Erik Satie: Part One - Satie's Musical and Personal Logic and Satie As Poet, Playwright and Composer Transcript
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Musico-Poetic Form in Satie's "Humoristic" Piano Suites (1913-14) Alan M
Document généré le 30 sept. 2021 08:51 Canadian University Music Review Revue de musique des universités canadiennes Musico-poetic Form in Satie's "Humoristic" Piano Suites (1913-14) Alan M. Gillmor Numéro 8, 1987 URI : https://id.erudit.org/iderudit/1014932ar DOI : https://doi.org/10.7202/1014932ar Aller au sommaire du numéro Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Gillmor, A. M. (1987). Musico-poetic Form in Satie's "Humoristic" Piano Suites (1913-14). Canadian University Music Review / Revue de musique des universités canadiennes, (8), 1–44. https://doi.org/10.7202/1014932ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1986 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ MUSICO-POETIC FORM IN SATIE'S "HUMORISTIC" PIANO SUITES (1913-14) Alan M. Gillmor Erik Satie has become an almost iconic figure in the jagged landscape of contemporary musical aesthetics. His anti-Romantic rejection of the sublime, his glorification of the homely and the commonplace, his highly refined sense of the absurd and the whimsical are the primary qualities that have endeared him to the more iconoclastic members of the critical fraternity. -
Against Expression?: Avant-Garde Aesthetics in Satie's" Parade"
Against Expression?: Avant-garde Aesthetics in Satie’s Parade A thesis submitted to the Division of Graduate Studies and Research of the University of Cincinnati In partial fulfillment of the requirements for the degree of MASTER OF MUSIC In the division of Composition, Musicology, and Theory of the College-Conservatory of Music 2020 By Carissa Pitkin Cox 1705 Manchester Street Richland, WA 99352 [email protected] B.A. Whitman College, 2005 M.M. The Boston Conservatory, 2007 Committee Chair: Dr. Jonathan Kregor, Ph.D. Abstract The 1918 ballet, Parade, and its music by Erik Satie is a fascinating, and historically significant example of the avant-garde, yet it has not received full attention in the field of musicology. This thesis will provide a study of Parade and the avant-garde, and specifically discuss the ways in which the avant-garde creates a dialectic between the expressiveness of the artwork and the listener’s emotional response. Because it explores the traditional boundaries of art, the avant-garde often resides outside the normal vein of aesthetic theoretical inquiry. However, expression theories can be effectively used to elucidate the aesthetics at play in Parade as well as the implications for expressability present in this avant-garde work. The expression theory of Jenefer Robinson allows for the distinction between expression and evocation (emotions evoked in the listener), and between the composer’s aesthetical goal and the listener’s reaction to an artwork. This has an ideal application in avant-garde works, because it is here that these two categories manifest themselves as so grossly disparate. -
Perry Smt 2019 Handout
Sketching and Imitating: Cage, Satie, Thoreau, and the Song Books Jeff Perry ([email protected]) Society for Music Theory • Columbus, OH • November 10, 2019 Some examples from my talk aren’t reproduced here, since they include images that belong to the John Cage Trust or NYPL Special Collections. Example 1. Socrate is an incredibly beautiful work. There is no expression in the music or in the words, and the result is that it is overpoweringly expressive. The melody is simply an atmosphere which floats. The accompaniment is a continuous juxtaposition of square simplicities. But the combination is of such grace! --JC to Merce Cunningham, 1944 (Kuhn 2016, 66) With clarity of rhythmic structure, grace forms a duality. Together they have a relation like that of body and soul. Clarity is cold, mathematical, inhuman, but basic and earthy. Grace is warm, incalculable, human, opposed to clarity, and like the air. Grace is… the play with and against the clarity of the rhythmic structure. The two are always present together in the best works of the time arts, endlessly, and life-givingly, opposed to each other. --JC, 1944 (Silence, 91-92) Example 2. I am getting more and more involved with thoughts about society—the situation is so depraved. Have been reading Thoreau —Civil Disobedience. Getting his Journals, the new 2-vol. set. I want somehow to examine the situation, the social one, as we did the musical one, to change it or change “my” part of it so that I can “listen” to my “life” without self-consciousness, i.e., moral embarrassment. -
Things Seen on Right and Left Erik Satie
image A Derain Art & Heritage Collections Jack in the Box Projet de costume pour une danseuse, 1926 Cultural Musing Cabinet 8 31 Alfred Frueh Portrait of Erik Satie Rare Books & Special Collections in collaboration with the J M Coetzee Erik Satie, Socrates Postcard, Paris 1920 Centre for Creative Practice and Art & Heritage Collections present: and John Cage Printed on card, 14 x 9 cm In the years after the First World War, Satie’s Alfred (‘Al’) Frueh (1880 – 1968) was an style moved towards what was to become known American cartoonist and caricaturist. He studied Things seen on right and left as neo-classicism. Although his reputation was in Paris from 1909 to 1924, contributing regularly based on his humorous works, Satie’s later music to the New York World, and to New Yorker from Erik Satie in words, pictures and music sometimes has a more serious character. His neo- 1925 onwards. This portrait comes from the year classical masterpiece is the ‘symphonic drama’ that Socrate was premiered. Socrate (Socrates). Following his death in 1925, Exhibition 32 Erik Satie Marche de Cocagne. Satie’s music fell into neglect until the 1950s For three trumpets in C Level 1 & 3, Barr Smith Library when there was a revival of interest in his music Reproduction of Satie’s manuscript as in the United States, particularly due to advocacy frontispiece to Almanach de Cocagne, 9 June until 24 July 2011 of the composer John Cage. Editions de la Sirène, Paris 1920 29 Erik Satie Socrate, Symphonic Drama in 223 pages, original soft cover, 11 x 16.5 cm three parts for piano and voice, composed for the Almanach de Cocagne was an annual performances of Princess Edmond de Polignac. -
Nationalism, Primitivism, & Neoclassicism
Nationalism, Primitivism, & Neoclassicism" Igor Stravinsky (1882-1971)! Biographical sketch:! §" Born in St. Petersburg, Russia.! §" Studied composition with “Mighty Russian Five” composer Nicolai Rimsky-Korsakov.! §" Emigrated to Switzerland (1910) and France (1920) before settling in the United States during WW II (1939). ! §" Along with Arnold Schönberg, generally considered the most important composer of the first half or the 20th century.! §" Works generally divided into three style periods:! •" “Russian” Period (c.1907-1918), including “primitivist” works! •" Neoclassical Period (c.1922-1952)! •" Serialist Period (c.1952-1971)! §" Died in New York City in 1971.! Pablo Picasso: Portrait of Igor Stravinsky (1920)! Ballets Russes" History:! §" Founded in 1909 by impresario Serge Diaghilev.! §" The original company was active until Diaghilev’s death in 1929.! §" In addition to choreographing works by established composers (Tschaikowsky, Rimsky- Korsakov, Borodin, Schumann), commissioned important new works by Debussy, Satie, Ravel, Prokofiev, Poulenc, and Stravinsky.! §" Stravinsky composed three of his most famous and important works for the Ballets Russes: L’Oiseau de Feu (Firebird, 1910), Petrouchka (1911), and Le Sacre du Printemps (The Rite of Spring, 1913).! §" Flamboyant dancer/choreographer Vaclav Nijinsky was an important collaborator during the early years of the troupe.! ! Serge Diaghilev (1872-1929) ! Ballets Russes" Serge Diaghilev and Igor Stravinsky.! Stravinsky with Vaclav Nijinsky as Petrouchka (Paris, 1911).! Ballets -
The Cult of Socrates: the Philosopher and His Companions in Satie's Socrate
Utah State University DigitalCommons@USU Undergraduate Honors Capstone Projects Honors Program Spring 2013 The Cult of Socrates: The Philosopher and His Companions in Satie's Socrate Andrea Decker Moreno Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/honors Part of the Music Commons Recommended Citation Moreno, Andrea Decker, "The Cult of Socrates: The Philosopher and His Companions in Satie's Socrate" (2013). Undergraduate Honors Capstone Projects. 145. https://digitalcommons.usu.edu/honors/145 This Thesis is brought to you for free and open access by the Honors Program at DigitalCommons@USU. It has been accepted for inclusion in Undergraduate Honors Capstone Projects by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THE CULT OF SOCRATES: THE PHILOSOPHER AND HIS COMPANIONS IN SATIE’S SOCRATE by Andrea Decker Moreno Thesis submitted in partial fulfillment of the requirements for the degree of HONORS IN UNIVERSITY STUDIES WITH DEPARTMENTAL HONORS in Music – Vocal Performance in the Department of Music Approved: Thesis/Project Advisor Departmental Honors Advisor Dr. Cindy Dewey Dr. Nicholas Morrison Director of Honors Program Dr. Nicholas Morrison UTAH STATE UNIVERSITY Logan, UT Spring 2013 The Cult of Socrates: The philosopher and his companions in Satie's Socrate Satie's Socrate is an enigma in the musical world, a piece that defies traditional forms and styles. Satie chose for his subject one of the most revered characters of history, the philosopher Socrates. Instead of evaluating his philosophy and ideas, Satie created a portrait of Socrates from the most intimate moments Socrates spent with his followers in Plato's dialogues. -
Reducing the Term of Copyright in Unpublished Works (“2039” Rule)
December 2014 Consultation on reducing the duration of copyright in unpublished (“2039”) works in accordance with section 170(2) of the Copyright, Designs and Patents Act 1988 About UK Music 1. UK Music is the umbrella body representing the collective interests of the UK’s commercial music industry, from songwriters and composers to artists and musicians, studio producers, music managers, music publishers, major and independent record labels, music licensing companies and the live music sector. 2. UK Music exists to represent the UK’s commercial music sector, to drive economic growth and promote the benefits of music to British society. The members of UK Music are listed in annex 1. General 3. We see no justification to change the 2039 Rule to the extent that it impacts music, whether it is for sound recordings or musicial works. The rule constitutes a compromise achieved in 1988 in order to bring the calculation of term for unpublished works in line with the one for published works in 2039. We note that Government has not provided any evidence in the Impact Assessment which would justify their preferred Option 2a with regards to sound recordings and is otherwise very limited for other forms of works. 4. There are some important general points about the Impact Assessment that we would wish to note: a) On page 1 it is stated that the works cannot be lawfully published if copyright owners cannot be identified. The Government has recently introduced an orphan works licensing scheme to permit lawful publication of such works. In addition the Impact Assessment does not consider whether works subject to the 2039 Rule could be cleared via an extended collective licence. -
Surrealism and Music in France, 1924-1952: Interdisciplinary and International Contexts Friday 8 June 2018: Senate House, University of London
Surrealism and music in France, 1924-1952: interdisciplinary and international contexts Friday 8 June 2018: Senate House, University of London 9.30 Registration 9.45-10.00 Welcome and introductions 10.00-11.00 Session 1: Olivier Messiaen and surrealism (chair: Caroline Potter) Elizabeth Benjamin (Coventry University): ‘The Sound(s) of Surrealism: on the Musicality of Painting’ Robert Sholl (Royal Academy of Music/University of West London): ‘Messiaen and Surrealism: ethnography and the poetics of excess’ 11.00-11.30 Coffee break 11.30-13.00 Session 2: Surrealism, ethnomusicology and music (chair: Edward Campbell) Renée Altergott (Princeton University): ‘Towards Automatism: Ethnomusicology, Surrealism, and the Question of Technology’ Caroline Potter (IMLR, School of Advanced Study, University of London): ‘L’Art magique: the surreal incantations of Boulez, Jolivet and Messiaen’ Edmund Mendelssohn (University of California Berkeley): ‘Sonic Purity Between Breton and Varèse’ 13.00 Lunch (provided) 13.45 Keynote (chair: Caroline Potter) Sébastien Arfouilloux (Université Grenoble-Alpes) : ‘Présences du surréalisme dans la création musicale’ 14.45-15.45 Session 3: Surrealism and music analysis (chair: Caroline Rae) Henri Gonnard (Université de Tours): ‘L’Enfant et les sortilèges (1925) de Maurice Ravel et le surréalisme : l’exemple du préambule féerique de la 2e partie’ James Donaldson (McGill University): ‘Poulenc, Fifth Relations, and a Semiotic Approach to the Musical Surreal’ 15.45-16.15 Coffee break 16.15-17.15 Session 4: Surrealism and musical innovation (chair: Paul Archbold) Caroline Rae (Cardiff University): ‘André Jolivet, Antonin Artaud and Alejo Carpentier: Redefining the Surreal’ Edward Campbell (Aberdeen University): ‘Boulez’s Le Marteau as Assemblage of the Surreal’ 17.15 Concluding remarks 17.45-18.45 Concert: Alexander Soares, Chancellor’s Hall Programme André Jolivet: Piano Sonata no. -
Erik SATIE 1925 1924-25
Fundació Fita Curs: “El flâneur assegut” Sessió 28 de maig 2008 Mas Espuella (Argelaguer, La Garrotxa) ERIK SATIE J. Jubert Gruart Selecció musical: Judit Pedemonte Eric-Alfred-Leislie SATIE 1866-1925 (59 a.) 17 maig 1866 Rue Haute Honfleur (Normandia, Franca) Madame AUPICK (Baudelaire) 17 maig 1866 1866-1870 (4 a.) Honfleur • Pare: Alfred Satie (agent marítim, catòlic) • Mare: Jeanne Leslie Anton (anglesa, anglicana) • Germans: Olga, Conrad • Oncle (patern): “sea bird” • Mestre organista (M. Vinot) 1867 1870 (4 a.) PARÍS • 1872 (6 a.): mort de la mare • 1872-1878 (6-12 a). Retorn a Honfleur. Avis paterns es fan càrrec del nen (batejat catòlic). • 1878 (12 a.): mort avia paterna retornat a París (amb el pare) 1878-1885 (13-19 a.) París • 1879: Alfred Satie es casa amb Eugénie Barnetsche • Classe preparatòria per ingrés al Conservatori de Música (piano). • 1879-1885: Suspès • (durant 6 anys) 1885 (19 a.) • Ingressa (aprova) al Conservatori de Música de Paris 1886 (20 a.) • Les voltes de Notre Dame i el cant gregorià • 4 OJIVES (música gòtica) 4ª Ogive (final) 1886 (20 a.) 1885-87 (19-21 a.) Cursos Conservatori • 1886. Prof. piano (Mathias): “Alumne inútil. No sap llegir bé música” • 1886 (desembre): Servei Militar voluntari, a Arras (per 5 anys). Exposició voluntària al fred i vent, sense roba. Llicenciat. 1887: París. A casa el pare. L’affaire de la minyona. • 1887: Habitació pròpia: Rue Concorcet (al costat del Circ Medrano) 1887 (21 a.) rue Condorcet 1887 “Sarabandes” 1888 (22 a.) • Chat Noir (segon pianista) 12 rue Victor Massé (1885-1896) 1888-1898 (22-32 a.) Rue CORTOT 6 rue Cortot El “Gabinet Satie” 1888 (22 a.) 3 Gymnopedies 1890 (24 a.) • 6 GNOSSIENNES (1889-91) Del Chat Noir (1888) al L’auberge du Clou (1891) 30, Avenue Trudaine 1891 Debussy (“el meu millor amic”: el miracle de 30 anys) 1891. -
Piano Works Uspud • Le Fils Des Étoiles Duanduan Hao, Piano Erik Satie (1866–1925) Erik Satie (1866–1925) Piano Works Piano Works
SATIE Piano Works Uspud • Le Fils des étoiles Duanduan Hao, Piano Erik Satie (1866–1925) Erik Satie (1866–1925) Piano Works Piano Works 1 Allegro (1884) 0:21 & Tendrement (version for piano) (1902) 3:59 While the world of music composition has attracted some borrowings and stylistic fusions. Leit-motiv du ‘Panthée’ is 2 Leit-motiv du ‘Panthée’ (1891) 0:45 Le Fils des étoiles: 3 Preludes (1891) 13:34 ‘colourful characters’, from Mozart’s vulgar letters and cat the composer’s only monodic composition, written as a 3 Verset laïque et somptueux (1900) 1:27 * Act I: Prélude, ‘La Vocation’ 4:39 impressions to Peter Warlock’s ultimately fatal interest in contribution to Joséphin Péladan’s novel Panthée (in his ( witchcraft and sadism, surely the greatest eccentric of cycle La Décadence latine: éthopée). With its unpredictable 4 Fugue-valse (1906) 1:59 Act II: Prélude, ‘L’Initiation’ 3:51 ) Act III: Prélude, ‘L’Incantation’ 4:57 them all is the Parisian, Erik Satie (1866–1925). Always harmonic shifts, Verset laïque & somptueux seems to Cinq Grimaces pour Le Songe d’une nuit d’été appearing in one of seven identical suits, Satie would eat inhabit the world of Debussy’s more reflective piano works, (arr. Darius Milhaud for piano) (1915) 3:57 Sonatine bureaucratique (1917) 4:25 ¡ only white food, carried a hammer with him to defend though the same could not be said of the relatively 5 No. 1. Préambule 0:50 I. Allegro 1:08 ™ II. Andante 1:20 himself from any assailants, and even founded his own extensive and bizarre Fugue-Valse (surely the sole attempt 6 No. -
Florida State University Libraries
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Gustav Mahler, Alfred Roller, and the Wagnerian Gesamtkunstwerk: Tristan and Affinities Between the Arts at the Vienna Court Opera Stephen Carlton Thursby Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC GUSTAV MAHLER, ALFRED ROLLER, AND THE WAGNERIAN GESAMTKUNSTWERK: TRISTAN AND AFFINITIES BETWEEN THE ARTS AT THE VIENNA COURT OPERA By STEPHEN CARLTON THURSBY A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Dissertation of Stephen Carlton Thursby defended on April 3, 2009. _______________________________ Denise Von Glahn Professor Directing Dissertation _______________________________ Lauren Weingarden Outside Committee Member _______________________________ Douglass Seaton Committee Member Approved: ___________________________________ Douglass Seaton, Chair, Musicology ___________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above named committee members. ii To my wonderful wife Joanna, for whose patience and love I am eternally grateful. In memory of my grandfather, James C. Thursby (1926-2008). iii ACKNOWLEDGEMENTS The completion of this dissertation would not have been possible without the generous assistance and support of numerous people. My thanks go to the staff of the Austrian Theater Museum and Austrian National Library-Music Division, especially to Dr. Vana Greisenegger, curator of the visual materials in the Alfred Roller Archive of the Austrian Theater Museum. I would also like to thank the musicology faculty of the Florida State University College of Music for awarding me the Curtis Mayes Scholar Award, which funded my dissertation research in Vienna over two consecutive summers (2007- 2008). -
Erik Satie's Vexations—An Exercise in Immobility Christopher Dawson
Document généré le 23 sept. 2021 22:49 Canadian University Music Review Revue de musique des universités canadiennes Erik Satie's Vexations—An Exercise in Immobility Christopher Dawson Volume 21, numéro 2, 2001 Résumé de l'article La pièce pour piano Vexations d’Erik Satie comporte une « Note de l’auteur » URI : https://id.erudit.org/iderudit/1014483ar où le compositeur demande apparemment aux interprètes de répéter le DOI : https://doi.org/10.7202/1014483ar morceau 840 fois. Les opinions des biographes de Satie divergent quant à savoir si Satie voulait ou non une exécution « complète » de la pièce. Dans cet Aller au sommaire du numéro article, l’auteur évalue comment une interprétation littéraire de la Note peut jeter un éclairage sur les intentions de Satie. Il conclut que Vexations n’est pas tant un morceau de bravoure qu’un exercice : un moment musical conçu pour Éditeur(s) dégager les interprètes des notions occidentales conventionnelles de développement linéaire et de réception cumulative, en faveur d’un style Canadian University Music Society / Société de musique des universités musical personnel d’où est absent le développement, et pour les préparer à canadiennes jouer d’autres pièces, telles une Gymnopédie ou une Gnossienne. ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Dawson, C. (2001). Erik Satie's Vexations—An Exercise in Immobility. Canadian University Music Review / Revue de musique des universités canadiennes, 21(2), 29–40. https://doi.org/10.7202/1014483ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur.