Very interesting also in Satie's music, we find different periods of composition which touch on different "genres", such as piano music, mystical music, musique de cabaret, theater and ballet music like "Parade" ( his collaborations with Jean Cocteau, and also with poetes, and others artists like Georges Braque, Marcel Duchamp, Man Ray...) ", and he also was the "father" of Le Groupe des Six.
But, I think we shouldn't misunderstand or underrate his music. On the contrary, that under an apparent simplicity, it reveals many difficulties for a good interpretation, in order to find the depth in certain slow movements but also the good tempi.
About his place in music history, I think that his music is not so well known (in french "méconnue") with the exception of the piano pieces, I think of the Gymnopédies or Gnossiennes.. and not very often played in concerts nowadays. I also like very much the Cold Pieces, Crossed-up Dances.
His life was difficult, and its relationship with institutions ( conservatoire, Schola Cantorum) quite complex between looking for being recognised and at the same time, some kind of rejection!
He lived sadly in misery which he called: "the little girl with the big green eyes ".
"La petite fille aux grands yeux verts".
I will forward you some pieces of my music which you could find a link to his, or French music :
"Étreintes" for piano is certainly my piece which is the most inspired by Satie, a sort of homage to the composer. Unfortunately, it has not yet been released on disc, so it is difficult for you to broadcast it. Otherwise, I think of "Danse avec la neige", which is rather a tribute to Debussy, of "Miroirs" of course, in particular for its annotations. In another measure to "Comma", for its minimalist writing, both classic and ambient.
I would like to end with a "quote" from Charles Koechlin about Satie, a quote that i really like :
« Satie raises, at a very serious level, many aesthetic questions. His music is clear, uncluttered, elliptical, without rhetoric, often technically simple and yet inimitable. A challenge to those who advocate complicated, elaborate or monumental music; and a challenge of a purely aesthetic nature, since it cannot be accused of "indigence", as has often been done ..." Charles Koechlin. (source : Dictionnaire HONEGGER/ Bordas)
Thanks very much, Paul & Tom and all your team, for giving rise to this time for reflection on Satie through your interview. I hope not to have written too much for my return.
Warm regards.
Christine »
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I gave an interview to BBC Radio 3 in the fall of 2021, for a program around Erik Satie. How I perceive his work. How much it influenced me ...
« Tom Service explores the maverick world of one of the most popular French composers, Erik Satie, composer of the three Gymnopédies, with help from pianist Nicolas Horvath and composer Christine Ott. »
Realised by Paul Frankl & Tom Service.
I am sharing here a letter that I then had with them.
« Dear Paul, Dear Tom,
Thanks very much for the interview on friday.
As I told you at the end of the interview, I simply wanted to evoke or recall here some themes that are close to my heart in relation to the personality and the work of Erik Satie and also to send you some links to some of my pieces that could evoke an heritage of French piano music, dear to me.
When I was a child I studied music quite soon and chose the piano. I remember the first pieces I played were "Le petit nègre" and "Children's Corner" or "Les Arabesques" by Debussy.
I think it is not always easy for a composer himself to define the musical influences which have guided him in his compositions and this poses a very interesting question of: "influences or reminiscences" ? which can come from studies, sort of "héritage pédagogique et musical" but also from musical choices..
But, for sure, as a French pianist, I play and feel very close to French music for piano, I am thinking in particular of Debussy, Ravel and Satie.
I think that over time, we absorb what we have learned and like a wine which improves itself by the time, there is a kind of "impregnation", conscious or unconscious, which will work on you.
What is interesting is to notice that Satie, even if he is associated sometimes to symbolism, is in fact "unclassifiable" and Satie is recognized as a precursor, at the same time of surrealism, minimalism and repetitive music.
I think I recognize the last two terms for my music. In some of my pieces, you could find an influence of minimalism and repetitive music (maybe more american repetitive music, like Philip Glass, John Adams,....etc), of "épure" for composing, orchestration and arrangement also.
What is also fascinating is his originality in the way he writes his music, sometimes without barlines, with very personal and poetic musical annotations. It is true that in my score of "Miroirs" edited by Gizeh Records in 2021 for my album "Time To Die", I was inspired by Satie's annotations in a very conscious way. I love these very colorful annotations which can suggest some visual images.
