In part two, the concept of Satie the interart composer is introduced and the related images of Satie the primitive, cubist, futurist and dadaist are examined. Chapter four revisits many of the criteria outlined in chapter two in order to trace the ways in which Satie was disciplined for his non-conformism through the themes of gender, class, religion and nationalism. These four themes also constitute sociopolitical discourses that reflect the wider cultural context of the period and the operations of cultural domination they supported.

Music critics frequently adopted their methods of domination, borrowing the language, metaphors and imagery of these tributary discourses in the formation and maintenance of the French musical canon. Satie contributed in an exceptional way to modernist discourses as a counter-hegemonic commentator on contemporary ideas of canon.

This definition is, however, inadequate as it fails to acknowledge many of the ideologies that inform it.

For many centuries religious canons were scattered in various codices until it was decided at Vatican Council I , that canon law required systematization due to the difficulty faced in consulting the various canons. Pope Pius IX called for a systematized code of canon law though this council was suspended due to the Franco-Prussian war. Chambers, , Peeters Press, , Continuum, , Donnellan relates that the first musical doctorate was awarded to Jules Combarieu in These men were part of the first generation of professional critics in France.

Editions Slatkine, , In a musical context the meaning is symbolically similar, a canonized musical master was awarded a god-like status in modernist discourses. Bourdieu highlights the long-held connections between art music and spirituality: Music is not simply what it wants to be. It has an essence, dictated by a transcendent power and preserved by an equally transcendent tradition.

The association between high-art music and spirituality has existed since antiquity with the theory of the music of the spheres, however, it was planted firmly in the ideology of the canon by the Romantic critics and philosophers. Music became the paradigmatic art for the Romantics because it was the freest, the least tied down to earthly manifestations such as representation in painting and denotation in literature.

When Pater said that all art aspires towards the condition of music, he meant the condition of symphonies, not the condition of hymns or waltzes or cantatas. The musical canon is, in this sense, an ideal of order made material, physical, visible. A canon is an idea; a repertory is a 5 Robert P.

Bergeron foregrounds the role of values in canon formation and highlights the importance of the act of disciplining in the maintenance of a hegemonic position. These focal points inform the analysis of the sources of reception throughout the thesis. The values to which Bergeron refers inform the unwritten rules that uphold the canon and propagate the elite and normative status of great music. Rules are enforced by particular agents who hold positions of knowledge and power in the institutions which support the canon. Philip Bohlman outlines three stages of canon formation: Essays on Music, In an analysis of the sources of music criticism, the tensions between hegemonic legitimate discourses and the counter-discourses of Satie are rendered visible.

In a sense, we reconstruct that canon in order to deconstruct it and gain a clearer picture of how the canon operated within this specific field of cultural production. Analysing how the problems Satie presented are dealt with reveals the ways in which he was disciplined by cultural arbiters for his non-conformism. Perhaps the harshest form of discipline for a composer is to be ignored completely. Composers who deviate from the official course are disciplined or punished for their acts by the arbiters of canon formation in various ways.

Whilst engaged in the illegitimate cultural activities of the cabaret the wider press duly ignored him and in the early years of his public career in le monde musical, critics remained mostly silent until the premiere of Parade in In this process the mechanisms by which Satie was excluded from the French musical canon are uncovered.

It is in the relationship between these two that the struggles of canonic expansion are encountered. In this reception study le monde musical is the field of cultural production in question. Weber describes the origins of this field: Although the ultimate hegemony in the modern era resides in the state, particular communities within societies have also possessed a political structure with a hegemonic authority. The terms musical world in Britain, Musikleben in Germany, and monde musical in France — all of which made their way into the titles of periodicals — expose such social structures.

Consequently, not all arbiters wield the same level of influence. In this habitus there is a strong correlation between the level of education and social position. Agents include composers, educators, publishers, performers, patrons and critics, to name but a few. Of these, music critics were the most powerful group of agents in this period. Canonization is the institutionalization of a work of art and cultural arbiters possess the power to control musical knowledge through their participation in institutions: Cultural, economic and educational academic capital, are three concepts important in understanding how canons are perpetuated.

Academic capital is accrued through education and it facilitates a hierarchy within the educational 23 Weber, The Great Transformation of Musical Taste, Cultural capital refers to the knowledge and skills that individuals acquire in their family environment through informal training in various cultural disciplines. This includes musical education in the home e. Musical, artistic or literary tastes and competencies are often fostered in the environment of the home. Bourdieu explains that even though the haute-bourgeoisie, a class that modelled themselves on the pre-revolution aristocracy, are generally regarded as the dominant class within French society, it was actually members of the bourgeois class that were primarily engaged in the process of legitimising musical works in this period.

The general public participate in canon formation to an extent by attending concerts, buying sheet music, consuming and reproducing what they learn in the critical press. Nevertheless, audiences have limited agency in terms of what they consume. The arbiters of canon formation largely control what cultural products are made available to them.

The critical reviews consulted throughout this study constitute elements of a much wider discourse network and are treated as such. Canonic musical discourse constitutes a field in itself, yet it certainly does not exist in a social or cultural vacuum: Cornell University Press, , In this study, critical texts are analysed for utterances or statements appropriated from non-musical discursive formations in which one can identify the historical unconscious of the period at work in canonic discourses.

In doing so, the discourses habitually used to judge and evaluate Satie from a privileged position become the object of study. Certain areas of thematic concern focus the reading and discussion of the reception sources. A number of themes related to canon formation that arise consistently in discussions of Satie are classified into groups of primary and secondary themes.

The overarching primary themes of professionalism and humour dominate discourses on Satie and are more Satie-specific in concern than the secondary themes. The themes of nationalism, religion, class and gender pervade musical discourses of the period in general and also function as tributary socio-political discourses that influence canon formation. Music and Ideology in France Oxford: Debates concerning professionalism were of primary concern in the canonic discourses that surrounded Satie, a feature certainly related to the foundation of the discipline of musicology in this period.

His return to education at the Schola Cantorum at the age of thirty-nine reinforced the consensus that Satie did not possess the technical requirements of a professional composer and critics generally refused to treat him as one. It involves reputation, authority and the circulation of a name within culture. How and why it circulates has a lot to do with the preservation and the formation of canons. The sub-themes of originality and genius are also addressed under the umbrella theme of professionalism in this discussion. In the final chapter of the thesis, methodological approaches drawn from disciplines outside musicology are explored in order to illustrate some ways in which this longstanding 38 Pierre Bourdieu, Masculine Domination, transl.

Polity, ; Gerald N. Harvard University Press, These methodologies are outlined in depth in chapter five. Throughout the 20th century humour has generally been perceived as a medium or form of illegitimate culture. No studies on Satie have yet explored the role and function of humour as an expressive mechanism of confrontation, and equally, as a mechanism of discipline.

The presence and influence of the secondary themes of nationalism, religion, class and gender are discernible in statements or utterances specific to these sociopolitical discourses. Whilst the methods of domination change gradually over time, the value system is continually replicated with few alterations. The act of disciplining is frequently performed through the medium of metaphorical or symbolic language and this is where we often witness the performance of the canon and the assertion of canonic authority.

Metaphor and imagery were often used against Satie with the purpose of sullying his reputation. Some of the strategies of domination evident in the musical press include the effeminization of Satie and attacks on his virility, comparisons between Satie and the devil, and accusations that his music was anti-French. The various images of Satie presented in the French press contributed to his reputation as a composer. Images such as Satie the precursor, amateur, humourist, cubist and dadaist affected his claim to legitimacy. In the course of this study each of the primary images of Satie presented in the press are examined and the repercussions of these images explored.

Pasler, Writing Through Music, Certain descriptors and terminology are repeated time and again in various texts on Satie without an awareness of the historicity of these terms. For instance, in his lifetime and in the years since, certain works by Satie were construed as funny when they were not humorous in intent. He singles out the persistent use of binary oppositions and evolutionary language as harmful practices in musicology: We systematically undervalue certain periods, composers, and works and privilege others because of the very nature of the conceptual and narrative tools that we apply.

Satie was associated with numerous artistic movements that have not been subsumed into the categories of modernist 45 46 See the discussion of humour in chapter five. Resultantly, until very recently scholars have avoided in-depth discussion or analysis of aesthetic crossover in his works. The fulfilment of public duties ensured the maintenance and promotion of the musical canon.

In return a composer was bestowed with a degree of authority within the musical world. The debates and contexts specifically concerning the constructs of Satie the amateur, precursor, master are explored in this discussion. A legitimate education meant that a composer possessed a sound craft and had the documents to prove that this rite of passage had been successfully fulfilled. The educational system creates hierarchies within musical culture: The Schola Cantorum and the Conservatoire were considered the most prestigious educational settings in Paris in this period.

Whilst Satie studied in both of them, he was forced to leave the Conservatoire in due to poor grades and following a brief return there a few years later, he dropped out in In a obituary Maurice Imbert writes: Three months just to learn the piece. Professionalism is a concept related to activity and cultural production in the visible public sphere. How and why it circulates have a lot to do with preservation and the formation of canons.

Consequently, a professional composer has public duties to attend to, which typically include publication, public performances, participation in music education and the promotion of art music, for instance through committees or as music critics. In his biography for his publisher Demets, he makes no reference to his musical education. The assumption of a pedagogical role meant that composers could pass on their unique craft, a necessary step for a composer who wished to achieve the status of a master.

Music criticism was also an important outlet through which composers could participate in contemporary musical debates and promote their own works. Most composers of this time were keen to explain why their music was original, but also to stress how it simultaneously fitted into the great tradition of music. The criteria of canon formation demand that a legitimate work reflect a common aesthetic or formal similarity with a canonic model and be interpreted by critics as possessing a moral or transcendent value. Critics frequently promoted the canonic potential of a work through favourable comparison with a past master or school of composition.

It was essential that a master composer demonstrate originality and influence in his musical output, which must include large-scale compositions, often in standard genres such as the symphony or the sonata or modern equivalents. A master composer was also expected to have composed a number of works that were widely deemed masterworks. Ideally, he would have disciples in whose works his influence could be felt, thus promoting the evolutionary tradition of art music.

See Appendix 1 for the complete text of this article. In strengthening his argument he cites the Austro-Germanic example of Wagner, a master composer who is superior to his imitators on account of the value of his personal ideas. Bourdieu argues that in the pure aesthetic a work of art must be considered autonomous, detached and disinterested.

In stark contrast the popular aesthetic promoted the continuity between art and the everyday. Kant propounded that art works which arouse collective enthusiasm and gratify audiences boarder on barbarism. Legitimized music appeals to reason rather than to the senses and it is expected to fulfil a particular moral role in society, primarily the spiritual betterment of man.

A rigid dichotomy thus emerged between classical and contemporary works such as has not occurred in the fine arts. His extensive use of borrowings from popular music, the text within his piano scores and the unusual titles of his works were criticized as many felt the music was submissive to the textual or literary element. This Modernist preoccupation with form gained strength in the early 20th century with the increased importance of music analysis. In the popular aesthetic, the reception of music is directly associated with the body and this is one of the prominent reasons why laughter in the concert hall was considered so outrageous by critics: Music that engaged the body and elicited unbecoming emotional or physical responses was often considered morally dubious.

Ironically, while the critics demanded detachment, they expected that an art work would promote certain moral values and serve an educational function. Most critics felt they could not engage seriously with a composer who expressed himself in such a manner. Izenberg argues that artists in the early modernist period had to somehow prove and argue for the social utility of their work in order to preserve and promote the masculine status of their profession.

It was the first time in his career that his originality and pioneering role in the development of modern French music was widely acknowledged, albeit in a qualified manner. Critical focus rested primarily upon the documentary interest of certain works rather than on the value of the music itself.

M, 15 March A very small number of articles concerning Satie were published in the decades prior to , however, they are excluded here as they fall outside the parameters under discussion. One experienced him as one who hid behind metaphors, [always] decked out with the right words. Vuillermoz was also familiar with Satie during this time and had mentioned him in passing in an article in le Mercure musical in In some cases, he provides an analytical overview of musical themes and structure.

Critics often relied heavily on such concert notes and tended to quote from them extensively in reviews of new music. Nommons-le sans plus tarder: Instead, the reader is presented with a short biography that establishes the image of Satie the precursor. In the history of contemporary art Erik Satie occupies a truly exceptional place. An outsider of his time, this isolated man had up to then written some short pages which attested to a precursor redolent with genius.

These works, unfortunately not very numerous, surprised by means of a prescience of modernist vocabulary and by the quasi-prophetic character of certain harmonic discoveries. In February a short concert review appears 34 Anon. Satie is the most significant and most direct of the precursors of Debussy, of Ravel, of all the little group of our boldest composers He describes Satie as a very influential artist of innate talent whose amateur works are the product of illegitimate autodidactism: An impeccable sensitivity of the ear and a very fine and original feeling reveals itself in the music of Satie.

The artist that never thinks to organise his discoveries can only be discovered in each instant, detail by detail in his ingenious and rare turns; through this he collaborates in this new evolution of the art of sounds that has affected almost the whole of France, the consequences of which have made much ink flow. In a article Paul Ladmirault writes: Ravel au piano, - M. He publically distanced himself from the impressionist compositions of his youth, especially those celebrated by Ravel, and announced that his new compositions would be more scholastic in style.

Satie evidently wished to challenge the dominant image in circulation of the amateur impressionist composer. In March , Robert Brussel, the music critic for Le Figaro, reports that Satie has embarked upon a new journey in composition: It will be curious to know the fruit that will be born of this freedom and servitude. He recently told me how much counterpoint interests him and the new part he hopes it will play in his work.

Ravel, conscious that Fanelli would distract critics from Satie, swiftly came to his defence in the music press. Ravel argues that it is more accurate to categorise Fanelli along with the Russian school of composers. Let us note on the other hand an influence which seems to us to be preponderant, [ Official composers were often discussed in works on contemporary French music and in various anthologies by music historians. In a letter addressed to Lenormand, published in Le Monde musical, Ravel notes this omission: I would like to point out a very important lacuna in my opinion in a work on the evolution of contemporary French music: Almost all the composers that you cite, including yours truly, have known this brilliant and incomplete precursor for a long time.

Mercure de France, , Satie frequented the SMI meetings throughout and his participation often caused friction. Ecorcheville, guided by Vuillermoz, does not want to know anything about what you told him [ As both dogs and horses are servants to their masters, it is possible that Satie appropriated these animals to symbolise his independence from any particular school or master. Editions Champ-Libre, , no. Intrigued by his idiosyncratic and bold new aesthetic direction, some of these young composers were responsible for a number of significant early articles on Satie, in which he is presented as more than simply a precursor to impressionism.

He served as deputy mayor of Brussels and as a member of the Belgian parliament. Editions Luc Pire, , Satie would also describe himself as a fantaisiste in a biography written for his publisher Demets that same year. The suite En Habit de Cheval has already prepared us for this surprising evolution. These warm-up scholastic exercises, practiced under the direction of a master of counterpoint, have done nothing to tone down the impulsive genius of Satie, or to restrain his mocking fantasy.

Debussy et la danse lente de M. In a biography for his publisher Demets, Satie states the name of every critic who has written favourably about him, even though the praise was qualified in every case. Vuillermoz, Robert Brussel, M. Ecorcheville, Roland Manuel, etc. Messrs Maurice Ravel, E. There are many examples of this in the specialist music press. Laurent Ceillier dismisses the Croquis et Agaceries with a statement that Satie is an untalented amateur: Erik Satie is infinitely too far removed from the talent of Ravel to be able to attempt to compete with his verve.

Satie est en train de devenir un de ses compositeurs favoris. A smaller selection is available in BnF Mus. Erik Satie est infiniment trop loin du talent de Ravel pour pouvoir essayer de concurrencer la verve de celui-ci. The language he employs is strikingly similar to that used by Bertelin in his article on Satie and Debussy. The third concert of the SMI contains numerous first performances.

Attractive certainly for the most part, yet how many trivialities, unthinkable. I know well that mass has nothing to do with it. Without doubt a Lied often contains more music than a symphony. But this only happens when the symphony has been lacking and the Lied has been a success. In all other cases one could not deny that you need infinitively more breath, strength, renewed invention, in a word both natural and acquired faculties, to realise an extensive work.

The agenda of the SMI had been responsible for pushing Satie into the limelight and consequently had left him with a particular legacy that impacted upon his public reputation. It is clear in these early sources of reception that Satie failed to 81 Michel Montaigne was a Renaissance writer credited with creating the genre of the literary essay.

His Essais are a series of literary essays first published in Satie consistently refused to comply with many of the requirements of an official composer even though such a strategy may have benefitted his career: His ability to make audiences laugh made him popular; he entertained people in a way no one else did on the high-art scene and on account of his appeal he would face further disciplinary measures.

Seuil, , Reviews often descended into vitriolic attacks on his music and in particular, on his character. In spite of efforts to reconfigure his public image as a serious composer and the fulfilment of many of the expected duties of a professional composer, the majority of critics refused to take Satie seriously. Following World War I, Paris was a hive of international activity, with many composers becoming actively engaged in promoting French music abroad.

Assuredly he is an artist. He is even a great artist. He has invented an artistic music that uses the fanfares of North African and Central Chinese populations. As was the case in the pre-war SMI committee meetings, Satie did not shy away from confronting members of officialdom on a regular basis in his committee work. Critics were shaken out of their apathy towards Satie by the 88 Volta ed. There was a lot of whistling; some took pleasure in writing that it turned into a riot; the truth is that some supporters tried to make this light fantasy of Cocteau, Satie, Picasso and Diaghilev spark off a good historic scandal Notes autour de la musique, Paris: Stock, [, ] , These difficult people received Parade in bad humour.

However others — the followers — showed without rest an indefatigable enthusiasm. It is amongst these contradictory signs that I place the stormy moment of birth of this masterwork. In Le Strapontin an anonymous critic invokes the AustroGermanic paradigm to question the right of such a work to reside in the pantheon of masterworks: But nothing, nothing, nothing; there is truly nothing in this bad sonorous joke. Well what do you expect! I know my authors. A small minority of critics praised this audacious aesthetic approach, however, the consensus was that it represented a form of musical impoverishment.

Ces gens difficiles accueillirent Parade avec mauvaise humeur. He is presented as a dangerous influence rather than a spiritual master. I owe them more than any writer. It was said too that we were the six pupils of Erik Satie, that we were following a defined, limited aesthetic, laid out by Jean Cocteau.

Erik Satie et Picasso. And even if we did find ourselves around him, it was out of admiration for everything truly novel that he revealed to us, it was not due to blind adoration or calculation. It was not a matter of faire du Satie and I do not even think that we consciously did very much of this. He adopts the language of biological classification to criticise the restrictive focus on only two musical species in le monde musical at this time: The Darwinian system of classification is utilized as a fitting metaphor for musical schools.

Tradition and evolution are without doubt two of those magic words that possess the privilege of giving rise to the craziest contradictions in the world. Only schools of grandees attach themselves to these words! And if it is the turn of a Strawinsky [sic. He discusses masters as though they are museum exhibits and argues that more attention should be paid to living composers: Let them be shown to us, no longer as if they were immortals like stuffed specimens, but show them still living, still solid, through precise and skilful analysis of the works that they produce.

Some critics accused Satie of being an imposter who had pretended he was an influential figure and mentor to young composers. The amateur precursor was still regarded as an unofficial composer. In the early s Satie directly challenges the various images of him presented in the press, and frequently adopts the language of the critics in an ironic manner to attack the system in place and to ridicule the logic supporting it.

Satie often targeted the Conservatoire and challenged the normative expectation that official composers were required to attend musical institutions: People in general seem convinced that only the Official Establishment in the rue de Madrid can inseminate musical knowledge. Good for them; but I still ask myself — with hands clasped — why we musicians are obliged to receive a State education when painters and writers are free to study as and where they want.

In Painting, this title not only lost all vestige of importance long ago, but has become rather a sign of disparagement, not at all to be recommended, nor envied. It is because the judges who award these prizes are, for the most part, invested with such inadequacy that their judgements have the effect of notices of conviction, convictions as degrading as they are deserved. I admit that Debussy found no glory in this ridiculous title. In an education basically so crude? In an education which leads to the most odious vulgarity.

Satie was proud of his influence on Debussy and even in his final years he liked to remind people of this. In the same article, Satie reminds readers of his early influence on Debussy and stresses the fact that he was an unofficial, illegitimate autodidact in this period. How does one recognize an amateur?

As an indication, it could not be bettered. The one imposed by Ministers, a Senate, a Chamber and an Institute revolts me and outrages me — even though basically I feel indifferent about it. With one voice, I cry: His constant need for renewal meant that those who identified with his music in a particular period soon felt disenfranchised by his new departure. The previously pro-Satie critic, Georges Jean-Aubry relates the drastic shift in support for Satie following the premiere. It is possible to instil silence with imaginary harmonies or ingenious melodies but one cannot make poor music sound rich or constant clumsiness appear simply naive This master was nothing more than a shadow.

Erik Satie is a shadow, which has lost its substance, a fate that we had long foreseen. The thing that can be finicky when engaging in such enterprises, always seeking the novel and the sensational, is to reinvent their outward appearance without overstepping the boundaries of what can still be regarded a work of art. We ask ourselves what could the craniums of the authors of this dreary fumisterie possibly harbour. On this occasion he was unable to engage with his detractors and defend his new aesthetic direction.

In the French press in general, Satie was remembered as a rebel without a cause. Interart and concert programming practices reveal a disparity between the reality portrayed by the critics and those involved in creating, organising and patronizing the arts. Many agents supported Satie in various ways in breaking down the traditions and ideologies the critics sought to uphold at this time.

Concert programming is a cultural practice that provides the music historian with a deeper insight into how Satie was presented to the musical world: Critical interpretation was strongly influenced by the musical meaning created at the point of initial reception, the performance. Research to date has mainly focused on a limited number of well-documented premiere concerts and the topic of programming remains largely unexplored. Programming practices had canonic implications that must be acknowledged.

The choice of venue was directly related to concerns of class and gender: Certain private venues were construed as feminine domains whilst others, such as the concert hall, were considered external masculine venues. This programme type was initially made popular in the salon setting 1 Kerman quoted in Citron, Gender and the Musical Canon, 17, fn 2. The implications of these practices are discussed further in chapter four under the themes of nationalism, gender, religion and class.

The historicity of these artistic labels is addressed in the latter half of this discussion. Analysis of concert programming and interart practices provides important contextual information that informs the discussion of critical writings on Satie in relation to the themes of nationalism, gender, class and religion. In this period the term modern referred to all living composers and included many 19th-century composers such as Chopin, Schumann, Brahms, Grieg and their French contemporaries. In the programmes surveyed, fifty-seven concerts comprised modern music only, seventeen contained a mixed programme of musique moderne and ancienne, whilst thirty-three concerts were interart programmes.

This trend did not necessarily mean, however, that Satie was being purposefully excluded: In an article on current trends in concert programming in March , Robert Brussel comments that concerts that specialised in the performance of smaller-scale works and chamber music were multiplying at a significant rate. The choice of venue greatly influenced the value judgements of the cultural arbiters and this may have been a significant factor in why critics consistently reported on concerts in certain venues and overlooked many of the events in alternative settings.

A singer, Norwegian to say the least, placed herself next to the piano. Satie sat down at the keyboard. But the piece in the shape of a pear or another fruit did not seem suitable in such a vast setting of this stage and hall. The northern singer appeared to render little ice-cubes instantaneously melted. The hall, which was only half full, did not thaw out at all. Brussel points out that while the SMI and the SN are often promoted as opposed organisations, in reality the composers programmed by the two societies often overlapped.

Francis Picabia, musique de M. See Sanouillet, Dada in Paris, Simon Publications, , and Olcott provides the following description of this venue: The Crusaders must have paid a pretty figure for their meeting-hall. Vasanta Press, , Parade was the most performed work in his lifetime: Socrate also enjoyed considerable popularity and appears on thirteen programmes, as does La Belle Excentrique.

Les Pantins dansent was performed twice in The Sarabandes were also performed regularly, with a distinct preference for No. Critics were even more upset when he appeared on programmes with canonic masters. The varied and very musical programme of this recital would have lost some of its attraction if the amusing titles invented by Erik Satie had not been featured, but was it necessary in one part to print the words in large characters where the assembly or the excess would have passed unnoticed otherwise and to play these indifferent jokes someplace else other than between Ravel and Turina?

None other than him can better serve them. Nul plus que lui ne peut mieux les servir. Mais pourquoi faut-il que la complaisance de M. The modern school was represented by Chabrier, Debussy, Ravel, de Falla. We set aside a stupid Tyrolienne turque by Eric Satie. Valentine de Saint-Point was a writer, dancer and choreographer who was active in Parisian futurist movement in this period.

Saint-Point and those that surrounded her at this time, including the sculptor Auguste Rodin, believed that she had achieved her artistic aims with the music of Satie. Postmodern Modes of Hearing Berkeley: University of California Press, , , In the sixteen pre-war programmes, thirteen of these concerts were public events and three were held in private. Eleven concerts had programmes of musique moderne, two of musique ancienne and moderne and three were interart.

The outbreak of World War I severely disrupted concert life in Paris and was the catalyst for many changes in how Parisians were presented with new music. In concert halls and theatres closed their doors and publishing houses mostly ceased operations. Alternatives to the concert hall and theatre were sought by those who wished to support artists impoverished due to their change in circumstances. Performances also took place in a maison de couture fashion house and in a small music school.

Private concerts assumed a new level of importance at this time with the closure of so many public venues. Eight of the sixteen programmes took place in public and six of them were private events. The accessibility of two events is unclear in the absence of any promotional material. Programming practices were also altered by political events: Seven of the programmes are interart and an equal number are made up exclusively of musique moderne. Private salons became increasingly important to Satie on account of the support they provided for contemporary music and it was in these venues that he met many of his future artistic collaborators and patrons.

Programme design was often an important aspect of these events and they no longer took the form of a simple typed list. Artists increasingly participated in designing concert programmes, in addition to the covers of publications of contemporary sheet music. Calder and Boyars, , Atlas Press, , ; and in Wilkins ed. In reflection of interart trends across the arts in this period, in many of these concerts an equal emphasis was placed on poetry, art and music. In some cases music was secondary to other art forms. Interart concerts tended to be staged in intimate settings, such as art galleries, salons or other alternative concert venues.

Most of the wartime concerts served as fundraisers for the casualties of war or for artists, composers and writers in financial distress due to contemporary events. The blue, red and white-coloured concert programme for this event reflected the patriotic sentiments of the time and the collage design incorporated musical and nationalist imagery: The first half of the programme comprised examination performances of solo piano music and the second half of the concert was devoted to the music of 22 This concert took place on 18 April Festival Erik Satie et Maurice Ravel.

See chapter four for a discussion of nationalism and Parade. It is notable that Fabert considered a legitimzed institution a more suitable performance venue, despite the amateur level of the student performers. More accurately, they are the public premiere. Concert halls, music halls, the circus and the cinema were enjoying enormous popularity.

Modernism had become mainstream and the breakdown between high and low art became more common in aesthetic practices across the arts. It is clear in the reports from abroad in many of the music journals that Satie had achieved international fame and his work was regularly performed in venues across Europe and the United States. The Romantic belief that music was the highest and purest of the art forms was consistently challenged by avant-garde modernist practices in this period. In the ninety-eight post-war programmes, fifty-seven of these are programmes of musique moderne only, seventeen are mixed programmes of musique ancienne and musique moderne and twenty-three are interart events.

Concerts of musique moderne were often preceded by a talk which provided an introduction to the new works and outlined certain aesthetic or ideological aims. Twenty-three of the Parisian concerts surveyed included a concert talk. The eight known talks Satie gave were: In the post-war period the programmes illustrate a glaring disparity between the opinion of critics and performers: The text of these talks is reproduced in Volta ed. There is some confusion here concerning dates as the Flagny concert occurred on 2 April and there is no mention on this programme of such a concert talk.

But it is an exception; and then Satie is such a nice and charming man! His only fault is to imagine himself to be producing music. Satie est un si brave et charmant homme!

REVIEW-HITPARADE

Golschmann later became the principal conductor of the Saint Louis Symphony from to In the post-war period, Satie was not always compliant with concert organisers and he was easily offended by them, no matter how honourable their intentions. When Satie heard about this he demanded that Socrate be performed by four sopranos, a request that he knew Bertin could not meet and consequently, the performance had to be cancelled.

Satie then agreed to a performance of the work by Bertin on 24 June , a concert in which he was also due to perform. Satie decided not to participate on the day of the performance and Germaine Meyer had to step in to perform Morceaux en forme de poire with her sister.

Letter dated 30 May See concert programme dated 8 November In a bid to exploit this very wealthy haute bourgeois demographic, certain enterprising individuals became involved in the publication of avant-garde music. In , Sports et divertissements was published by the fashion editor Lucien Vogel. Kahnweiler Editions de la galerie Simon , the art dealer who represented many of 39 Milhaud, Notes Without Music, These scores became valuable collector items and consequently did not appear in a general print until the late decades of the twentieth century.

Of the ninety-eight post-war programmes, twenty-three were interart and many of these events mark important dates in the history of the artistic movements of cubism and Dada. Members of high society often employed avant-garde artists in order to organise exclusive cultural events. Well here they are: Le Petit Parisien was a mass market Republican paper with a circulation of around a million copies per day at this time.

La Belle excentrique orch. Early 20th-century modernism is characterised by a significant amount of cross-pollination within the arts and a rise in intertextual and interart forms. References to external subjects in musical works are increasingly common and represent a fundamental shift from a Romantic art that emulates nature to a modernist art which often imitates art.

Consequently, artistic and literary models were often appropriated by critics to assist in the categorisation of new music. Critics often did this without any clear understanding of the meaning of these artistic terms. The aesthetic reasoning behind the selection of labels is rarely provided and when it is furnished, it frequently lacks depth or insight.

In the sources of reception, the terms adjectives impressionist, primitivist, futurist, cubist and Dada often precede the descriptor composer or musician in admonishing Satie for his most recent aesthetic choices, even if the works in question clearly did not merit such description. In a letter to Cocteau in August , Satie relates the comments of an official at the Ministry of the interior who claims that his wartime ballet has offended soldiers at the front: In Paris before it was a suffix used by critics to convey suspicion tinged with scorn, or quite simply scorn.

The parodic invention of —isms was a journalistic sport by Not only did the — ism undermine individual artistic identity, it could also suggest an insatiable appetite for fame at the expense of serious commitment. Nevertheless, cubism, futurism and Dada were generally considered subversive artistic movements and were not well-received. The definitions of the terms intertextual and interart overlap somewhat in that they both infer a cross-over of texts that impact upon artistic meaning.

Anthony McGowan defines intertextuality as a concept that derived from the poststructuralist claim that signifiers refer always and only to other signifiers; that language can be transformed, translated, transferred, but never transcended. Yale University Press, , His later compositions, particularly those that date from onwards, are prominent examples of interart trends in this period which the music critics were trying to suppress. Music critics were inclined to view cross-pollination in the arts as a form of pollution of the supreme form of art — music.

Canonic discourses at this time continued to adhere to the Romantic notion that music was the highest and purest art form, the art to which all other arts aspired. Routledge, , 2nd ed. Ashgate, , 7. This groundbreaking work on the interart aesthetic in 20th century music, poetry and music illustrates the possibilities for uncovering new meanings in the work of many modernist artists, particularly Satie, Whistler, Apollinaire, Braque, Ponge and Stravinsky, through an interart methodological framework.

Taking full measure of himself Rather than consider the aesthetic reasoning or artistic motivations behind these works, few critics cared to penetrate beyond the extramusical referents. In this respect, Satie was not the only composer to borrow extensively: Debussy frequently borrowed from popular sources: Debussy and Satie even borrowed from the same sources at times. Music critics in his lifetime compared Satie to many non-musical figures, and in particular to literary ones: Chabrier and cabaret music. A work could be described as primitive for a number of reasons that included subject matter and aesthetic approach.

Art could be labelled this way if the subject concerned pre-historic or non-Western people or culture: The term was often applied to painters who worked in a naive or primitive manner and in such cases it was a synonym for uneducated or self-taught. In contrast, Whiting considers Chabrier as more of a kindred spirit than an influence on Satie: Satie the Bohemian, Critics diverged in the application of the term primitive to Satie: Rousseau was a customs-man douanier by day and an artist by night and this is how he gained the nickname Le Douanier Rousseau.

In an obituary of Erik Satie in La Revue musicale Cocteau poetically describes the meeting of the two primitive artists in heaven: After so much excess and beauty of millionaires, the simplicity of a music where human sadness expressed itself without a false note, without lies, was well received by the skilful crowd. In a promotional article for the concert in Comoedia Cocteau describes the primitive atelier of Brancusi and how comfortable Satie was in those environs.

By attending the festival you will help Brancusi to ornate his tomb. Juniet, si bien peinte par le bon Henri Rousseau. In the four corners, a brontosaurus has left eggs and sparkling statues attract Americans as if they were magpies. Satie was happy in the midst of this decor. It is only right that something on his tomb should call to mind those bygone days when, laughing and joking, he showed us our path.

The confusion surrounding contemporary definitions of artistic movements is abundantly clear in the reception of Parade. Constantly in search of the novel, this time round Diaghilef has settled on showing some cubist and futurist decors. Editions Francis van de Velde, , The Imaginary Museum of Musical Works: I find in the former the impetus of the Romantics; on the contrary, in the latter I see certain analogies with the Parnassians. There is good to be found in both schools, within them one finds above all powerful and curious talents.

Apollinaire explains that Parade is open to many interpretations and he stresses the interart nature of the work: Definitions of Parade flourish all over like branches of lilac in this late spring… It is a scenic poem that the musical pioneer Erik Satie has transformed into surprisingly expressive music, so clear and so simple that the wonderfully lucid spirit of France herself can be perceived. Erik Satie, Jean Cocteau, Picasso. An anonymous critic in La Grimace describes how this ballet disturbed his day: In Julien Tiersot writes of Parade: On the other hand, there are moments when one cannot listen without impatience to it proclaim the principles of a decadent art [ There is only one documented instance where Satie explicitly aligns the aesthetic intention of a specific work with an artistic group.

Rochester University Press, [] , Satie also began projects with Derain and Apollinaire, yet neither of these came to fruition. He concludes that it is unclear whether or not Satie should be classified as a futurist, cubist, fumiste or puffiste. This excerpt perhaps explains why Satie was perhaps motivated to write a series of insulting postcards addressed to Poueigh: Erik Satie, he also pursues the extra-musical effect. In the past however, when the RoseCroix was in full-bloom, he was able to discover maladroit or even captivating aggregations, which were only required not to stammer anymore in order to be able to transform themselves into a work of art.

Being a native of Honfleur, just like the other, his ambition today is to become the Alphonse Allais of the music world. He tries with great effort to achieve this by placing an extra line of writing on top of the usual five lines. And if one removes the text nothing funny remains. Unless you consider witty or clever the use of citations plucked from famous books, or the complete and absolute suppression of indications of metre, bars and time signature in the way that it was practiced, but not for the same reason, in the Middle Ages, or even, real notation [written] in enharmonics — la for soh double-sharp, for example.

Revue Hebdomadaire des spectacles, 24 May , 1. Bertrand outlines his concern in genealogical terms: No concessions have been made. And it announces dryly: Orchestra of 20 soloists. Je ne concluerai [sic. Et il annonce froidement: Orchestre de 20 solistes. Satie was part of a culture where macho outbursts were quite common events as artists often defended the honour of their new art through physical fights.

Pasler explains that unlike today, artistic scandals occurred relatively often in Paris at the turn of the twentieth century. Building support and understanding for a work — that is, creating a public — was a process that took time and strategy. Instead, Satie gained a new group of allies and supporters as he alienated a previous group. Sanouillet, Dada in Paris, They also illustrate how he consistently self-sabotaged his career. In the following chapter, the ways in which Satie was disciplined for his difficult behaviour and his illegitimate musical compositions, are explored through the themes of gender, class, nationalism and religion.

Official composers were invested in preserving and promoting the ideologies of the canon and were therefore, expected to demonstrate sympathy with the dominant ideological principles that informed it. Furthermore, the composer himself should also embody the contemporary ideals of masculinity. Music critics consistently appropriate language, imagery and metaphors that originate in these four tributary discourses in order to discipline Satie. The power of the pen can shape mightily how these metaphors are disseminated, understood, reinforced, or modified. Here the focus shifts from the othered subject Satie onto the wider socio-historical context in which the canon operated, an approach that facilitates many diverse interpretations of the history of this period.

In order to trace the role of gender in canon formation in modernist discourses it is necessary to understand the contemporary constructions of masculinity and femininity in this period. In the early 20th century the andocentric principle was the ideology of masculine domination that governed discourses on gender. Bourdieu argues that the andocentric principle has never lost its hegemonic power, but the language and mechanisms of symbolic violence through which masculine domination is maintained and controlled have changed. Similarly, Izenberg argues that while the dominant idea of masculinity has altered over time, this change has never been a drastic one, but rather a modification of previous ideals.

In this period sharper divisions were drawn between feminine and masculine spheres due to a number of societal and cultural changes which precipitated a more urgent desire to preserve male autonomy. Aesthetic culture was highly valued and its production and maintenance was considered an ennobling pursuit. But in the late decades of the 19th century, however, contemporary attitudes towards masculinity and femininity underwent a radical shift. France suffered a humiliating defeat to Germany in the FrancoPrussian war and their neighbours Germany and Italy had undergone unification in , a development which posed a threat to French sovereignty.

The rise of mass politics on the right and the left had destabilized the power of the wealthy upper classes. In the midst of these changes, women now had improved access to education, were working in the public sphere and were participating in politics. He deplores modern manners toward women, especially toward those who seek employment; he invokes a traditional set of manners which had been part of the French diplomatic heritage for centuries.

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