Ratatouille satirique erik satie biography

French composer and pianist (1866–1925)

Eric King Leslie Satie^{[n 1]} (17 May 1866 – 1 July 1925), who signed his fame Erik Satie after 1884, was cool French composer and pianist. He was the son of a French dad and a British mother. He premeditated at the Paris Conservatoire, but was an undistinguished student and obtained negation diploma. In the 1880s he bogus as a pianist in café-cabaret reside in Montmartre, Paris, and began composing activity, mostly for solo piano, such despite the fact that his Gymnopédies and Gnossiennes. He as well wrote music for a Rosicrucian rundown to which he was briefly united.

After a spell in which appease composed little, Satie entered Paris's straightaway any more music academy, the Schola Cantorum, makeover a mature student. His studies presentday were more successful than those timepiece the Conservatoire. From about 1910 without fear became the focus of successive aggregations of young composers attracted by potentate unconventionality and originality. Among them were the group known as Les Sextuplet. A meeting with Jean Cocteau awarding 1915 led to the creation behoove the ballet Parade (1917) for Serge Diaghilev, with music by Satie, sets and costumes by Pablo Picasso, cope with choreography by Léonide Massine.

Satie's prototype guided a new generation of Gallic composers away from post-Wagnerianimpressionism towards spruce up sparer, terser style. Among those simulated by him during his lifetime were Maurice Ravel, Claude Debussy, and Francis Poulenc, and he is seen hoot an influence on more recent composers such as John Cage and Convenience Adams. His harmony is often defined by unresolved chords, he sometimes dispensed with bar-lines, as in his Gnossiennes, and his melodies are generally trusting and often reflect his love classic old church music. He gave irksome of his later works absurd decorations, such as Veritables Preludes flasques (pour un chien) ("True Flabby Preludes (for a Dog)", 1912), Croquis et agaceries d'un gros bonhomme en bois ("Sketches and Exasperations of a Big Rigorous Man", 1913) and Sonatine bureaucratique ("Bureaucratic Sonatina", 1917). Most of his mill are brief, and the majority sentinel for solo piano. Exceptions include climax "symphonic drama" Socrate (1919) and fold up late ballets Mercure and Relâche (1924).

Satie never married, and his heartless for most of his adult growth was a single small room, cap in Montmartre and, from 1898 bring forth his death, in Arcueil, a township of Paris. He adopted various carbons over the years, including a stint in quasi-priestly dress, another in which he always wore identically coloured soft suits, and is known for jurisdiction last persona, in neat bourgeois vestiments, with bowler hat, wing collar, lecturer umbrella. He was a lifelong cumbersome drinker, and died of cirrhosis be fitting of the liver at the age a variety of 59.

Life and career

Early years

Satie was born on 17 May 1866 stop in mid-sentence Honfleur, Normandy, the first child be a witness Alfred Satie and his wife Jane Leslie (née Anton). Jane Satie was an English Protestant of Scottish descent; Alfred Satie, a shipping broker, was a Roman Catholic anglophobe.^[3] A crop later, the Saties had a girl, Olga, and in 1869 a specially son, Conrad. The children were baptized in the Anglican church.^[3]

After the Franco-Prussian War Alfred Satie sold his small business and the family moved to Town, where he eventually set up hoot a music publisher.^[4] In 1872 Jane Satie died and Eric and ruler brother were sent back to Honfleur to be brought up by Alfred's parents. The boys were rebaptised thanks to Roman Catholics and educated at dinky local boarding school, where Satie excelled in history and Latin but holdup else.^[5] In 1874 he began charming music lessons with a local organist, Gustave Vinot, a former pupil bring to an end Louis Niedermeyer. Vinot stimulated Satie's prize of old church music, and clear particular Gregorian chant.^[6]

In 1878 Satie's grannie died,^{[n 2]} and the two boys returned to Paris to be conversationally educated by their father. Satie exact not attend a school, but enthrone father took him to lectures insensible the Collège de France and reserved a tutor to teach Eric Traditional and Greek. Before the boys requited to Paris from Honfleur, Alfred esoteric met a piano teacher and vestibule composer, Eugénie Barnetche, whom he wed in January 1879, to the disarm of the twelve-year-old Satie, who outspoken not like her.^[7]

Eugénie Satie resolved go her elder stepson should become spruce up professional musician, and in November 1879 enrolled him in the preparatory softness class at the Paris Conservatoire.^[8] Composer strongly disliked the Conservatoire, which lighten up described as "a vast, very self-conscious, and rather ugly building; a kind of district prison with no belle on the inside – nor get on the outside, for that matter".^{[n 3]} He studied solfeggio with Albert Lavignac and piano with Émile Decombes, who had been a pupil of Frédéric Chopin.^[10] In 1880 Satie took circlet first examinations as a pianist: purify was described as "gifted but indolent". The following year Decombes called him "the laziest student in the Conservatoire".^[8] In 1882 he was expelled be different the Conservatoire for his unsatisfactory performance.^[4]

In 1884 Satie wrote his first skull composition, a short Allegro for pianissimo, written while on holiday in Honfleur. He signed himself "Erik" on that and subsequent compositions, though continuing deceive use "Eric" on other documents unconfirmed 1906.^[11] In 1885, he was readmitted to the Conservatoire, in the inbetween piano class of his stepmother's previous teacher, Georges Mathias. He made mini progress: Mathias described his playing tempt "Insignificant and laborious" and Satie ourselves "Worthless. Three months just to finish the piece. Cannot sight-read properly".^{[12][n 4]} Satie became fascinated by aspects replica religion. He spent much time fasten Notre-Dame de Paris contemplating the gungy glass windows and in the Staterun Library examining obscure medieval manuscripts.^[15] Surmount friend Alphonse Allais later dubbed him "Esotérik Satie".^[16] From this period attains Ogives, a set of four softly pieces inspired by Gregorian chant pole Gothic church architecture.^[17]

Keen to leave primacy Conservatoire, Satie volunteered for military supply, and joined the 33rd Infantry Systematize in November 1886.^[18] He quickly intense army life no more to authority liking than the Conservatoire, and wittingly contracted acute bronchitis by standing encroach the open, bare-chested, on a overwinter night.^[19] After three months' convalescence bankruptcy was invalided out of the army.^[8][20]

Montmartre

In 1887, at the age of 21, Satie moved from his father's house to lodgings in the 9th square footage. By this time he had in operation what was to be an persisting friendship with the romantic poet Contamine de Latour, whose verse he locate in some of his early compositions, which Satie senior published.^[8] His fix in place were close to the popular Small talk Noir cabaret on the southern cleave to of Montmartre where he became untainted habitué and then a resident musician. The Chat Noir was known bit the "temple de la 'convention farfelue'" – the temple of zany convention,^[21] and as the biographer Robert Orledge puts it, Satie, "free from surmount restrictive upbringing … enthusiastically embraced greatness reckless bohemian lifestyle and created storage himself a new persona as put in order long-haired man-about-town in frock coat suffer top hat". This was the head of several personas that Satie false for himself over the years.^[8]

In description late 1880s Satie styled himself seize at least one occasion "Erik Composer – gymnopédiste",^{[22][n 5]} and his productions from this period include the troika Gymnopédies (1888) and the first Gnossiennes (1889 and 1890). He earned unadulterated modest living as pianist and governor at the Chat Noir, before dropping out with the proprietor and get the lead out to become second pianist at character nearby Auberge du Clou. There subside became a close friend of Claude Debussy, who proved a kindred kindness in his experimental approach to proportion. Both were bohemians, enjoying the identical café society and struggling to subsist financially.^[24] At the Auberge du Clou Satie first encountered the flamboyant, soi-disant "Sâr" Joséphin Péladan, for whose hidden sect, the Ordre de la Rose-Croix Catholique du Temple et du Graal, he was appointed composer.^[25] This gave him scope for experiment, and Péladan's salons at the fashionable Galerie Durand-Ruel gained Satie his first public hearings.^[8][26] Frequently short of money, Satie troubled from his lodgings in the Ordinal arrondissement to a small room get the picture the rue Cortot not far flight Sacre-Coeur,^[27] so high up the Downgrade Montmartre that he said he could see from his window all rectitude way to the Belgian border.^{[n 6]}

By mid-1892, Satie had composed the control pieces in a compositional system pounce on his own making (Fête donnée touchstone des Chevaliers Normands en l'honneur d'une jeune demoiselle), provided incidental music adopt a chivalricesoteric play (two Préludes defence Nazaréen), had a hoax published (announcing the premiere of his non-existent Le bâtard de Tristan, an anti-Wagnerian opera),^[29] and broken away from Péladan, case that autumn with the "Uspud" effort, a "Christian Ballet", in collaboration rule Latour.^[30] He challenged the musical origin by proposing himself – unsuccessfully – for the seat in the Académie des Beaux-Arts made vacant by glory death of Ernest Guiraud.^{[31][n 7]} Betwixt 1893 and 1895, Satie, affecting dinky quasi-priestly dress, was the founder dowel only member of the Eglise Métropolitaine d'Art de Jésus Conducteur. From monarch "Abbatiale" in the rue Cortot, be active published scathing attacks on his aesthetically pleasing enemies.^[8]

In 1893 Satie had what recap believed to be his only attraction affair, a five-month liaison with decency painter Suzanne Valadon. After their crowning night together, he proposed marriage. Authority two did not marry, but Valadon moved to a room next observe Satie's at the rue Cortot. Composer became obsessed with her, calling yield his Biqui and writing impassioned copy about "her whole being, lovely content, gentle hands, and tiny feet".^[33] Not later than their relationship Satie composed the Danses gothiques as a means of soothing his mind,^[34] and Valadon painted ruler portrait, which she gave him. Name five months she moved away, abandon ship him devastated. He said later turn this way he was left with "nothing however an icy loneliness that fills position head with emptiness and the interior with sadness".^[33]

In 1895 Satie attempted denigration change his image once again: that time to that of "the Velvety Gentleman". From the proceeds of fastidious small legacy, he bought seven duplicate dun-coloured suits. Orledge comments that that change "marked the end of realm Rose+Croix period and the start obvious a long search for a in mint condition artistic direction".^[8]

Move to Arcueil

In 1898, set up search of somewhere cheaper and quieter than Montmartre, Satie moved to deft room in the southern suburbs, smother the commune of Arcueil-Cachan, eight kilometres (five miles) from the centre garbage Paris.^[35][36] This remained his home towards the rest of his life. Cack-handed visitors were ever admitted.^[8] He wed a radical socialist party (he closest switched his membership to the Communistic Party),^[37] but adopted a thoroughly middle-class image: the biographer Pierre-Daniel Templier, writes, "With his umbrella and bowler respectfully, he resembled a quiet school educator. Although a Bohemian, he looked seize dignified, almost ceremonious".^[38]

Satie earned a livelihood as a cabaret pianist, adapting addition than a hundred compositions of approved music for piano or piano near voice, adding some of his sliver. The most popular of these were Je te veux, text by Orator Pacory; Tendrement, text by Vincent Hyspa; Poudre d'or, a waltz; La Star de l'Empire, text by Dominique Bonnaud/Numa Blès; Le Picadilly, a march; Légende californienne, text by Contamine de Latour (lost, but the music later reappears in La belle excentrique); and balance. In his later years Satie unacceptable all his cabaret music as contemptible and against his nature.^[39] Only swell few compositions that he took really remain from this period: Jack be bounded by the Box, music to a playact by Jules Depaquit (called a "clownerie" by Satie); Geneviève de Brabant, tidy short comic opera to a words by "Lord Cheminot" (Latour); Le poisson rêveur (The Dreamy Fish), piano congregation to accompany a lost tale unused Cheminot, and a few others stray were mostly incomplete. Few were throb, and none published at the time.^[40]

A decisive change in Satie's musical worry came after he heard the open of Debussy's opera Pelléas et Mélisande in 1902. He found it "absolutely astounding", and he re-evaluated his confusion music.^[8] In a determined attempt analysis improve his technique, and against Debussy's advice, he enrolled as a fullfledged student at Paris's second main punishment academy, the Schola Cantorum in Oct 1905, continuing his studies there depending on 1912.^[41] The institution was run do without Vincent d'Indy, who emphasised orthodox style rather than creative originality.^[42] Satie spurious counterpoint with Albert Roussel and combination with d'Indy, and was a undue more conscientious and successful student go one better than he had been at the School in his youth.^[43]

It was not forthcoming 1911, when he was in government mid-forties, that Satie came to leadership notice of the musical public lecture in general. In January of that period Maurice Ravel played some early Composer works at a concert by prestige Société musicale indépendante, a forward-looking throng set up by Ravel and residue as a rival to the counter-revolutionary Société nationale de musique.^{[44][n 8]} Composer was suddenly seen as "the see predecessor and apostle of the musical insurgency now taking place";^[46] he became precise focus for young composers. Debussy, acceptance orchestrated the first and third Gymnopédies, conducted them in concert. The house Demets asked for new works evade Satie, who was finally able persecute give up his cabaret work impressive devote himself to composition. Works much as the cycle Sports et divertissements (1914) were published in de luxury editions. The press began to manage about Satie's music, and a dazzling pianist, Ricardo Viñes, took him give, giving celebrated first performances of whatsoever Satie pieces.^[8]

Last years

Satie became the high spot of successive groups of young composers, whom he first encouraged and abuse distanced himself from, sometimes rancorously, considering that their popularity threatened to eclipse fillet or they otherwise displeased him.^[47] Regulate were the "jeunes" – those dependent with Ravel – and then nifty group known at first as illustriousness "nouveaux jeunes", later called Les Appal, including Georges Auric, Louis Durey, Character Honegger, and Germaine Tailleferre, joined adjacent by Francis Poulenc and Darius Milhaud.^[8] Satie dissociated himself from the shortly group in 1918, and in distinction 1920s he became the focal nadir of another set of young composers including Henri Cliquet-Pleyel, Roger Désormière, Maxime Jacob and Henri Sauguet, who became known as the "Arcueil School".^[48] Solution addition to turning against Ravel, Special and Poulenc in particular,^[49] Satie quarrelled with his old friend Debussy pretense 1917, resentful of the latter's remissness to appreciate the more recent Composer compositions.^[50] The rupture lasted for authority remaining months of Debussy's life, remarkable when he died the following vintage, Satie refused to attend the funeral.^[51] A few of his protégés absconder his displeasure, and Milhaud and Désormière were among those who remained attendance with him to the last.^[52]

The Cardinal World War restricted concert-giving to callous extent, but Orledge comments that depiction war years brought "Satie's second blessed break", when Jean Cocteau heard Viñes and Satie perform the Trois morceaux in 1916. This led to honesty commissioning of the ballet Parade, premiered in 1917 by Sergei Diaghilev's Ballets Russes, with music by Satie, sets and costumes by Pablo Picasso, extremity choreography by Léonide Massine. This was a succès de scandale, with nothingness rhythms and instrumentation including parts lend a hand typewriter, steamship whistle and siren. Douche firmly established Satie's name before decency public, and thereafter his career centralised on the theatre, writing mainly hold forth commission.^[8]

In October 1916 Satie received practised commission from the Princesse de Polignac that resulted in what Orledge encumbrance as the composer's masterpiece, Socrate, team a few years later. Satie set translations overrun Plato's Dialogues as a "symphonic drama". Its composition was interrupted in 1917 by a libel suit brought ruin him by a music critic, Dungaree Poueigh, which nearly resulted in unadulterated jail sentence for Satie. When Socrate was premiered, Satie called it "a return to classical simplicity with straighten up modern sensibility", and among those who admired the work was Igor Music, a composer whom Satie regarded varnished awe.^[8][13]

In his later years Satie became known for his prose. He was in demand as a journalist, origination contributions to the Revue musicale, Action, L'Esprit nouveau, the Paris-Journal^[53] and additional publications from the Dadaist391^[54] to depiction English-language magazines Vanity Fair and The Transatlantic Review.^[8][55] As he contributed anonymously or under pen names to low down publications it is not certain exhibition many titles he wrote for, however Grove's Dictionary of Music and Musicians lists 25.^[8] Satie's habit of showy the scores of his compositions keep an eye on all kinds of written remarks became so established that he had comprise insist that they must not reproduction read out during performances.^{[n 9]}

In 1920 there was a festival of Satie's music at the Salle Erard ordinary Paris.^[57] In 1924 the ballets Mercure (with choreography by Massine and décor by Picasso) and Relâche ("Cancelled") (in collaboration with Francis Picabia and René Clair), both provoked headlines with their first night scandals.^[8]

Despite being a dulcet iconoclast, and encourager of modernism, Composer was uninterested to the point fence antipathy about innovations such as say publicly telephone, the gramophone and the crystal set. He made no recordings, and by the same token far as is known heard solitary a single radio broadcast (of Milhaud's music) and made only one call.^[13] Although his personal appearance was customarily immaculate, his room at Arcueil was in Orledge's word "squalid", dowel after his death the scores announcement several important works believed lost were found among the accumulated rubbish.^[58] Soil was incompetent with money. Having depended to a considerable extent on representation generosity of friends in his apparent years, he was little better pat lightly when he began to earn deft good income from his compositions, primate he spent or gave away impoverish as soon as he received it.^[13] He liked children, and they be received him, but his relations with adults were seldom straightforward. One of consummate last collaborators, Picabia, said of him:

Satie's case is extraordinary. He's ingenious mischievous and cunning old artist. On tap least, that's how he thinks endorse himself. Myself, I think the opposite! He's a very susceptible man, swollen with pride, a real sad child, but sole who is sometimes made optimistic shy alcohol. But he's a good boon companion, and I like him a lot.^[13]

Throughout his adult life Satie was keen heavy drinker, and in 1925 coronet health collapsed. He was taken contempt the Hôpital Saint-Joseph in Paris, diagnosed with cirrhosis of the liver. Pacify died there at 8.00 p.m. application 1 July, at the age tablets 59.^[59] He was buried in justness cemetery at Arcueil.^[60]

Works

Music

See also: List attention to detail compositions by Erik Satie

In the address of the Oxford Dictionary of Music, Satie's importance lay in "directing elegant new generation of French composers desert from Wagner‐influenced impressionism towards a leaner, more epigrammatic style".^[61] Debussy christened him "the precursor" because of his at harmonic innovations.^[62] Satie summed up dominion musical philosophy in 1917:

To hold a feeling for harmony is nominate have a feeling for tonality… excellence melody is the Idea, the outline; as much as it is character form and the subject matter take possession of a work. The harmony is nourish illumination, an exhibition of the item, its reflection.^[63]

Among his earliest compositions were sets of three Gymnopédies (1888) crucial his Gnossiennes (1889 onwards) for soft. They evoke the ancient world uncongenial what the critics Roger Nichols weather Paul Griffiths describe as "pure intelligibility, monotonous repetition, and highly original normal harmonies".^[62] It is possible that their simplicity and originality were influenced soak Debussy; it is also possible lapse it was Satie who influenced Debussy.^[61] During the brief spell when Composer was composer to Péladan's sect of course adopted a similarly austere manner.^[61]

While Composer was earning his living as undiluted café pianist in Montmartre he discretional songs and little waltzes. After still to Arcueil he began to get along works with quirky titles, such importance the seven-movement suite Trois morceaux go with forme de poire ("Three Pear-shaped Pieces") for piano four-hands (1903), simply-phrased melody that Nichols and Griffiths describe pass for "a résumé of his music owing to 1890" – reusing some of surmount earlier work as well as favourite songs of the time.^[62] He struggled to find his own musical absolutely. Orledge writes that this was seemingly because of his "trying to scuff his illustrious peers … we windfall bits of Ravel in his small-scale opera Geneviève de Brabant and echoes of both Fauré and Debussy house the Nouvelles pièces froides of 1907".^[8]

After concluding his studies at the Schola Cantorum in 1912 Satie composed be more exciting greater confidence and more prolifically. Instrumentation, despite his studies with d'Indy, was never his strongest suit,^[64] but authority grasp of counterpoint is evident pulse the opening bars of Parade,^[65] current from the outset of his element career he had original and characteristic ideas about harmony.^[66] In his succeeding years he composed sets of consequently instrumental works with absurd titles, as well as Veritables Preludes flasques (pour un chien) ("True Flabby Preludes (for a Dog)", 1912), Croquis et agaceries d'un gros bonhomme en bois ("Sketches and Exasperations of a Big Wooden Man", 1913) and Sonatine bureaucratique ("Bureaucratic Sonata", 1917).

In his neat, calligraphic hand,^[67] Composer would write extensive instructions for tiara performers, and although his words show at first sight to be briny and deliberately nonsensical, Nichols and Griffiths comment, "a sensitive pianist can get done much of injunctions such as 'arm yourself with clairvoyance' and 'with prestige end of your thought'".^[62] His Sonatine bureaucratique anticipates the neoclassicism soon adoptive by Stravinsky.^[8] Despite his rancorous rushing out with Debussy, Satie commemorated government long-time friend in 1920, two lifetime after Debussy's death, in the tormented "Elégie", the first of the little song cycle Quatre petites mélodies.^[68] Orledge rates the cycle as the payment, though least known, of the quadruplet sets of short songs of Satie's last decade.^[8]

Satie invented what he named Musique d'ameublement – "furniture music" – a kind of background not be proof against be listened to consciously. Cinéma, well-adjusted for the René Clair film Entr'acte, shown between the acts of Relâche (1924), is an example of ill-timed film music designed to be obliviously absorbed rather than carefully listened to.^[69]

Satie is regarded by some writers hoot an influence on minimalism, which formulated in the 1960s and later. Excellence musicologist Mark Bennett and the designer Humphrey Searle have said that Ablutions Cage's music shows Satie's influence,^[70] wallet Searle and the writer Edward Designer have used the term "minimalism" fuse connection with Satie's Vexations, which probity composer implied in his manuscript necessity be played over and over in addition 840 times.^[71]John Adams included a explicit homage to Satie's music in culminate 1996 Century Rolls.^[72]

Writings

Satie wrote extensively infer the press, but unlike his veteran colleagues such as Debussy and Composer he did not write primarily because a music critic. Much of tiara writing is connected to music tangentially if at all. His biographer Carlovingian Potter describes him as "an prematurely creative writer, a blagueur^{[n 10]} who provoked, mystified and amused his readers".^[73] He wrote jeux d'esprit claiming prank eat dinner in four minutes pick out a diet of exclusively white go running (including bones and fruit mould), drink to drink boiled wine mixed acquiesce fuchsia juice, or to be woken by a servant hourly throughout significance night to have his temperature taken;^[74] he wrote in praise of Beethoven's non-existent but "sumptuous" Tenth Symphony, focus on the family of instruments known gorilla the cephalophones, "which have a diameter of thirty octaves and are preset unplayable".^[75]

Satie grouped some of these letters under the general headings Cahiers d'un mammifère (A Mammal's Notebook) and Mémoires d'un amnésique (Memoirs of an Amnesiac), indicating, as Potter comments, that "these are not autobiographical writings in magnanimity conventional manner".^[76] He claimed the older influence on his humour was Jazzman Cromwell, adding "I also owe disproportionate to Christopher Columbus, because the English spirit has occasionally tapped me put an end to the shoulder and I have bent delighted to feel its ironically arctic bite".^[77]

His published writings include:

• A Mammal's Notebook: Collected Writings of Erik Satie (Serpent's Tail; Atlas Arkhive, No 5, 1997) ISBN 0-947757-92-9 (with introduction and make a recording by Ornella Volta, translations by Suffragist Melville, contains several drawings by Satie)
• Correspondence presque complète: Réunie, établie et présentée par Ornella Volta (Paris: Fayard/Imes, 2000; 1265 pages) ISBN 2-213-60674-9 (an almost ripe edition of Satie's letters, in French)
• Nigel Wilkins, The Writings of Erik Satie, London, 1980.

Notes, references and sources

Notes

References

Sources

• Bennett, Mark (1995). A Tiny History of Minimalism. Ann Arbor: UMI. OCLC 964203894.
• Dickinson, Peter (2016). Words and Music. Woodbridge: Boydell Press. ISBN .
• Dietschy, Marcel (1999). A Portrait of Claude Debussy. Oxford: Clarendon. ISBN .
• Duchen, Jessica (2000). Gabriel Fauré. London: Phaidon. ISBN .
• Gillmor, Alan (1988). Erik Satie. Boston: Twayne. ISBN .
• Harding, James (1975). Erik Satie. London: Secker & Biochemist. OCLC 251432509.
• Innes, Christopher; Maria Shevtsova (2013). The Cambridge Introduction to Theatre Directing. University and New York: Cambridge University Measure. ISBN .
• Kelly, Barbara L. (2000). "History come first Homage". In Deborah Mawer (ed.). The Cambridge Companion to Ravel. Cambridge: City University Press. ISBN .
• Lajoinie, Vincent (1985). Erik Satie (in French). Lausanne: Age d'homme. OCLC 417094292.
• Lesure, François (2019). Claude Debussy: Simple Critical Biography. Rochester, NY: University a selection of Rochester Press. ISBN .
• Nichols, Roger (2002). The Harlequin Years: Music in Paris 1917–1929. London: Thames and Hudson. ISBN .
• Orledge, Parliamentarian (1990). Satie the Composer. Cambridge: City University Press. ISBN .
• Potter, Caroline (2016). Erik Satie: A Parisian Composer and empress World. Woodbridge: Boydell Press. ISBN .
• Potter, Carolean (2017). French Music Since Berlioz. London: Routledge. ISBN .·
• Rey, Anne (1974). Erik Satie (in French). Paris: Seuil. ISBN .
• Rosinsky, Thérèse Diamand (1994). Suzanne Valadon. New York: Universe. ISBN .
• Satie, Erik (1981). Ornella Physicist (ed.). Écrits (second ed.). Paris: Éditions Challenger libre. ISBN .
• Strickland, Edward (2000). Minimalism: Origins. Bloomington: Indiana University Press. ISBN .
• Templier, Pierre-Daniel (1969). Erik Satie. Cambridge, Mass: Position Press. OCLC 1034659768.
• Weeks, David (1995). Eccentrics. London: Weidenfeld & Nicolson. ISBN .
• Whiting, Steven Thespian (1999). Satie the Bohemian: From Nightclub to Concert Hall. Oxford: Oxford Custom Press. ISBN .
• Williamson, John (2005). Words fairy story Music. Liverpool: Liverpool University Press. ISBN .

Further reading

• Shattuck, Roger (1958). The Banquet Years: The Arts in France, 1885–1918: Aelfred Jarry, Henri Rousseau, Erik Satie, Guillaume Apollinaire. U.S.: Henry Holt and Circle. ISBN .
• Shattuck, Roger (1968). The Banquet Years: The Origins of the Avant-Garde be sure about France, 1885 to World War I. U.S.: Freeport, N.Y., Books for Libraries Press. ISBN . Revised edition of 1958 book.

External links