Satie the Bohemian
From Cabaret to Concert Hall
Herausgeber: Whiting, Steven M.
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The composer Erik Satie (1866-1925) came of age in the bohemian sub-culture of Montmartre, with its artists' cabarets and cafes-concerts. These colorful milieux decisively shaped his aesthetic priorities and compositional strategies, from the esoteric Gymnopedies of the 1880s to the avant-garde ballets of the 1920s. Whiting makes this radical transvaluation of received artistic values more understandable by placing it in the full context of bohemian Montmartre.
Erik Satie (1866-1925) came of age in the bohemian subculture of Montmartre, with its artists' cabarets and cafés-concerts. Yet apologists have all too often downplayed this background as potentially harmful to the reputation of a composer whom they regarded as the progenitor of modern French music. Whiting argues, on the contrary, that Satie's two decades in and around Montmartre decisively shaped his aesthetic priorities and compositional strategies. He gives the fullest account to date of Satie's professional activities as a popular musician, and of how he transferred the parodic techniques and musical idioms of cabaret entertainment to works for concert hall. From the esoteric Gymnopédies to the bizarre suites of the 1910s and avant-garde ballets of the 1920s (not to mention music journalism and playwriting), Satie's output may be daunting in its sheer diversity and heterodoxy; but his radical transvaluation of received artistic values makes far better sense once placed in the fascinating context of bohemian Montmartre.
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