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Poetry With Which To Party
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Poetry With Which To Party

Poem By gershon hepner

From the top of your back teeth most art is not
mere furniture, said Erik Satie;
it should inspire, with both light and heat, an aliquot
of poetry with which to party.

Inspired by the life and works of Erik Satie:
In 1988 he composed three Gymnopédies, inspired by a poetry reading by his friend J. P. Contamine de Latour. The hypnotic allure of these compositions had its roots from in dances performed by youths during an ancient ritual celebration. The next year, seduced by the Romanian popular music and Indonesian Gamelan he had heard at the Great Exhibition in Paris, he started working on Gnossiennes. Home was a small room on the top floor of a building at Butte Montmatre: 'high above my creditors'. In 1891 he was engaged as second pianist at the L’Auburge du Clou, where he met Debussy who became his friend until 1916 when a misunderstanding led to a break-up that would never be reconciled. That same year he met Sar Jospehin Peladin, Grand Maestro of the Aesthetic Order of the Catholic Rosae Crucis of the Temple of the Grail. Satie became his follower and was made Master of the Chapel. His compatriot and friend, the humorist Alphonse Allais, then gave him the nickname Esotérik Satie. Among the several works he composed under the guidance of Sar Pedalan were Trois Préludes du 'Fils des étoiles', le Sonneries de la Rose-Croix. Two years later he argued with his mentor and broke away amidst declarations of artistic independence. 'If I have to follow someone, I think I can say it’s just going to be myself.' Immediately thereafter, in 1893, he composed the Danses gothiques. In these first works Satie was already using a freehand style with no bar lines, arranged chromatically around complex chord structures, that foreshadowed Debussy’s harmonic and timbre experiments. In the score he would replace conventional directions such as 'allegro', 'piano con brio'... with his own invented terminology - 'don’t make your fingers blush', 'from the top of your back teeth', 'do your best'... In 1895 he composed Vexations, an eight-measure motif to be played forty times consecutively for a total duration of about 18 hours. A year later he took up residence on the outskirts of Paris in a modest house with huge rooms - 'I have many ideas to accommodate, ' - where he composed Pièces froides. He gave up all esoteric research and in 1900 began collaborating with the music-hall diva Paulette Darty. It was in this period that Satie immersed himself in café-concert and popular music, composing Je te veux and La Diva de l’Empire. In 1905, tired of being considered little more than an amateur, and at odds with the musical academia, he enrolled for three years at the Schola Cantorum, where he studied counterpoint with Albert Roussel. In 1910 his music attracted the attention of Diaghilev, Picasso, Picabia, Ravel, Stravinsky and finally Cocteau with whom he became co-founder of the Les Six group. Satie’s genius was reaching an apex and he presented a new challenge to classical musical form - musique d’ameublement, so-called 'furniture music' which, he declared, was nothing more than a utilitarian industrial product, 'Art, ' he said. 'Is something else.' Musique d’ameublement became a sensation because 'it serves the same purpose as light, heat, and all forms of comfort.' It is pure objective formalism in opposition to every sentimental attribute of musical language. Such provocation could also be seen in the ironic score 'directions' of Descriptions automathiques and Sports et divertissements - examples of the finest musical elegance.


11/29/07

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Comments (1)

Insightful one! ! ! ! ! ! Thanks for posting this one! ! !


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