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#erik satie
gacougnol · 8 months
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Erik Satie at a table in the park of the Moulin de la Galette. Photograph by Santiago Rusiñol, 1892
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jareckiworld · 7 months
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Salvador Dalí (1904-1989) — Cubist Figure. Table in Front of the Sea. Homage to Erik Satie [oil on canvas, 1926]
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lascitasdelashoras · 3 months
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Erik Satie por Man Ray, 1922
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nobrashfestivity · 4 months
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MARCEL-LOUIS BAUGNIET & AKAROVA Gymnopédie N°1 (Erik Satie) Circa 1925
Costume created and created in 1932 by Akarova starting from a painted scene in 1925 by Marcel-Louis Baugniet The dance was performed between 1932-1948
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scherzokinn · 5 months
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blackswaneuroparedux · 10 months
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I am by far your superior, but my notorious modesty prevents me from saying so.
- Erik Satie
To his contemporaries and peers Erik Satie was something of an enigma. Just a few of his quirks included claiming he only ate white foods, carrying a hammer wherever he went, founding his own religion, eating 150 oysters in one sitting, and writing a piece with the instruction to repeat 840 times! As a composer, Satie paved the way for the avant-garde in music and became a very influential figure in the classical music of the 20th century whose works still sound fresh today.
Born into a poor and difficult childhood in the Normandy harbour town of Honfleur on 17 May 1866, Satie would always be an outsider. The Paris Conservatoire to which he was enrolled by his stepmother, herself a pianist, became for him “a sort of local penitentiary” during his teens; he left with no qualifications and a reputation for being lazy. He signed up for military service in 1886 and dropped out within the same year. Immersing himself in the bohemian life of Montmartre, he became linked with the popular music scene and eked out a living as an accompanist, playing at the Chat Noir cabaret. Always on the periphery, and forever out of money, he later downgraded from the cramped room in which he lived to the less fashionable Parisian suburb of Arcueil, where he holed up in isolation and squalor – no visitors set foot in the room during the near-30 years he lived there.
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Much has been made of the eccentricities of this flâneur, who was always seen in a grey velvet suit, and yet underlying Satie’s music is his serious desire to create something new. You can hear it in his popular piano pieces: the haunting scales and rhythms of the Trois Gnossiennes written under the spell of Romanian folk music, and the meditative world of Gymnopédies, where, as in a cubist painting, motifs are “seen” from all sides. At a time when French composers were looking to escape the shadows of Wagner’s epic Romanticism, the French composer’s stripped-back mechanical sound, inspired by the humble barrel organ, offered a radically simple approach.
Satie preferred originality to the mundane. The composer of the famous Gymnopedies, could never be accused of having an uninteresting personality. For one, his outgoing fashion statements always caused a stir. During his Montmartre years, he had 12 identical velvet corduroy suits hanging in his wardrobe, which earned him the nickname ‘The Velvet Gentleman’, and in his socialist years, he donned a bowler hat and carried an umbrella.
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Debussy helped to draw public attention to Satie, orchestrating two of his Gymnopédies, yet Satie had to wait until much later in life to attain celebrity status. While still earning a living writing salon dances and popular cabaret songs, and after suffering a creative crisis, he enrolled himself at the Schola Cantorum in Paris at the age of 39. Rather than finding him validation, his studies seem to have fuelled his hatred of convention - it’s with more than a hint of bitterness that he claims to put “everything I know about Boredom” into the Bach chorale of his masterful Sports et Divertissements piano pieces. But notoriety led to a succès de scandale and when it came it came with a bang in Parade, his surreal, one-act circus ballet for Diaghilev. Into the orchestral score, which featured jazz and cabaret tunes, were thrown typewriters, sirens and a pistol - just the kind of noises a wartime audience would normally pay not to hear. With its rigid cubist costumes by Picasso - which restricted Massine’s choreography - and a promotional push from Cocteau, it was provocative enough to secure Satie’s position at the vanguard of modernism.
Yet Satie was continually frustrated in his attempts to be accepted as an artist in high society France - his failure to establish himself at the prestigious Académie des Beaux-Arts, to which Debussy had won a scholarship, only compounded his resentment. Was this treatment by the cultural elite fair? Certainly his determination to antagonise his audience in his late ballets did little to endear him to the critics, but the fierce criticism he received in Paris was also a sign of things to come. Pierre Boulez would later poke fun at Satie’s lack of craft, while composer Jean Barraqué - another proponent of 12-tone music - would deride Satie as “an accomplished musical illiterate … who found that his friendship with Debussy was an unhoped-for opportunity to loiter in the corridors of history”.
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Satie is perhaps, to this day, the most audacious and original composer when it comes to naming his works e.g. Gnossiennes and Gymnopédies. With Satie you will not see symphonies, concertos or opus numbers. Satie possessed a wicked sense of humour and his mockery, both of himself and others, became an inspiration for many of his irony-tinged works. His Sonatine bureaucratique is a spoof of Muzio Clementi’s Sonatina Op. 36 and contained many witticisms in the score. For example, he writes Vivache (vache being French for cow) instead of the original Italian tempo marking Vivace.
Whether in the collage-like miniature piano parodies he wrote during the World War I, his creation of a theatre format that has endured over the years, or in his collaboration with Jean Cocteau, Pablo Picasso y Sergei Diaghilev, there is a liveliness of imagination and a hunger for innovation that made Erik Satie In the torch bearer of the vanguard in his work. Satie would influence so many so strongly that years later some of his closest friends became radical artists, for example. ManRay, the sculptor Constantin Brâncusi, and Marcel Duchamp, or a much younger group of Paris-based composers like Les Six.
Satie, a known drinker of absinthe, and apparently every other alcohol available, died of cirrhosis at the age of 59 in Arcueil, France in July 1925. But his compositions, especially those deceptively simple-sounding solo piano works, find life today through recitals, concerts, and great movie scores. Although he died in poverty with little success to his name, today Erik Satie is acknowledged as a founder of 20th-century modernism, who changed the face of music.
Personally I do find Satie's music enriching, But I also find that his calculated wackiness is culturally apt. Pieces like ‘3 Pieces in the Shape of a Pear’, ‘Flabby Preludes for a Dog’ and ‘Desiccated Embryos’ rewardingly deflate Wagnerism's excesses in a characteristically French way.
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the-cricket-chirps · 4 months
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Man Ray
Poire d'Erik Saite
Aquatint
1969
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tinyicis · 4 months
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Look. Look it's Satie with cat ears
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leithianxx · 2 years
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Gnossienne No. 5
Gnossienne No. 5, composed by Erik Satie in 1889, is Ed and Stede’s theme. It’s played at each of their important moments throughout Our Flag Means Death. When you listen to the piece in full, it’s like someone keeps starting the piece and messing up a little so they start all over again, and each scene experiments with a different instrument during a different segment of the piece, like flute or harpsichord. It remains tentative but each time it’s a little more hopeful, a little more determined, a little more wistful. Ed and Stede are revealing little bits of themselves to each other, checking in and reaching out towards each other’s vulnerabilities and offering safety, exploring what they mean to each other. But the base notes, their connection and chemistry, always stay a steady anchor. The whole piece is a bit sloppy and giddy and all over the place yet always comes back to the same notes and the same progression. They can’t quite place their finger on what's happening so the music can’t resolve in a satisfying way, but each time it becomes clearer and more complete until the end of the song which is played during the scene where they kiss and they’ve finally figured out how to play all the notes and it’s beautiful. It’s like this culmination of everything the performer has been trying to communicate and finally gets right- but it’s still cut a bit short.
I've talked before about how often the show is in conversation with creative works that signal shifts towards modernism, which is apt for a show that famously and hilariously plays with time periods and shifting 1717 up with anachronistic modernisms. It's true in its references to literature and painting, and it's true of music as well. Satie was experimental for his time, taking inspiration from impressionist painters like Monet who endeavoured to create reflections of the ordinary and the real that were non-static and moving, in both senses of the word. He's sometimes described as the spiritual father of minimalism, whose compositions @unadulteratedkr calls "subversive in its relative simplicity." While giving me some context for Satie, she told me that while his notations indicate that performers should leave room for poetry in their expressions of the music, he insisted the tempo remain modéré, meant at the tempo of the human heart. The bohemian was a truly hopeless romantic who proposed to the painter Suzanne Valadon on their very first night together. He wrote her songs and she painted his portraits, and when she left him after 5 months, he was so devastated that he wrote of being left with “nothing but an icy loneliness that fills the head with emptiness and the heart with sadness.” She was supposedly his only ever known love affair.
Gnossienne No. 5 dovetails OFMD's minimalist approach to romance, where the sweeping and swelling feeling of falling in love is left to speak for itself in its understated, clumsy simplicity. The piece is experimental in the way that the show is experimental, stripping the queer love story down to its rawest most basic components without being weighed down by oppressive forces or grand expectations. It allows for comedy and lightheartedness and the experimental nature of becoming friends to lovers. It’s their song through and through. I’m sure we can expect it to play at their wedding, and we will all dutifully cry our eyes out.
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fashionlandscapeblog · 5 months
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Costume and set designed by Pablo Picasso for the Russian ballet "Parade" by Sergei Diaghilev, based on a theme by Jean Cocteau with music written by Erik Satie. The first performance of Parade was at Théâtre du Châtelet in Paris on May 18, 1917.
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actualhumantrashcan · 6 months
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as a classical musician let me tell y’all that Erik Satie would be delighted to know that one of his compositions is the love theme for some kooky gay pirates, that man was a certified weirdo who loved silly, avant-garde artistic things and I think they chose Ed and Stede’s theme so perfectly
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sivavakkiyar · 9 months
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interesting note from wiki
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Entr'acte (René Clair, 1924)
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lascitasdelashoras · 3 months
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Erik Satie
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icariebzh · 1 month
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youtube
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fromthedust · 4 months
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DANCE SATIE: TROIS GYMNOPÉDIES
carved and acid-washed Indiana limestone, Etowah Pink Georgia marble, iridescent glass, acrylic wash, shoe polish 12¼"x 16¼"x 1½"
An homage to French pianist and composer Erik Satie (1886-1925). Trois Gymnopédies (three pieces for solo piano) were written in 1888. The word gymnopédies was derived from a festival of ancient Sparta at which young men danced and competed against each other unencumbered by clothing, and the name was a droll reference to Satie’s gentle, dreamy, and far-from-strenuous piano exercises. (Satie is known to have introduced himself as a gymnopédiste.)
Satie’s music represents the first definite break with 19th-century French Romanticism; it also stands in opposition to the works of composer Claude Debussy. Satie's music is closely allied to the Dada and Surrealist movements in art, it refuses to become involved with grandiose sentiment or transcendent significance, disregards traditional forms and tonal structures, and characteristically takes the form of parody, with flippant titles and directions to the player such as “with much illness” or “light as an egg”.
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