ERIK ALFRED LESLIE SATIE

(1866-1925)

Strange, fascinating, uncommon, Satie,
who was born "too young in a time too old",
resists to any label. He cannot be inserted 
into any "school" or "style" or "time", as 
absolute originality to no school, style or time.

Religiousness, mysticism, esoterism, 
romanticism, sarcasm, non-sense, absurd, 
all this is found in Satie's music.

    "Taking the works of Satie chronologically (1886-1925), successive ones often appear as completely new departures. Two pieces will be so different as not to suggest that the same person wrote them. Now and then, on the other hand, works in succession are so alike, sometimes nearly identical, as to bring to mind the annual exhibition of painters, and to allow musicologists to discern stylistic periods"
     (John Cage)

    • "Show me something new and I'll begin all over again", Satie used to say. He did. He
       was an early exponent of several important trends and development in the twentieth century 
      music: bitonality, politonality, non triadic harmony, jazz, music as furniture (musique d'ameublement). He also adopted a defiantly modernistic technique and attached whinmsical titles to his compositions.
      "Is Satie relevant? To be interested in Satie, one must be desinterested to begin with ,
      accept that a sound is a sound and a man is a man, give up illusions about ideas of order, expressions of sentiment, and all the rest of our inherited aesthetic claptrap. It's not a question of relevance. Satie is indispensable"
      (John Cage)


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