Eric Saties Socrate Essay -- essays research papers fc

IntroductionErik Satie began grow on Socrate in 1918. Having been absorbing the scandal of butt against and becoming quite popular in the Salons of the high-society of Paris, he started planning modernistic works. Perhaps Debussys death in the jump off of that year was the final exam liberation he needed in order to be fit to express himself seriously, for sarcasm is frequently a mask for over-sensitiveness and insecurity.But that spring finally brought Satie great joy. He was invited everywhere, and was well respected by peer musicians. He was receiving a fair amount of commissions, and no longer had to publish cabaret music, which he loathed. Satie took on Socrate, commissioned by the princess de Polignac, with complete seriousness Im frightened to death of bungling this work. I necessity it to be as white and pure as antiquity.(1) Satie was charmed with Socrates since his civilise days. He must have identified with the Greek philosopher, having also elect a plain life, despising wealth and materialism, and living by the principles he preached. I always wanted to do something on Socrates, he remarked to Darius Milhaud. Its such(prenominal) an un skilful story(2)Satie was a composer who was constantly looking for new-sprung(prenominal) directions in his art and re-examining the cultural excesses of the 19th century. Having abandoned the impressionistic harmonies he pioneered in the Sarabandes (1887) for a more dry style, centered around grade and delicate counterpoint, he formulated his aesthetics in 1917Do non forget that the melody is the Idea, the outline as much as it is the form and the subject matter of a work. The harmony is an illumination, an exhibition of the object, its reflection(3)The offset performance of Socrate was given on June 24th 1918, at the infrastructure of Jane Bathori, a singer of modern music, followed by a performance at the home of Comte Etienne de Beaumont and other private performances. Stravinsky attended one of these and remarked The music of Socrates death is lamentable and dignifying in a unique way After performing Socrate he Satie turned around at the end and said in correct Bourgeoisie Voila, messieurs, dames. (4)The first official performance of Socrate was given in January 1920. The music raised hot arguments between those who loved it and those who thought it ridiculous. Saties chemical reaction Those who do not understand are requested by me to assum... ...y that was the historical reason he was executed.8 Importance here is used 9 Louis Aragon, Trait du Style, trans. Alyson Waters (Lincoln & London, University of Nebraska Press, 1991)10 By Icon and Iconize I mean the process of associating a musical object with an external object, or a cultural image. Debussy creates musical textures which correspond to certain concrete things, such as the sea, the snow, etc. - a highly luxurious and sophisticated reading material of word-painting. That is the reason why his music can be con ceived as programmatic, just like the expressionists, except he deals with nature rather than personal drama.11 I believe this is the reason every writer who wrote about Socrate sees it on the whole differently.12 Ornella Volta, Satie Seen Through his Letters (London, Marion Boyars, 1989), pp. 154.13 This is best exmplified in his 1914 work for piano, Sports et Divertissements.14 Louis Aragon, Irene (lOr du Temps, 1968)15 Jacques Attali, Noise the Political Economy of music (University of Minnesota, 1985, trans. Brian Massumi)16 Pierre-Daniel Templier, Erik Satie (Cambridge & London, MIT Press, 1969, trans. Elena L. French and David S. French), pp. 1021