predisposition in this realm.
Erik Satie at the harmonium,huile sur toile de Santiago Rusiñol, 1890s.
Erik Satie dans son studio,huile sur toile de Santiago Rusiñol, 1891.
Erik Satie, portrait by Ramon Casas, 1891.
Claude Debussy and Erik Satie, "Mr. Precursor" as Debussy called him.
Erik Satie in a "Guinguette" around 1895,wearing one of his several identical grey velvet suit. Photo using an old photographic process on cyanotype paper.
Erik Satie by René Magritte.
La Poire d'Erik Satie by Man Ray, 1969.
Le Chat Noir founded in 1881, at 84 Boulevard Rochechouart, was the first cabaret artistique to achieve fame.
The “artistic” tone and literary penchant of this establishment was a reflection of its owner Rodolphe Salis. It attracted intellectuals, artists, wealthy professionals, a place where one would bump into Emile Zola, Victor Hugo, Verlaine, Mallarmé, de Maupassant,
where Satie met Debussy and Verlaine.
Ogives(1886),Sarabandes(1887), Gymnopédies(1888),Gnossiennes(1889):static blocks of chords, simple parallel harmonies, certain cool detachment. Beauty of the sound for its own sake, an archaic, somewhat mystical character. Startlingly new harmonies. Radical break with 19th century music. A precursor to minimalism (e.g. Vexations "to be played 840 times").
With limited musical technique and an emphasis on melodic simplicity, Satie wrote pieces remembered mostly for their goofy, ironic titles.
One commentator wrote: "His titles ordinarily seem to have nothing to do with the music, which is frequently exquisite and never programmatic.True ironist that he was, he conceals his diffidence under these fantastical titles. He ridicules his own emotion at just the point at which the auditor is about to discover it. He also protects himself against the pedants and the philistines by raising these titular and descriptive barriers."
He also added crazy bizarre commentaries on the score for the sole benefit of theplayer, in no way to be read out loud as in“put your hands in your pocket;” "to be played like a nightingale with a toothache;” "on the tip of the tongue;" "seek within yourself..."etc. Satie forbade the pianist from reading these out loud and claimed"They are the pianist's reward and responsibility!"
Dance at Bougival (Suzanne Valadon) byPierre-Auguste Renoir, 1883.
Suzanne Valadon (1865-1938) was the "muse" of Montmartre in the 1880's and 1890's, who modeled for the great painters of the time, a pioneer artist herself, self-taught, the first woman to be admitted to the Société Nationale des Beaux-Arts and a close friend of Degas. Her studio and home rue de Cortot are now the Musée de Montmartre, where you find yourself steeped in the world of La Belle Epoque. She was the mother of painter Maurice Utrillo.
in 1893 Erik Satie had a short-lived passionate love affair with painter Suzanne Valadon. He wrote of her: "her whole being, lovely eyes, gentle hands, tiny feet."
Portraits of Jean Cocteau and Erik Satie by Picasso, 1916 & 1920.
Erik Satie self-portrait sketch with his quote, "I came into the world very young, in an age that was very old." 1913.
Satie's self-portrait from a letter to Jean Cocteau, 31 August 1917.