RickBaldinotti
18 may 00:37
DeRank ™: 22,96
Erik Satie ~1912~ Préludes Flasques (Pour un chien)
Erik Satie was born in Honfleur, Normandy, on May 17, 1866; he was a composer and pianist, playfully nicknamed Erotik Satie for that sensual coloring hidden among the notes of his scores.
An unconventional, anti-academic, extravagant, and enigmatic figure, Satie was a protagonist of French cultural life between the late 19th and early 20th centuries, not only in music but also in literature, painting, cinema, and theater.
His music, while traversing the styles of the time, always maintained an unmistakable mark: essential, suspended as if outside of time.
Delving into his biography means getting lost amid his many peculiarities: he ate only white foods, disliked light, and collected umbrellas.
In his spiritual quest, he founded "L'Église Métropolitaine d'Art de Jésus Conducteur," of which he was the sole member.
Ironic, cultured, iconoclastic, he made extravagance the hallmark of his way of living; thus, few took him seriously. He chose voluntary poverty, out of consistency and disdain for corruption and compromise.
He was a friend of Achille-Claude Debussy and later Joseph Maurice Ravel, and he mingled with artists and poets such as Pablo Diego José Francisco de Paula Juan Nepomuceno Maria de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso and Étienne "Stéphane" Mallarmé.
Two phases stood out in his work: the period of harmonic discoveries that anticipated Debussy (between 1888 and 1895), characterized by suspended stasis, when "Gymnopédies" and "Gnossiennes" for piano were created; and the period after 1895 with pieces bearing paradoxical/humorous titles and captions, with a proto-Dadaist attitude—“Dadaism” itself would not be born until 1916.
“I have never written a single note that I didn’t mean.” Éric Alfred Leslie Satie
#stories impronta: fasi:
Erik Satie was born in Honfleur, Normandy, on May 17, 1866; he was a composer and pianist, playfully nicknamed Erotik Satie for that sensual coloring hidden among the notes of his scores.
An unconventional, anti-academic, extravagant, and enigmatic figure, Satie was a protagonist of French cultural life between the late 19th and early 20th centuries, not only in music but also in literature, painting, cinema, and theater.
His music, while traversing the styles of the time, always maintained an unmistakable mark: essential, suspended as if outside of time.
Delving into his biography means getting lost amid his many peculiarities: he ate only white foods, disliked light, and collected umbrellas.
In his spiritual quest, he founded "L'Église Métropolitaine d'Art de Jésus Conducteur," of which he was the sole member.
Ironic, cultured, iconoclastic, he made extravagance the hallmark of his way of living; thus, few took him seriously. He chose voluntary poverty, out of consistency and disdain for corruption and compromise.
He was a friend of Achille-Claude Debussy and later Joseph Maurice Ravel, and he mingled with artists and poets such as Pablo Diego José Francisco de Paula Juan Nepomuceno Maria de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso and Étienne "Stéphane" Mallarmé.
Two phases stood out in his work: the period of harmonic discoveries that anticipated Debussy (between 1888 and 1895), characterized by suspended stasis, when "Gymnopédies" and "Gnossiennes" for piano were created; and the period after 1895 with pieces bearing paradoxical/humorous titles and captions, with a proto-Dadaist attitude—“Dadaism” itself would not be born until 1916.
“I have never written a single note that I didn’t mean.” Éric Alfred Leslie Satie
#stories impronta: fasi:
DeBaser says
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