632:". Nearly 50 years later Ornella Volta discovered the intact libretto in Count Beaumont's archives, and eventually secured its publication. If Beaumont had the playscript while he was planning the festival, it is not known why he chose to suppress it. Its absence created problems in forming some sort of cohesive narrative out of the free-standing musical numbers, so Lucien Daudet was brought in to write three short explanatory poems to be read before each act. At the premiere this was done by actor Edouard Ferras.
19:
670:(1675). These verses stick to the traditional legend with its lachrymose denouement (even the doe dies from heartbreak), completely at odds with the authors' intentions and the lyrics of the arias. In later editions Universal gave Contamine de Latour sole credit for the texts, leading commentators to assume he also wrote the Canticle and Daudet's poems. The Canticle itself is now almost always spoken before every performance.
1691:
562:
142:
1703:
194:
636:
616:. Though sometimes hazy in facts and chronology, these pieces have proved a valuable resource for Satie researchers with their vivid portrayals of his early adulthood. For all his prolific efforts as an author and journalist, Contamine de Latour's claim to fame rests on his personal and professional connection to Satie.
90:
are undated but provisionally assigned to the year 1900, since
Contamine de Latour, who made his living as a journalist, was signing his literary efforts as "Lord Cheminot" during this period. Satie always worked closely with his librettists and probably chose the subject, not least because his close
623:
s premiere was the complete disregard for
Contamine de Latour's contributions. Apart from the sung verses, for which he was uncredited, none of his play was used; his name did not appear in the show's program or publicity material. Contemporary press releases claimed, "Having written it for puppets,
569:
Enter Count
Etienne de Beaumont (1883-1956), Satie's most devoted patron of the 1920s. In early 1926 he began organizing a one-day "Satie Festival" to honor the composer's memory and raise funds for a monument over his unmarked grave in Arcueil. For the finale it was Beaumont's idea to stage the
184:
Contamine de Latour's play parodies the noblewoman's misfortunes with insouciant humor and in-jokes aimed at a more sophisticated
Parisian audience. Most of the tale's traditional elements are cast aside: Geneviève is childless, she does not encounter a doe, and does not die at the moment of her
222:
Satie provided less than 10 minutes worth of music for the hour-long play, a score made even more compact by his recycling of themes. Numbers 4, 7, 8, 9, 11 and 13 all reuse material from the first three numbers, with slight variations (except for the straight repeat of No. 9). Versions of the
1330:
176:
Golo fails to seduce her, he takes his revenge by accusing her of adultery. Sifroy condemns Geneviève and their infant son, but the executioners cannot perform the task and leave them behind in a forest. They find shelter in a cave, where they are nourished and protected by a kindly
609:
Contamine de Latour was still living but too ill to attend the concert; he died a week later at 59, the same age as Satie. In August 1925 he had paid a personal tribute with three articles entitled "My Close Friend Erik Satie: Memories of Youth", published in the Paris daily
912:
Paul
Collaer,"Catalogue de l'oeuvre d'Erik Satie", in Arts & Lettres d'Aujourd'hui, IIe année, no. 11, Brussels, March 16, 1924, pp. 255-257. Collaer was a Belgian musicologist and one of the very few music critics whose opinions Satie
494:
It appears that by March 1901 Satie had grown unsure of this essentially complete opus. That month he borrowed 16 bars from Geneviève's second aria (No. 14) for another
Contamine de Latour collaboration that came to naught, the piano piece
181:. Six years later, while hunting the doe, Sifroy discovers the hiding place of his wife and child. Geneviève manages to prove her innocence and is restored to honor, but soon dies of her suffering. Golo is then punished for his villainy.
659:
in honor of Geneviève. Many of these popular prints had been distributed during the 19th
Century, to be sung to the tune of "Due devant nous tout s'abaisse et tout tremble" ("Before us everything sinks and everything trembles") from
706:
Mariella Devia (soprano), Davide
Bassino (baritone), Corallina De Maria, Fausta Truffa, Mauro Ginestrone (chorus), Andrea Tedesco (piano). Italian recording with text translated by Ornella Volta. New Tone Records,
587:, and commissioned the same artist, Spanish painter Manuel Angelès Ortiz (1895-1984), to design the sets and marionettes. Désormière was named the event's music director and set about orchestrating the score.
506:
697:
Rénée
Bertemes-Roeder (soprano), Alphonse Kontz (baritone), Orchestre Symphonique De Radio-Tele Luxembourg and Chorale "Uelzecht" d'Esch-sur-Alzette, conducted by Roland Douatte. Musidisc-Europe, 1970.
1372:
1523:
602:; the marionettes were operated by Les Waltons, a famed group of French puppeteers. According to Volta, "This performance was such a great success that any other means of presenting
673:
Ironically, one of
Contamine de Latour's jokes in the play was having Count Sifroy order thousands of Épinal prints with Geneviève's image "for the delight of future generations".
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of Vienna published the piano and orchestral versions in 1930. Not having the original libretto at their disposal, the editors prefaced the scores with an old French
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Mady Mesplé (soprano), Jean-Christophe Benoit (baritone), Orchestre de Paris and Choeur National de L'Opéra de Paris, conducted by Pierre Dervaux. Arabesque, 1974.
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redemption. Instead of being executed Golo is sent into exile, where he prospers. All ends happily as Geneviève is brought home to the rejoicing of the crowd.
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phase - "music on its knees" as he later called it - to a budding interest in popular influences. The score looks both ways, alternating between
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became unthinkable - to the point that this work of Erik Satie has been classified in all catalogues as an 'opera for marionettes' ever since".
688:, in an Italian translation by Ornella Volta. Universal published the French text as addenda to the piano and orchestral scores (1986, 1989).
59:
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Ornella Volta, "Give a Dog a Bone: Some investigations into Erik Satie." Originally published as "Le rideau se leve sur un os" in the
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was composed on eight loose sheets torn out of a different book. It was also determined that the story of the bus related only to
1657:
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536:, previously off-limits to visitors. Milhaud recalled in his memoirs, "Behind the piano, we found an exercise book containing
517:, who compiled the first two catalogues of his compositions (1916, 1924). Volta speculated that the shock of seeing Debussy's
219:
in a brightly colored style of great charm and naiveté. It is considered amongst his most characteristic works of the period.
74:
retains Satie's music but the narrative is a truncated hodgepodge of Latour's sung arias and spoken interpolations by others.
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capped off the Satie Festival at the Théâtre des Champs-Élysées. The roles of Geneviève and Golo were sung by mezzo-soprano
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125:(1859, revised 1867). In this vein the satirical tone of the Satie-"Lord Cheminot" piece suggests it was created for the
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44:
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fit most of the puzzle pieces together in her 1987 article "Give a Dog a Bone: Some investigations into Erik Satie."
725:
https://sites.google.com/site/rogerdesormiere18981963/concerts-representations/annees-20?form=MY01SV&OCID=MY01SV
86:
youth, the writer Contamine de Latour, for several projects that went unfinished or unpublished. The manuscripts of
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1001:, August 3, 5, 6, 1925. (The author omitted his first initial in the bylines). Texts reprinted in Robert Orledge,
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752:, Dover Publications, Inc., NY, 1968, pp. 47, 100. Originally published in 1948 by Denis Dobson Ltd., London.
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739:, MIT Press, 1969, p. 79. Translated from the original French edition published by Rieder, Paris, 1932.
54:
Neither author left any indication of how the work should be staged. It was premiered as an "opera for
1668:
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903:, Paris, Impr. H. Roberge, 1916, p. 10-11. Roland-Manuel was Satie's first important musical protégé.
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was composed when Satie was transitioning from the stark, semi-religious experimentalism of his
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51:. Unproduced at the time, its existence was not discovered until after Satie's death in 1925.
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which Satie thought he had lost on a bus". The extant manuscripts tell a different story:
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Fête donnée par des Chevaliers Normands en l'honneur d'une jeune demoiselle (XIe siecle)
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was first performed in 1983 by the puppet theater troupe Monti-Colla of Milan at
475:. A narrator was added for the first public performance and has become standard.
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1017:, May 13 and 19, 1926. See Roger Désormière website (op. cit. and linked above).
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shows, and her tear-jerking saga of wronged virtue had already been spoofed by
47:(writing under the pseudonym "Lord Cheminot"), based on the medieval legend of
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935:, translated by Donald Evans, Calder & Boyers, London, 1967, pp. 148-151.
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70:, who arranged the original piano score for orchestra. As performed today,
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Jane Manning (soprano), Bojan Gorišek (piano), Audiophile Classics, 1995.
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On May 17, 1926, the 60th anniversary of Satie's birth, the premiere of
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http://satie-point.net/text-VOLTA%20-%20Give%20a%20dog%20a%20bone.pdf
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P. Contamine de Latour, "Erik Satie intime: souvenirs de jeunesse",
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Between 1899 and 1901 Satie reunited with the boon companion of his
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Anne Nguyen (translator), "World Encyclopedia of Puppetry Arts" at
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765:, Vol. 8, No. 23, 1987. English translation by Todd Niquette. At
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https://data.bnf.fr/fr/13930906/erik_satie_genevieve_de_brabant/
624:
Erik Satie had not concerned himself with the text", and billed
430:
271:("We are a tight crowd / That you always find in the First Act")
178:
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and never spoke of it to anyone, including his young admirers
487:
is sown with mystery and confusion that still haunt the work.
406:, two unspecified male and female vocalists, and mixed unison
1074:
957:, but this project did not materialize. See Caroline Potter,
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led one Satie biographer to liken its effect to that of the
164:. Geneviève was said to be the daughter of the Duke of
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1601:Sonnerie pour réveiller le bon gros Roi des Singes
1005:, Faber and Faber, London, 1995, pp. 15-17, 24-36.
953:The monument was to be sculpted by Satie's friend
558:, which Satie had copyrighted with SACEM in 1905.
133:cabarets, a form of entertainment both knew well.
1638:Metropolitan Church of Art of Jesus the Conductor
532:was among the first to enter his squalid room in
156:during the 12th Century and from there spread to
1517:Choses vues à droite et à gauche (sans lunettes)
1373:Les trois valses distinguées du précieux dégoûté
811:The Bibliothèque nationale de France classifies
723:See the Roger Désormière (1898-1963) website at
43:for a three-act comedy in verse and prose by
1296:Croquis et agaceries d'un gros bonhomme en bois
788:https://wepa.unima.org/en/genevieve-de-brabant/
22:Count Sifroy begs forgiveness from the wronged
676:The restored Satie-"Lord Cheminot" version of
381:("Ah! Heaven rewards my virtue, my constancy")
227:reappear as the entr'actes, and the recurring
104:Geneviève was a traditional heroine of French
1587:Petit prélude de 'La Mort de Monsieur Mouche'
1090:
959:Erik Satie: A Parisian Composer and his World
302:("I am innocent of a crime I did not commit")
8:
1524:Cinq grimaces pour Le songe d'une nuit d'été
1478:Veritables Preludes flasques (pour un chien)
802:, Cambridge University Press, 1990, p. 209.
763:Revue International de la Musique Française
35:is a theatre piece composed around 1900 by
1097:
1083:
1075:
550:was found in a single sketchbook, while
413:Désormière's 1926 arrangement calls for
192:
716:
647:The text issues were compounded after
505:). He did not register the music with
815:as a shadow play. See BnF website at
574:as a lavish puppet show. He had seen
521:in April 1902 caused Satie to shelve
402:Satie originally scored the work for
7:
1422:Prélude de la porte héroïque du ciel
988:On May 24, 1926. See Volta, op. cit.
247:The musical numbers are as follows:
1499:Vieux sequins et vieilles cuirasses
479:Discovery, premiere, interpolations
425:, and an orchestra consisting of 1
66:on May 17, 1926. The conductor was
961:, The Boydell Press, 2016, p. 242.
14:
1429:Préludes flasques (pour un chien)
1352:Heures séculaires et instantanées
1701:
1690:
1689:
1471:Trois morceaux en forme de poire
854:Pierre-Daniel Templier, op. cit.
1070:https://youtube.com/y7zvHy6dsTE
1061:https://youtube.com/tvI9NBe991U
583:(1923) at the private salon of
1289:Chapitres tournés en tous sens
1:
172:. When her husband's trusted
152:The legend originated in the
95:had just completed his opera
26:. Painting by Wilhelm Walther
1734:20th-century classical music
1644:The Minimalism of Erik Satie
1190:Trois petites pièces montées
585:Princesse Edmond de Polignac
459:, percussion for 2 players (
370:13. Entrance of the Soldiers
356:11. Entrance of the Soldiers
168:and wife of Count Sifroy of
101:on a similar medieval tale.
39:. The score was intended as
377:14. Geneviève's Little Song
316:7. Entrance of the Soldiers
277:3. Entrance of the Soldiers
1755:
1729:Compositions by Erik Satie
1658:Musée-Placard d'Erik Satie
1485:Verset laïque et somptueux
1457:Sonneries de la Rose+Croix
890:Orledge, op. cit., p. 285.
845:Orledge, op. cit., p. 282.
483:The subsequent history of
349:("No, Sifroy is not dead")
60:Théâtre des Champs-Élysées
1684:
1464:Sports et divertissements
1394:Petite ouverture à danser
1310:Descriptions automatiques
1112:
863:Orledge, op. cit, p. 284.
580:El retablo de maese Pedro
565:Count Etienne de Beaumont
241:Pictures at an Exhibition
146:J. P. Contamine de Latour
45:J. P. Contamine de Latour
836:Myers, op. cit., p. 100.
735:Pierre-Daniel Templier,
229:Entrance of the Soldiers
1450:Sonatine bureaucratique
1282:Avant-dernières pensées
1229:Quatre petites mélodies
1208:Bonjour Biqui, Bonjour!
655:featuring an anonymous
619:The strangest twist in
899:Alexis Roland-Manuel,
644:
566:
397:("The case went well")
201:
149:
27:
662:Jean-Baptiste Lully's
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564:
196:
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21:
1538:Geneviève de Brabant
1275:Aperçus désagréables
1250:Trois poèmes d'amour
1183:La belle excentrique
1115:List of compositions
1066:Geneviève de Brabant
1057:Geneviève de Brabant
712:Notes and references
678:Geneviève de Brabant
628:as set to "poems by
604:Geneviève de Brabant
544:Geneviève de Brabant
528:After Satie's death
519:Pelléas et Mélisande
511:Alexis Roland-Manuel
485:Geneviève de Brabant
363:12. Procession/March
309:6. Sounding the Horn
205:Geneviève de Brabant
122:Geneviève de Brabant
98:Pelléas et Mélisande
88:Geneviève de Brabant
72:Geneviève de Brabant
49:Genevieve of Brabant
32:Geneviève de Brabant
1580:Les Pantins dansent
1566:Le Fils des étoiles
1559:La statue retrouvée
1552:La Diva de l'Empire
1068:(2/2) on YouTube -
1059:(1/2) on YouTube -
955:Constantin Brâncuși
933:Notes Without Music
298:5. Geneviève's Song
1573:Le piège de Méduse
1531:En habit de cheval
1509:Other compositions
1415:Prélude d'Eginhard
1317:Embryons desséchés
800:Satie the Composer
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567:
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28:
1739:1900 compositions
1716:
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1366:Le poisson rêveur
1222:Messe des pauvres
649:Universal Edition
576:Manuel de Falla's
498:Le poisson rêveur
393:15. Choral Finale
340:(repeat of No. 2)
114:Jacques Offenbach
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1672:(1921 sculpture)
1663:Surrealist music
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664:tragic opera
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630:Lucien Daudet
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598:and baritone
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386:soprano solo
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330:8. Entr'acte
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291:4. Entr'acte
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127:shadow plays
120:
118:Opéra bouffe
103:
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31:
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29:
15:
1629:(1924 film)
1408:Poudre d'or
1345:Gymnopédies
1338:Gnossiennes
1260:Piano music
1200:Vocal music
209:Rosicrucian
56:marionettes
1723:Categories
1545:Je te veux
1443:Sarabandes
1324:Enfantines
1106:Erik Satie
913:respected.
901:Erik Satie
750:Erik Satie
737:Erik Satie
692:Recordings
621:Geneviève'
525:for good.
461:snare drum
253:1. Prelude
198:Erik Satie
131:Montmartre
78:Background
37:Erik Satie
1651:Monotones
1626:Entr'acte
1619:A Romance
1492:Vexations
1380:Nocturnes
813:Geneviève
682:La Fenice
626:Geneviève
592:Geneviève
572:Geneviève
552:Geneviève
523:Geneviève
469:bass drum
435:clarinets
337:9. Chorus
267:2. Chorus
233:Promenade
213:plainsong
174:majordomo
58:" at the
24:Geneviève
1695:Category
1669:The Gift
1654:(ballet)
657:Canticle
457:trombone
440:♭
419:baritone
223:opening
217:operetta
84:Bohemian
1268:Allegro
1236:Socrate
1215:Ludions
1151:Relâche
1137:Mercure
1122:Ballets
1015:Comœdia
999:Comœdia
613:Comœdia
534:Arcueil
473:strings
471:), and
465:cymbals
445:bassoon
415:soprano
225:Prelude
200:in 1898
166:Brabant
158:Germany
148:in 1901
116:in his
91:friend
1387:Ogives
1144:Parade
686:Venice
453:cornet
423:chorus
408:chorus
170:Treves
162:France
1707:Audio
1169:Danse
707:1996.
507:SACEM
449:horns
443:, 1
427:flute
404:piano
323:ACT 3
284:ACT 2
260:ACT 1
189:Music
64:Paris
667:Atys
542:and
513:and
455:, 1
451:, 1
447:, 2
437:in B
433:, 2
431:oboe
429:, 1
417:and
215:and
160:and
108:and
684:in
235:in
179:doe
129:of
62:in
1725::
467:,
463:,
410:.
383:,
244:.
1098:e
1091:t
1084:v
501:(
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