Satie the Bohemian: From Cabaret to Concert Hall

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9780198164586: Satie the Bohemian: From Cabaret to Concert Hall
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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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Recensione:

Steven Moore Whiting now goes further than anybody in accounting for Satie in terms of his popular music context. He has also provided more detail about it than I ever thought possible - as a result of some twenty years' study and brilliant detective work. ... an indispensable repository of detailed information which enriches our enjoyment of this unique composer on every page. It is expensive but it's well produced and its dedicated research readably delivered brings Satie and his environment alive in a way which is not likely to be superceded. (Peter Dickinson, Indispensable, 25 February 2001.)

Brilliantly argued, deeply researched study showing how the Montmartre cabaret music influenced Satie's mature work. (BBC Music Magazine)

Whiting's accomplishment is an all-too-rare example of exhaustive first-rate scholarship and page-turning readability ... His explications of Satie's performance directions and parodies ... should be essential for any performer. (J. McCalla, Choice, Vol.38, No.1.)

The shaping of the story and the engaging prose speed the reader through what in other hands might have been an oppressive recital ... an exemplary study. (J. McCalla, Choice, Vol.38, No.1.)

... Professor Whiting not only writes engagingly but has something new and perceptive to say about every composition. / ... excellent and thought-provoking book.../ Whiting's skill in providing a clear, succinct and enviably readable summary of the Dada movement from this minefield of warring artistic factions and obfuscation leaves any interested reader in his debt. So, too, does the way in which he lavishes so much attention on the cultural, political and even the legal background to Satie's artistic achievements./ ... Whiting possesses the rare ability to penetrate the strange logic of Satie's compositional mind.../ ... this book will remain indispensible to anyone interested in Satie's music well into the coming millenium./ Robert Orledge, Professor of Music, University of Liverpool, TLS, 14/05/99.

One by one, illuminated in the clear light of professor Whiting's brilliant scholarship, there emerge the shadowy figures who influenced Satie during the 20-odd years he spent as a pub pianist in the smoke-filled bars of Montmartre. Whiting elaborates his thesis with a magnificent displayof erudition conveyed in lucid, elegant prose. This is a splendid book, valuable to anyone interested in French popular culture. - James Harding, BBC Music - August 1999

Contenuti:

  • Introduction
  • Part I: Café-Concert, Music-Hall, Cabaret
  • 1: The Café-Concert
  • 2: From Caf'Conç' to Music-Hall
  • 3: The Cabaret Artistique
  • Part II: Satie's Involvement in Popular Milieux
  • 4: Satie at the Chat Noir
  • 5: Satie and the Divan Japonais
  • 6: Satie at the Auberge du Clou
  • 7: From the Auberge du Clou to Arcueil
  • 8: Satie and Hyspa
  • 9: Of Pantomimes and Pears
  • 10: Waltz, Cakewalk, Theatre Song
  • Part III: From Cabaret to Concert Hall
  • 11: Satie's Humouristic Works for Piano
  • 12: From Chanson to Mélodie and Back
  • 13: The Composer as Playwright
  • 14: Autour de Cocteau, or The Uses of Popular Music
  • 15: On revient toujours: Satie's Last Ballets
  • List of Sources Cited
  • Index

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Descrizione libro Oxford University Press, United Kingdom, 1999. Hardback. Condizione: New. New. Language: English. Brand new Book. Erik Satie (1866-1925) came of age in the bohemian subculture of Montmartre, with its artists' cabarets and cafes-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. Hegives 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 Gymnopedies to the bizarre suites of the 1910s and avant-garde ballets of the1920s (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. Codice articolo LHB9780198164586

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