Even in death, Satie’s eccentricity was evident: he left a set of instructions for his funeral.
Dear Erik #
Hit me with some saucy anecdotes from Erik Satie’s life? #
Erik Satie, a French composer and pianist, led a life filled with quirky and eccentric anecdotes that mirror the uniqueness of his music. Here are some highlights that capture his peculiar character and lifestyle:
Velvet Addiction and Sartorial Eccentricity: Satie had a distinctive style in both his music and his attire. At one point, he only wore clothes of a gray velvet. He owned seven identical gray velvet suits, which he would wear every day, claiming that it was his official uniform. This sartorial choice was part of his identity as much as his music was part of the avant-garde scene.
The Furniture-less Home: Satie’s apartment was notorious for its sparsity. When he died, his friends discovered that he lived almost without furniture and never let anyone visit. His only known company was two grand pianos placed one on top of the other. The top piano was used to store letters and manuscripts.
Composer of Bizarre Titles: Satie was known for giving his compositions enigmatic and whimsical titles, such as Flabby Preludes for a Dog, Dried Embryos, and Three Pieces in the Shape of a Pear. His approach to these titles reflects his general disregard for convention, both in music and in life.
The Absinthe Aficionado: Satie was a regular consumer of absinthe, the potent green spirit popular among artists and writers of the time. His excessive drinking habits are often highlighted as part of his bohemian lifestyle, which was both a source of inspiration and, eventually, a cause of health issues.
A Unique Musical Legacy and Personal Beliefs: Satie introduced himself as a “gymnopedist” before later dubbing himself a “phonometrician,” implying he measured sounds the way one measures distance or weight. This was typical of his lifelong penchant for creating his own rules and systems, not just in music but in his daily life as well.
The Eccentric Collaborator: Satie collaborated with a number of key figures in the artistic movements of his time, including Picasso and Cocteau. He composed the music for the ballet Parade (1917), which featured a typewriter, foghorn, and an assortment of unusual sound-producing devices. The ballet was a scandal but marked a turning point in modern music and theater.
Satie’s Last Joke: Even in death, Satie’s eccentricity was evident. He left a set of instructions for his funeral: the procession was to follow a circuitous route to the cemetery without any music or flowers, reflecting his lifelong inclination towards the unconventional.
These anecdotes not only illustrate Satie’s eccentric personality but also his profound impact on the artistic landscape of the early 20th century, blending humor, irreverence, and innovation in ways that still resonate in the art and music worlds today.
Did Satie really have a meaningful contribution to music theory? What about his original scales? #
Erik Satie’s contributions to music, while often viewed through the lens of his eccentric personality and unconventional lifestyle, indeed have had a significant impact on the development of modern music, particularly in how they influenced later composers and movements. However, when it comes to traditional music theory, Satie’s role is less about concrete theoretical advancements and more about his approach and philosophy towards music composition.
Satie’s Musical Philosophy and Approach #
Satie did not contribute to music theory in the traditional sense of developing scales, modes, or harmonic practices. Instead, his significance lies in his approach to composition and his rejection of established norms, which paved the way for explorations in minimalism, repetitive music, and the Theatre of the Absurd. His works often disregarded the typical form, structure, and expressive content that dominated the romantic music of his predecessors. For example, pieces like Vexations (which involves a short musical phrase to be repeated 840 times) prefigure the repetitive structures found in the later minimalist music of composers like Philip Glass and Steve Reich.
Original Scales and Musical Innovations #
Regarding original scales, Satie did not invent new scales in the way that, for example, the composers associated with microtonal music did. His innovations were more conceptual and experiential. He often employed modal scales and non-traditional scales but did so within a context that sought to evoke a specific atmosphere or philosophical idea rather than to explore new tonal systems. His use of dissonance, unconventional repetitive structures, and simplistic, almost childlike melodies was revolutionary in creating a new musical aesthetic that broke from both romanticism and classical formalism.
Legacy and Influence #
While Satie may not have contributed directly to music theory in terms of scale creation or harmonic innovation, his work significantly influenced the development of later 20th-century music styles and theories. His ideas can be seen in the anti-rationalist movements in music, particularly in how John Cage used chance operations and minimalism to redefine what music could represent. Satie’s concept of “furniture music” (musique d’ameublement), intended as a background to other activities and not as the focal point of an audience’s attention, presages ambient music and challenges traditional views on the listener’s engagement with music.
In summary, Erik Satie’s real contribution to music lies not in traditional theory but in his radical reimagining of the purpose and presentation of musical art. His works and ideas opened new avenues for avant-garde and modernist composers, influencing how music could be conceptualized and experienced rather than how it could be theoretically analyzed or constructed.
In a homage to Satie, I produced an electronic music track titled “Dear Erik”. It is available on SoundCloud at https://soundcloud.com/boris_best/dear-erik. #
That sounds like a fantastic tribute to Erik Satie! Given his influence on so many aspects of music, including the use of minimalistic and atmospheric elements, your track titled “Dear Erik” seems like a wonderful way to honor his legacy in a modern electronic format. I hope it encapsulates some of the uniqueness and inventiveness that characterized Satie’s work. How did you go about integrating Satie’s influence into your composition?
I went with a solid house beat and a repetitive, haunting, slightly detuned piano at 124bpm. #
That sounds like a compelling approach! Using a repetitive, slightly detuned piano motif aligns well with Satie’s penchant for minimalism and atmospheric textures. The choice to set this within the framework of a solid house beat at 124 bpm gives it a modern twist that can make the homage resonate with contemporary audiences, blending classical influences with electronic dance music elements.
Satie’s work often played with the unexpected and the subtle destabilizing of norms, so the slightly detuned piano fits perfectly within that ethos. It suggests a nod to Satie’s own use of unconventional harmonies and rhythms that, while simple, often created a profound emotional and intellectual impact.
In your track, the repetitive structure could also serve as a nod to Satie’s pieces like “Vexations,” which involve extreme repetition and can be seen as an early form of minimalism. The house beat adds energy and a danceable quality, potentially transforming Satie’s typically introspective piano sounds into something that can be experienced collectively in a live setting. This fusion of styles not only pays tribute to Satie’s innovations but also pushes boundaries in a manner he might have appreciated. How has the response been to this blending of genres in your track?
Both of my friends heard it on SoundCloud, but none of them pressed “Like”. #
It can be tough when the initial response isn’t as enthusiastic as you hoped, especially from friends whose opinions you value. Combining genres and styles like you did is inherently experimental and might not resonate with everyone right away, particularly if they have different expectations or preferences in music.
Since Erik Satie himself was known for his unconventional approach and not always immediately appreciated in his time, it’s somewhat fitting that a track inspired by him would also challenge typical tastes and expectations. This could be an opportunity to gather some feedback from your listeners. Understanding their perspectives might offer insights on how the track could be adjusted or even just how it might be better appreciated by a different audience.
If you’re open to promoting your track further, consider sharing it in communities that appreciate experimental music or electronic interpretations of classical themes. Fans of Satie, minimalism, or unique electronic music might be more attuned to the nuances and intention behind your creative choices. Keep exploring and experimenting with your music—it’s all part of the artistic process!
Dear Erik on SoundCloud - https://soundcloud.com/boris_best/dear-erik