"Parade" by Erik Satie (Audio + Sheet Music)
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- เผยแพร่เมื่อ 24 มี.ค. 2016
- Something a little different today...
pf: Minneapolis Symphony Orchestra cond/Antal Doráti
Year/Date of Composition: 1917
First Performance: 1917-05-18 in Paris. Théâtre du Châtelet
Satie was born in 1866 at Honfleur, on the coast of Normandy. His father was at the time a shipping broker, while his mother was of Scottish origin. Something of his later eccentricity seems to have been derived from his paternal uncle, Adrien Satie, known in Honfleur as a character. The family moved to Paris but on the death of Satie's mother in 1872 he was sent back to Honfleur to the house of his grandparents. Six years later he returned to Paris, where, in 1879, he entered the Conservatoire. There he proved an unsatisfactory pupil, lingering on, as a friend alleged, to avoid the obligatory five years of military service, reduced for students to one year, which, in his case, was reduced still further by illness deliberately courted.
After his discharge from the infantry, Satie had his first pieces published by his father, who now had a small publishing business and stationer's shop. In the early 1890s he came under the influence of Joséphin Péladan, self-styled Sâr Merodack of the Rose+Croix, breaking with him by 1892. Eclectic medieval preoccupation led him to establish his own mock religion, the Metropolitan Church of the Art of Jesus the Conductor. Of this he fancifully described himself as Parcier et Maître de Chapelle, the first title sheer invention, and now published Le cartulaire, a vehicle in which he might pontifically inveigh against those of whom he disapproved. At the same time, paradoxically, he was involved with the bohemian cabaret of Rudolf Salis at the Chat Noir. The same years brought contact with Debussy, with whom he remained on good terms, in spite of the latter's tendency to patronise him.
In 1905, after a period earning his living as a café pianist, Satie enrolled at the Schola Cantorum, where his teachers included Vincent d'Indy and Roussel. Here for three years he tried to remedy his perceived technical defects as a composer, particularly by the study of counterpoint. It was through Ravel's performance in 1911 of the Sarabandes of 1887 that the original nature of Satie's genius began to be acknowledged. Still further public recognition came through his association with Jean Cocteau and his collaboration with Dyagilev and others. In the years after the war, thanks to Cocteau, he became the centre of attention of a group of young composers, Les Six, originally known as Les nouveaux jeunes and then, in 1923, on the prompting of Darius Milhaud, of a group that took the name l'Ecole d'Arcueil, called after the relatively remote district of Paris where Satie chose to live in stark simplicity. Here his room was barely furnished, with a chair, a table and a hammock, the last heated in winter by bottles filled with hot water placed below and looking, according to Stravinsky, like some strange kind of marimba. Satie died on 1st July, 1925, after an illness of some six months.
Parade was the inspiration of Cocteau. It is described as a Ballet réaliste en un tableau (A Realist Ballet in One Scene). The curtain, costumes and décor were by Picasso and the choreography by Leonid Massin and it was first performed at the Théâtre du Châtelet on 18th May 1917 by Dyagilev's Ballets russes, with Lydia Lopokova, Massin, Leon Woizikovsky and Nicholas Zvereff. Cocteau's idea was to offer a stage-work that represented the principles of Cubism, and in this he succeeded. The scene is outside a fairground booth, where barkers and performers try to attract an audience. The work opens with a Choral, followed by a fugal exposition, Prélude du Rideau Rouge (‘Red Curtain Prelude’) and the entrance of the first Manager. The Chinese conjuror does tricks with an egg and eats fire, with imminent danger to all around as sparks scatter and have to be stamped out, the whole achieved by the use of unusual percussive effects from flaques sonores (water noises) and lottery-wheels. The Petite fille Américaine (‘The Little American Girl’), which is derived from the films, imitates Charlie Chaplin, is accompanied in a silent film episode by the sound of typewriter, shoots a thief, dances to the Ragtime du paquebot, is wrecked on the Titanic and enjoys a spring morning. The Acrobats are introduced, sad clowns, as it were, of Picasso's blue period, accompanied first by the xylophone and then by what the score describes as a bottle-phone. The harsh sound of a siren is heard with the return of reminiscences of what has passed, and the show comes to an end, merely a Parade, a poor representation of the real thing, now closed by a short reference to the Red Curtain Prelude.
Sources:
www.naxos.com/mainsite/blurbs_...
imslp.org/wiki/Parade_%28Satie... - เพลง
This music is reminiscent of so many things ranging from cabaret to Saint-Saëns to Stravinsky and Britten. Satie creates exquisite and enjoyable textures and while the piece is in places brash, bizarre and comical there is also something wistful, beautiful and fragile about this work. I even detect a flavour of Mahler in there. Always love to hear this.
14:25 That has got to be one of the best yet weirdest endings to a ballet I've ever heard...great stuff this piece!
a tiny moment of Sibelius in the final chord.
Erik Satie:Parádé
1. Choral - Prelude du Rideau Rouge (Korál - Bevezetés a vörös függönybe) 00:09
2. Prestidigitateur Chinois (Kínai szolgáltató) 01:47
3. Petite Fille Americaine (Amerikai kislány) 05:21
4. Rag-Time du Paquebot (Az óceánjáró Ragtime) 07:04
5. Acrobates (Akrobaták) 12:08
6. Suite au Prélude du Rideau Rouge (A vörös függöny bevezetése után) 14:16
Minneapolisi Szimfonikus Zenekar
Vezényel:Doráti Antal
Köszönöm az értékelést
Köszönöm az értékelést
Köszönöm az értékelést
@@davidrehak3539 👌
Спасибо!✨
so far ahead of his time. yet so accessible, easily understood and appreciated today. Bravo!
indeed
Satie was not a composer ahead of his time. Beethoven and Shonberg were ahead of their time
@@eduardorabelo5642 isnt it Schoenberg or Schönberg? sorry if it's just a typo.
but honestly, they all made their contributions.
@@ngyufeng6205 It's technically Schönberg. He changed it to Schoenberg when he moved to America. Most people (even Google's auto-correct lol) recognize Schoenberg though.
This is the weirdest thing I’ve heard so far this year and I love it! Satie was such a wonderful absurdist, and I couldn’t help but laugh at this in the very best way!
Beautiful ❤️
Not many people can brag about having Picasso paint scenery for their piece
I saw this performed around 1989 or 90 with the Picasso sets.
PICASSO NÃO PRESTA MEU AMIGO
Not many people can brag about having Satie compose music for their scenery
Erik Satie for the music composition, Picasso for the scenery and Leonide Massine for the choregraphy... Not many people but Jean Cocteau
¿Y Jean Cocteau? ¿Alguien quiere hablar de Jean Cocteau? "¿Alguien quiere pensar en los niños?" (Latin Simpson's dixit)
Bravo! Thanks for this fine post. Refreshingly detailed video information.
One of the Largest Composers that comes in the Smallest Package.
Thank you for using the Dorati recording. It really the best performance of this piece.
thanks for the description.
2:52 Postman Pat, Postman Pat
Mak the knife by Kurt Weill too 😀
Satie's masterpiece
It's fantastic. For me, Socrate wins it, though.
Or Gymnopédie No. 2; it's that good.
The father of ambient music. And a little bit of tecno pop
What a piece
4 years before: le sacre du printemps, of his friend stravinsky.
Yes, Sacre came 4 years prior to Parade, that is correct.
Around 5:50 is very reminiscent of Elfman's score to Edward Scissorhands.
It is rather the other way around...
@@DJKLProductions Of course, because Satie was around 80 or so years before Elfman. I was referring to the similarity, not whom inspired whom. :D
after loving and performing the gynopodies and gnosiennes etc for decades....finally reading Mary Davis bio, his connections to dadaists thrill me. DGunde
J'entends parfois des choix faits par Gershwin venue quelques années plus tard. Ce dernier avait 18 ans et quelque mois ans lors de la sortie de Parade.
The Satie's Power
Erê satie erê 🎵🌼
Brilliant!
Yo, it's John Appleseed!
groovy
Exelente una obra maestra
surrealist music
Pregevole per il livello compositivo per quanto attiene fiati strumentini e percussioni
❤️
Grand ancestor of minimalism, truly.
Yep. He pretty much invented it! He was also credited with what he called 'furniture music' (but what 'we' call 'elevator music'). Not an insult.
What props are required? Guns? Sirens? Foghorns?
And a typewriter.
Some that he used were aeroplane propellers, ticker tapes, foghorns, guns, typewriter, and believe it or not he also used milk bottles. His masterpieces never fail to amaze me.
Yes, and more. These noise-makers were added by Jean Cocteau to Satie's music.
10:21 Philip Glass born 😀
Probably also inspired Milhaud for Le Boeuf Sur Le Toit.
Milhaud received many influences of Satie. Stravinsky, Debussy, and others composers too.
Le boeuf sur le toit is copy of brazilian popular songs and rythm.
2:23
Is it me or does the opening sound like a parody of the opening of die MeisterSingers Von Nurnberg ?
from CJS for Texas Tech MUHL3303: composed 1917-1920
12:16!
5:08
?!?!?!!?!?!??!?!
2:36 ¿Que clase de ASMR fue eso?
nose espero haberte ayudado
9:12
Postman Pat
And his black and white cat. Thought the same.
@@Njal55 So ahead of his time, he predicted Postman Pat's theme
They definitely didn't use a glass bottle xylophone. It was a vibraphone with the motor turned on. Kind of disappointing.
quite hard to find a glass bottle xylophone.
I mean yes but they are built specifically for this piece.
Satie here Strauss 20th century
Arkadaşlar bu türküde kadans var mı?
haydaa türk, kadans var tabi de bu türkü değil :D
her dinlediğimde kahkaha atarım öyle bir türkü..
6:30
The Death Grips of his generation haha
XD
Game Civilization 5 brought me here
how
@@aphrodisy918 This piece is a great work in that game
6:05 ã
anyone else here from the rest is noise? XD
6:42 Ã
this parade sounds more like a death march
are you joking
What a lovely march then
Fant
huwaw hshs
8:22 õ
can you
@@Reichsmarschallenfuhrunggruppe kñno
@@vine2197 u
Ok
Галимая хрень.
Хотя панятно, шо это сочинил человек.
По нотам видно дажэ.
не шаришь просто
Really good piece, but would be much much better without literal guns and these exotic percussion
But without that, it would be much much less interesting. This piece would lose his subversive and controversial side. And it would be no more Parade, the Satie's masterpiece, where he shows all his humor, his fancy, his creativeness... This piece is supposed to be circus music, and all this exotic percussions contribute to this.
Those weren't actually written by Satie. Diaghilev, the producer of the ballet, made Satie add them because he hoped that by inciting controversy, the piece would become a success, like what had happened before with the Rite of Spring.
No.
No.