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78:. Both had been responsible for bringing the obscure composer to mainstream public attention in 1911, and Ravel would always consider him a great early influence on his work. But he and Satie had little in common, despite having been acquaintances since Ravel's student days in the early 1890s. The SMI's promotion of young or "undiscovered" musicians was done partly at the expense of Satie's best friend (and Ravel's chief rival)
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302:, Satie replied "I'm afraid so...I can't find any place suitable in Paris. I need something huge, you understand...30 rooms at least...I've got so many ideas to house!" No doubt these ideas occupied his mind as he sat in his squalid one-room apartment, drawing fanciful pictures of châteaux and castles on tiny scraps of paper.
177:
asshole". The commentary depicts the dandy humming a 15th
Century tune as he looks in the mirror, confident with his good looks and chances of seducing an aristocratic lady that night. He puts an arm around his waist in a gesture of triumphant self-satisfaction. "Is it not written thus?" the text inquires.
253:
The text shows the dandy cleaning his luxurious pince-nez, a gift from a beautiful woman; he is disconsolate because he lost its case. With the focus on the pince-nez – which Satie ubiquitously wore and Ravel never did – it would be easy to assume Satie was poking fun at himself. And it would also be
305:
Meanwhile an absurd little prose poem tells us of the dandy's infatuation with his own legs. In the evenings they are dressed in black and dance only the best dances. He kisses them and puts them around his neck, but his legs are resentful because he can't carry them under his arm. The dandy refuses
138:
Musically there is nothing descriptive about the pieces and, apart from the second waltz, no quotes or allusions. Biographer Rollo H. Myers admired the elegance and clarity of Satie's craftsmanship: "Despite the absence of bar lines the stresses, often cunningly displaced, fall naturally into place,
176:
Satie quotes La Bruyère with tongue firmly in cheek, as he was never one to forgo a witticism. In fact he would face his own "degrading punishment" in 1917 when he was convicted of criminal libel for sending insulting postcards to a music critic, calling him (among other things) "a most unmusical
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The owner's first concern when he arrives at his farm should be to greet his household
Penates; then the same day, if he has time, he should walk round his property; he should see what state his crops are in; what work has been done, and what has
131:. Critics have expressed bewilderment over this seemingly random montage of texts that, unlike those of the other humoristic piano suites, appear to have no relation to the music; but nothing is arbitrary here. The literary quotations
214:. It was one of the compositions Ravel featured in his groundbreaking 1911 Satie SMI program, a fact Satie no longer appreciated; he was also irritated by Ravel's claim (intended as a homage) that the waltz-like
414:(Decca, 2003), Håkon Austbø (Brilliant Classics, 2006), Francine Kay (Analekta, 2006), Cristina Ariagno (Brilliant Classics, 2007), Jan Kaspersen (Scandinavian Classics, 2007), Marco Rapetti (Dynamic, 2007),
82:, causing a permanent strain in their relationship that would end bitterly in 1917. Internecine politics had already compelled Satie to quit writing for the SMI's monthly revue, where most of his celebrated
139:
and each piece is impeccably 'cut' and shaped. The harmonies, never thicker than three voices, are original as only Satie's harmonies can be, and characteristically dry..." Some passages are
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93:
The eponymous "Jaded Dandy" of this suite is almost certainly Ravel, whose sartorial refinement was well-known in Paris, and the music was Satie's nose-thumbing answer to Ravel's popular
103:(dedicatee of the first piece in this set) drew closer to Ravel after the war, Satie parted company with him as well. His last public statement about his former benefactor was this 1920
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99:(1910-1911). Burning bridges and "ghosting" friends and colleagues became marked habits of Satie's later years, and in this case there was collateral damage: When his protégé
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Those that harm the reputation or the fortune of others rather than forgo a witticism, deserve degrading punishment. This needed to be said, and I am prepared to say it.
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Satie was sentenced to a fine of 1100 francs and eight days in prison. A wealthy patron paid the fine and the jail term was suspended and ultimately vacated. See
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In
Ancient Greece the word "gymnopédie" stood for "naked youth", and Cicero's quote about boys in the baths leads us to some then-recent history about the
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were featured. Rouart-Lerolle published the score that same year. It remains one of Satie's more popular piano suites and has been frequently recorded.
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More
Satiean irony underscores Cato's dictum on a landowner's responsibilities. It was one of Satie's deadpan jokes, especially in writings such as the
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Pierre-Daniel
Templier, "Erik Satie", MIT Press, 1969, p. 84. Translated from the original French edition published by Rieder, Paris, 1932.
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After Satie's death some 4000 of these little drawings were found packed inside cigar boxes in his room. About 150 survive today. See
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in Paris on
November 19, 1916, during an exhibition of African and modern art sponsored by the Société Lyre et Palette; paintings by
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127:; and his legs. Each piece is prefaced by a classical quotation and the scores are threaded with Satie's ironic paeans to the fop's
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Our ancient custom forbade pubescent youths to show themselves naked in the baths, and modesty thus took deep root in our souls.
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René Chalupt (1885–1957) was an author and journalist associated with Satie through the WWI years. He wrote the lyrics for
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were completed at the rate of one per day, from July 1 to 3, 1914. That summer Satie was distancing himself from the new
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called "the most baroque verbal scaffolding Satie ever erected around his music". A performance lasts around 3 minutes.
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something to Satie and there are personal links, even if they were only used for the composer's private amusement.
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Les valses (3) distinguées du précieux dégoûté (3 distinguished waltzes of a disgusted dandy), for piano
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Younger sister of René Chalupt (see Note 15). A pianist, she died from the
Spanish flu in 1918.
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660:. Their friendship cooled in the early 1920s, due to a petty misunderstanding on Satie's part.
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228:". For the only time in the suite preface and music unite for a common end. The opening of
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Fête donnée par des
Chevaliers Normands en l'honneur d'une jeune demoiselle (XIe siecle)
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43:. The shortest of his humoristic keyboard suites of the 1910s, it features what author
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identifiably recalls (though doesn't actually quote) the limpid soundscapes of the
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537:, no. 214, June 1952, pp. 23–26. Reprinted in Nicolas Southon, Francis Poulenc:
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this was Satie's cryptic way of telling Ravel "You know nothing about me".
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398:(Decca, 1989), Yitkin Seow (Hyperion, 1989), Peter Lawson (EMI, 1989),
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107:: "Ravel refuses the Legion of Honor, but all his music accepts it".
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that would throw people off the scent of his true intentions.
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390:(Le Chant du Monde, 1986), Roland Pöntinen (BIS, 1986),
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Originally published in 1948 by Denis Dobson, London.
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554:No. 1, May 1920. Reprinted in Nigel Wilkins (ed.),
1314:Sonnerie pour réveiller le bon gros Roi des Singes
37:(The Three Distinguished Waltzes of a Jaded Dandy)
1351:Metropolitan Church of Art of Jesus the Conductor
147:can probably stand alone best as absolute music.
33:Les trois valses distinguées du précieux dégoûté
1230:Choses vues à droite et à gauche (sans lunettes)
1086:Les trois valses distinguées du précieux dégoûté
1009:Croquis et agaceries d'un gros bonhomme en bois
763:A Mammal's Notebook: The Writings of Erik Satie
402:(Disques Pierre Verany, 1993), Klára Körmendi (
1300:Petit prélude de 'La Mort de Monsieur Mouche'
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539:Articles and Interviews: Notes from the Heart
90:) sketches were first published (1912–1914).
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1237:Cinq grimaces pour Le songe d'une nuit d'été
1191:Veritables Preludes flasques (pour un chien)
778:Trois valses distinguées du précieux dégoûté
370:(twice, for Angel in 1968 and EMI in 1987),
378:(Denon, 1979), Daniel Varsano (CBS, 1979),
254:on brand for his mystifying wit to plant a
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334:. It was premiered by the composer at the
783:International Music Score Library Project
492:Revue de la Société Musicale Indépendante
216:Les entretiens de la belle et de la bête
123:from three perspectives: His waist; his
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676:, Faber and Faber, London, 1995, p. 72.
558:, Eulenburg Books, London, 1980, p. 84.
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541:, Ashgate Publishing, 2014, pp. 51–53.
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1135:Prélude de la porte héroïque du ciel
362:Notable recordings include those by
1212:Vieux sequins et vieilles cuirasses
188:– for Mademoiselle Linette Chalupt
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1142:Préludes flasques (pour un chien)
1065:Heures séculaires et instantanées
322:Cover of the first edition (1916)
66:According to the manuscripts the
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1184:Trois morceaux en forme de poire
310:, comparing them to "a prison".
298:asked if he was still living in
731:. New York: Dover Publications.
330:was delayed by the outbreak of
39:is a 1914 piano composition by
16:1914 musical work by Erik Satie
1002:Chapitres tournés en tous sens
754:Satie Seen Through His Letters
531:, "Erik Satie's Piano Music",
96:Valses nobles et sentimentales
74:(SMI) and one of its leaders,
1:
744:. Cambridge University Press.
72:Société musicale indépendante
1469:20th-century classical music
1357:The Minimalism of Erik Satie
903:Trois petites pièces montées
422:(Brilliant Classics, 2016),
374:(Vox, 1968, reissued 1990),
328:Les trois valses distinguées
1474:Compositions for solo piano
765:. London: Atlas Publishing.
519:, pp. 47, 182–183, note 16.
158:– for Alexis Roland-Manuel
119:is a musical portrait of a
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1464:Compositions by Erik Satie
1371:Musée-Placard d'Erik Satie
1198:Verset laïque et somptueux
1170:Sonneries de la Rose+Croix
756:. New York: Marion Boyars.
711:
556:The Writings of Erik Satie
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1177:Sports et divertissements
1107:Petite ouverture à danser
1023:Descriptions automatiques
825:
394:(Virgin Classics, 1988),
761:Volta, Ornella (2014) .
727:Myers, Rollo H. (1968).
418:(Harmonia Mundi, 2009),
1163:Sonatine bureaucratique
995:Avant-dernières pensées
942:Quatre petites mélodies
921:Bonjour Biqui, Bonjour!
450:to Yitkin Seow's album
292:Mémoires d'un amnésique
224:(1910) was "the fourth
84:Mémoires d'un amnésique
428:Steffen Schleiermacher
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88:Memoirs of an Amnesiac
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388:Jean-Pierre Armengaud
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1251:Geneviève de Brabant
988:Aperçus désagréables
963:Trois poèmes d'amour
896:La belle excentrique
828:List of compositions
101:Alexis Roland-Manuel
1293:Les Pantins dansent
1279:Le Fils des étoiles
1272:La statue retrouvée
1265:La Diva de l'Empire
710:Score available at
689:, p. 190, note 101.
595:, pp. 131–140.
412:Jean-Yves Thibaudet
269:– for René Chalupt
1286:Le piège de Méduse
1244:En habit de cheval
1222:Other compositions
1128:Prélude d'Eginhard
1030:Embryons desséchés
742:Satie the Composer
628:John Keillor.
496:Jules Écorcheville
452:Satie: Piano Music
384:Philippe Entremont
326:The appearance of
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145:valses distinguées
117:valses distinguées
68:valses distinguées
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29:
1479:1914 compositions
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1079:Le poisson rêveur
935:Messe des pauvres
570:, pp. 82–85.
534:La Revue musicale
416:Alexandre Tharaud
410:(Olympia, 2001),
382:(Forlane, 1980),
364:Jean-Joël Barbier
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550:Erik Satie,
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494:, edited by
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467:Orledge 1990
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372:Frank Glazer
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1342:(1924 film)
1121:Poudre d'or
1058:Gymnopédies
1051:Gnossiennes
973:Piano music
913:Vocal music
396:Pascal Rogé
332:World War I
256:red herring
234:Gymnopédies
230:Son binocle
211:Gymnopédies
156:(His waist)
1458:Categories
1258:Je te veux
1156:Sarabandes
1037:Enfantines
819:Erik Satie
729:Erik Satie
687:Volta 2014
617:Volta 2014
593:Volta 1989
580:Myers 1968
568:Myers 1968
517:Volta 2014
479:Volta 1989
434:References
358:Recordings
348:Modigliani
267:(His legs)
226:Gymnopédie
167:La Bruyère
129:narcissism
51:Background
41:Erik Satie
26:Erik Satie
1364:Monotones
1339:Entr'acte
1332:A Romance
1205:Vexations
1093:Nocturnes
218:from his
125:pince-nez
1408:Category
1382:The Gift
1367:(ballet)
752:(1989).
740:(1990).
634:AllMusic
454:, 1989,
314:Premiere
981:Allegro
949:Socrate
928:Ludions
864:Relâche
850:Mercure
835:Ballets
721:Sources
657:Socrate
352:Kisling
344:Picasso
340:Matisse
308:gaiters
306:to buy
300:Arcueil
141:bitonal
62:in 1910
1434:Portal
1100:Ogives
857:Parade
552:Le Coq
197:Cicero
1420:Audio
882:Danse
712:IMSLP
448:notes
133:meant
121:dandy
490:The
350:and
279:Cato
275:not.
115:The
632:at
105:mot
1460::
672:,
609:^
346:,
342:,
281:,
277:–
236:–
199:,
195:–
169:,
165:–
1436::
811:e
804:t
797:v
701:.
619:.
582:.
86:(
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