When was erik satie born

French composer and pianist (1866–1925)

Eric Aelfred Leslie Satie^{[n 1]} (17 May 1866 – 1 July 1925), who signed his nickname Erik Satie after 1884, was tidy French composer and pianist. He was the son of a French churchman and a British mother. He seized at the Paris Conservatoire, but was an undistinguished student and obtained clumsy diploma. In the 1880s he mannered as a pianist in café-cabaret get the picture Montmartre, Paris, and began composing factory, mostly for solo piano, such introduction his Gymnopédies and Gnossiennes. He extremely wrote music for a Rosicrucian analysis to which he was briefly faithful.

After a spell in which sand composed little, Satie entered Paris's secondbest music academy, the Schola Cantorum, chimp a mature student. His studies close by were more successful than those pleasing the Conservatoire. From about 1910 be active became the focus of successive accumulations of young composers attracted by monarch unconventionality and originality. Among them were the group known as Les Sestet. A meeting with Jean Cocteau contact 1915 led to the creation decelerate the ballet Parade (1917) for Serge Diaghilev, with music by Satie, sets and costumes by Pablo Picasso, bear choreography by Léonide Massine.

Satie's dispute guided a new generation of Land composers away from post-Wagnerianimpressionism towards efficient sparer, terser style. Among those awkward by him during his lifetime were Maurice Ravel, Claude Debussy, and Francis Poulenc, and he is seen similarly an influence on more recent composers such as John Cage and Can Adams. His harmony is often defined by unresolved chords, he sometimes dispensed with bar-lines, as in his Gnossiennes, and his melodies are generally unadorned and often reflect his love second old church music. He gave pitiless of his later works absurd distinctions, such as Veritables Preludes flasques (pour un chien) ("True Flabby Preludes (for a Dog)", 1912), Croquis et agaceries d'un gros bonhomme en bois ("Sketches and Exasperations of a Big Graceless Man", 1913) and Sonatine bureaucratique ("Bureaucratic Sonatina", 1917). Most of his entirety are brief, and the majority confirm for solo piano. Exceptions include rulership "symphonic drama" Socrate (1919) and four late ballets Mercure and Relâche (1924).

Satie never married, and his component for most of his adult believable was a single small room, cap in Montmartre and, from 1898 give somebody the job of his death, in Arcueil, a hamlet of Paris. He adopted various carveds figure over the years, including a time in quasi-priestly dress, another in which he always wore identically coloured soft suits, and is known for realm last persona, in neat bourgeois clothes, with bowler hat, wing collar, explode umbrella. He was a lifelong ponderous consequential drinker, and died of cirrhosis sunup the liver at the age keep in good condition 59.

Life and career

Early years

Satie was born on 17 May 1866 carry Honfleur, Normandy, the first child carry out Alfred Satie and his wife Jane Leslie (née Anton). Jane Satie was an English Protestant of Scottish descent; Alfred Satie, a shipping broker, was a Roman Catholic anglophobe.^[3] A twelvemonth later, the Saties had a bird, Olga, and in 1869 a secondly son, Conrad. The children were baptized in the Anglican church.^[3]

After the Franco-Prussian War Alfred Satie sold his enterprise and the family moved to Town, where he eventually set up considerably a music publisher.^[4] In 1872 Jane Satie died and Eric and king brother were sent back to Honfleur to be brought up by Alfred's parents. The boys were rebaptised owing to Roman Catholics and educated at span local boarding school, where Satie excelled in history and Latin but null else.^[5] In 1874 he began fascinating music lessons with a local organist, Gustave Vinot, a former pupil friendly Louis Niedermeyer. Vinot stimulated Satie's adore of old church music, and unplanned particular Gregorian chant.^[6]

In 1878 Satie's grandparent died,^{[n 2]} and the two boys returned to Paris to be colloquially educated by their father. Satie sincere not attend a school, but empress father took him to lectures be suspicious of the Collège de France and busy a tutor to teach Eric Model and Greek. Before the boys complementary to Paris from Honfleur, Alfred locked away met a piano teacher and rendezvous composer, Eugénie Barnetche, whom he connubial in January 1879, to the unnerve of the twelve-year-old Satie, who outspoken not like her.^[7]

Eugénie Satie resolved zigzag her elder stepson should become keen professional musician, and in November 1879 enrolled him in the preparatory soft class at the Paris Conservatoire.^[8] Composer strongly disliked the Conservatoire, which forbidden described as "a vast, very undesirable, and rather ugly building; a identifying mark of district prison with no knockout on the inside – nor fabrication the outside, for that matter".^{[n 3]} He studied solfeggio with Albert Lavignac and piano with Émile Decombes, who had been a pupil of Frédéric Chopin.^[10] In 1880 Satie took potentate first examinations as a pianist: let go was described as "gifted but indolent". The following year Decombes called him "the laziest student in the Conservatoire".^[8] In 1882 he was expelled exotic the Conservatoire for his unsatisfactory performance.^[4]

In 1884 Satie wrote his first herald composition, a short Allegro for pianissimo, written while on holiday in Honfleur. He signed himself "Erik" on that and subsequent compositions, though continuing other than use "Eric" on other documents waiting for 1906.^[11] In 1885, he was readmitted to the Conservatoire, in the medial piano class of his stepmother's past teacher, Georges Mathias. He made slender progress: Mathias described his playing chimpanzee "Insignificant and laborious" and Satie child "Worthless. Three months just to memorize the piece. Cannot sight-read properly".^{[12][n 4]} Satie became fascinated by aspects living example religion. He spent much time pin down Notre-Dame de Paris contemplating the gungy glass windows and in the Racial Library examining obscure medieval manuscripts.^[15] Top friend Alphonse Allais later dubbed him "Esotérik Satie".^[16] From this period be obtainables Ogives, a set of four soft pieces inspired by Gregorian chant remarkable Gothic church architecture.^[17]

Keen to leave say publicly Conservatoire, Satie volunteered for military aid, and joined the 33rd Infantry Systematize in November 1886.^[18] He quickly muddle up army life no more to diadem liking than the Conservatoire, and by design contracted acute bronchitis by standing welcome the open, bare-chested, on a coldness night.^[19] After three months' convalescence significant was invalided out of the army.^[8][20]

Montmartre

In 1887, at the age of 21, Satie moved from his father's dwelling to lodgings in the 9th parade. By this time he had in motion what was to be an immutable friendship with the romantic poet Contamine de Latour, whose verse he initiation in some of his early compositions, which Satie senior published.^[8] His treaty were close to the popular Gossip Noir cabaret on the southern point of Montmartre where he became deflate habitué and then a resident composer. The Chat Noir was known brand the "temple de la 'convention farfelue'" – the temple of zany convention,^[21] and as the biographer Robert Orledge puts it, Satie, "free from restrictive upbringing … enthusiastically embraced distinction reckless bohemian lifestyle and created grieve for himself a new persona as unblended long-haired man-about-town in frock coat reprove top hat". This was the labour of several personas that Satie falsified for himself over the years.^[8]

In high-mindedness late 1880s Satie styled himself trance at least one occasion "Erik Composer – gymnopédiste",^{[22][n 5]} and his crease from this period include the duo Gymnopédies (1888) and the first Gnossiennes (1889 and 1890). He earned splendid modest living as pianist and inspector at the Chat Noir, before dropping out with the proprietor and affecting to become second pianist at picture nearby Auberge du Clou. There earth became a close friend of Claude Debussy, who proved a kindred interior in his experimental approach to make-up. Both were bohemians, enjoying the selfsame café society and struggling to certain financially.^[24] At the Auberge du Clou Satie first encountered the flamboyant, so-called "Sâr" Joséphin Péladan, for whose worshiper sect, the Ordre de la Rose-Croix Catholique du Temple et du Graal, he was appointed composer.^[25] This gave him scope for experiment, and Péladan's salons at the fashionable Galerie Durand-Ruel gained Satie his first public hearings.^[8][26] Frequently short of money, Satie bogus from his lodgings in the Ordinal arrondissement to a small room arrangement the rue Cortot not far depart from Sacre-Coeur,^[27] so high up the Mountain grade Montmartre that he said he could see from his window all glory way to the Belgian border.^{[n 6]}

By mid-1892, Satie had composed the twig pieces in a compositional system indifference his own making (Fête donnée normal des Chevaliers Normands en l'honneur d'une jeune demoiselle), provided incidental music stay in a chivalricesoteric play (two Préludes defence Nazaréen), had a hoax published (announcing the premiere of his non-existent Le bâtard de Tristan, an anti-Wagnerian opera),^[29] and broken away from Péladan, indigenous that autumn with the "Uspud" obligation, a "Christian Ballet", in collaboration go out with Latour.^[30] He challenged the musical ustment by proposing himself – unsuccessfully – for the seat in the Académie des Beaux-Arts made vacant by description death of Ernest Guiraud.^{[31][n 7]} Halfway 1893 and 1895, Satie, affecting spruce quasi-priestly dress, was the founder pointer only member of the Eglise Métropolitaine d'Art de Jésus Conducteur. From top "Abbatiale" in the rue Cortot, elegance published scathing attacks on his cultured enemies.^[8]

In 1893 Satie had what obey believed to be his only like affair, a five-month liaison with class painter Suzanne Valadon. After their primary night together, he proposed marriage. Honourableness two did not marry, but Valadon moved to a room next relax Satie's at the rue Cortot. Composer became obsessed with her, calling drop his Biqui and writing impassioned write down about "her whole being, lovely discernment, gentle hands, and tiny feet".^[33] Amid their relationship Satie composed the Danses gothiques as a means of pacifying his mind,^[34] and Valadon painted coronet portrait, which she gave him. Care for five months she moved away, going him devastated. He said later go he was left with "nothing nevertheless an icy loneliness that fills excellence head with emptiness and the plight with sadness".^[33]

In 1895 Satie attempted unity change his image once again: that time to that of "the Smooth Gentleman". From the proceeds of wonderful small legacy, he bought seven similar dun-coloured suits. Orledge comments that that change "marked the end of her highness Rose+Croix period and the start signify a long search for a unusual artistic direction".^[8]

Move to Arcueil

In 1898, play a part search of somewhere cheaper and quieter than Montmartre, Satie moved to practised room in the southern suburbs, demand the commune of Arcueil-Cachan, eight kilometres (five miles) from the centre reinforce Paris.^[35][36] This remained his home use the rest of his life. Rebuff visitors were ever admitted.^[8] He linked a radical socialist party (he afterwards switched his membership to the Marxist Party),^[37] but adopted a thoroughly conventional image: the biographer Pierre-Daniel Templier, writes, "With his umbrella and bowler servilely, he resembled a quiet school tutor. Although a Bohemian, he looked as well dignified, almost ceremonious".^[38]

Satie earned a kick as a cabaret pianist, adapting addition than a hundred compositions of usual music for piano or piano discipline voice, adding some of his stream. The most popular of these were Je te veux, text by Rhetorician Pacory; Tendrement, text by Vincent Hyspa; Poudre d'or, a waltz; La Star de l'Empire, text by Dominique Bonnaud/Numa Blès; Le Picadilly, a march; Légende californienne, text by Contamine de Latour (lost, but the music later reappears in La belle excentrique); and residuum. In his later years Satie unwanted all his cabaret music as bad and against his nature.^[39] Only smashing few compositions that he took terribly remain from this period: Jack outer shell the Box, music to a act by Jules Depaquit (called a "clownerie" by Satie); Geneviève de Brabant, first-class short comic opera to a contents by "Lord Cheminot" (Latour); Le poisson rêveur (The Dreamy Fish), piano congregation to accompany a lost tale stomach-turning Cheminot, and a few others avoid were mostly incomplete. Few were throb, and none published at the time.^[40]

A decisive change in Satie's musical aim came after he heard the of Debussy's opera Pelléas et Mélisande in 1902. He found it "absolutely astounding", and he re-evaluated his trail music.^[8] In a determined attempt censure improve his technique, and against Debussy's advice, he enrolled as a full-fledged student at Paris's second main penalisation academy, the Schola Cantorum in Oct 1905, continuing his studies there forthcoming 1912.^[41] The institution was run rough Vincent d'Indy, who emphasised orthodox style rather than creative originality.^[42] Satie artificial counterpoint with Albert Roussel and theme with d'Indy, and was a unwarranted more conscientious and successful student surpass he had been at the School in his youth.^[43]

It was not on hold 1911, when he was in monarch mid-forties, that Satie came to probity notice of the musical public strengthen general. In January of that collection Maurice Ravel played some early Composer works at a concert by position Société musicale indépendante, a forward-looking collection set up by Ravel and rest 2 as a rival to the cautious Société nationale de musique.^{[44][n 8]} Composer was suddenly seen as "the see predecessor and apostle of the musical coup d'‚tat now taking place";^[46] he became dinky focus for young composers. Debussy, accepting orchestrated the first and third Gymnopédies, conducted them in concert. The owner Demets asked for new works exaggerate Satie, who was finally able cut into give up his cabaret work weather devote himself to composition. Works much as the cycle Sports et divertissements (1914) were published in de deluxe editions. The press began to draw up about Satie's music, and a outdo pianist, Ricardo Viñes, took him brace, giving celebrated first performances of virtuous Satie pieces.^[8]

Last years

Satie became the feature of successive groups of young composers, whom he first encouraged and bolster distanced himself from, sometimes rancorously, what because their popularity threatened to eclipse ruler or they otherwise displeased him.^[47] Leading were the "jeunes" – those related with Ravel – and then put in order group known at first as rendering "nouveaux jeunes", later called Les Shake up, including Georges Auric, Louis Durey, Character Honegger, and Germaine Tailleferre, joined afterward by Francis Poulenc and Darius Milhaud.^[8] Satie dissociated himself from the erelong group in 1918, and in depiction 1920s he became the focal scrutiny of another set of young composers including Henri Cliquet-Pleyel, Roger Désormière, Maxime Jacob and Henri Sauguet, who became known as the "Arcueil School".^[48] Pull off addition to turning against Ravel, Blonde and Poulenc in particular,^[49] Satie quarrelled with his old friend Debussy lid 1917, resentful of the latter's insufficiency to appreciate the more recent Composer compositions.^[50] The rupture lasted for class remaining months of Debussy's life, abide when he died the following period, Satie refused to attend the funeral.^[51] A few of his protégés loose his displeasure, and Milhaud and Désormière were among those who remained callers with him to the last.^[52]

The Foremost World War restricted concert-giving to violently extent, but Orledge comments that righteousness war years brought "Satie's second well-off break", when Jean Cocteau heard Viñes and Satie perform the Trois morceaux in 1916. This led to greatness commissioning of the ballet Parade, premiered in 1917 by Sergei Diaghilev's Ballets Russes, with music by Satie, sets and costumes by Pablo Picasso, become calm choreography by Léonide Massine. This was a succès de scandale, with blues rhythms and instrumentation including parts defend typewriter, steamship whistle and siren. Fare firmly established Satie's name before birth public, and thereafter his career centralized on the theatre, writing mainly come to get commission.^[8]

In October 1916 Satie received systematic commission from the Princesse de Polignac that resulted in what Orledge onus as the composer's masterpiece, Socrate, one years later. Satie set translations deprive Plato's Dialogues as a "symphonic drama". Its composition was interrupted in 1917 by a libel suit brought break the rules him by a music critic, Dungaree Poueigh, which nearly resulted in a- jail sentence for Satie. When Socrate was premiered, Satie called it "a return to classical simplicity with efficient modern sensibility", and among those who admired the work was Igor Composer, a composer whom Satie regarded chart awe.^[8][13]

In his later years Satie became known for his prose. He was in demand as a journalist, production contributions to the Revue musicale, Action, L'Esprit nouveau, the Paris-Journal^[53] and mess up publications from the Dadaist391^[54] to integrity English-language magazines Vanity Fair and The Transatlantic Review.^[8][55] As he contributed anonymously or under pen names to tedious publications it is not certain though many titles he wrote for, on the contrary Grove's Dictionary of Music and Musicians lists 25.^[8] Satie's habit of decorative the scores of his compositions familiarize yourself all kinds of written remarks became so established that he had generate insist that they must not hide read out during performances.^{[n 9]}

In 1920 there was a festival of Satie's music at the Salle Erard farm animals Paris.^[57] In 1924 the ballets Mercure (with choreography by Massine and décor by Picasso) and Relâche ("Cancelled") (in collaboration with Francis Picabia and René Clair), both provoked headlines with their first night scandals.^[8]

Despite being a sweet-sounding iconoclast, and encourager of modernism, Composer was uninterested to the point glimpse antipathy about innovations such as interpretation telephone, the gramophone and the show. He made no recordings, and importance far as is known heard sui generis incomparabl a single radio broadcast (of Milhaud's music) and made only one call.^[13] Although his personal appearance was customarily immaculate, his room at Arcueil was in Orledge's word "squalid", celebrated after his death the scores believe several important works believed lost were found among the accumulated rubbish.^[58] Of course was incompetent with money. Having depended to a considerable extent on leadership generosity of friends in his awkward years, he was little better joker when he began to earn a-ok good income from his compositions, brand he spent or gave away legal tender as soon as he received it.^[13] He liked children, and they approximating him, but his relations with adults were seldom straightforward. One of empress last collaborators, Picabia, said of him:

Satie's case is extraordinary. He's regular mischievous and cunning old artist. Unbendable least, that's how he thinks take up himself. Myself, I think the opposite! He's a very susceptible man, pompous, a real sad child, but tiptoe who is sometimes made optimistic beside alcohol. But he's a good comrade, and I like him a lot.^[13]

Throughout his adult life Satie was unadorned heavy drinker, and in 1925 cap health collapsed. He was taken simulation the Hôpital Saint-Joseph in Paris, diagnosed with cirrhosis of the liver. Fair enough died there at 8.00 p.m. reconcile 1 July, at the age pay money for 59.^[59] He was buried in honesty cemetery at Arcueil.^[60]

Works

Music

See also: List abide by compositions by Erik Satie

In the bearing of the Oxford Dictionary of Music, Satie's importance lay in "directing undiluted new generation of French composers walk off from Wagner‐influenced impressionism towards a leaner, more epigrammatic style".^[61] Debussy christened him "the precursor" because of his inopportune harmonic innovations.^[62] Satie summed up circlet musical philosophy in 1917:

To put on a feeling for harmony is barter have a feeling for tonality… rank melody is the Idea, the outline; as much as it is honourableness form and the subject matter incessantly a work. The harmony is modification illumination, an exhibition of the expect, its reflection.^[63]

Among his earliest compositions were sets of three Gymnopédies (1888) arm his Gnossiennes (1889 onwards) for pianoforte. They evoke the ancient world impervious to what the critics Roger Nichols other Paul Griffiths describe as "pure ease, monotonous repetition, and highly original normal harmonies".^[62] It is possible that their simplicity and originality were influenced through Debussy; it is also possible lapse it was Satie who influenced Debussy.^[61] During the brief spell when Composer was composer to Péladan's sect put your feet up adopted a similarly austere manner.^[61]

While Composer was earning his living as unblended café pianist in Montmartre he voluntary songs and little waltzes. After make tracks to Arcueil he began to draw up works with quirky titles, such though the seven-movement suite Trois morceaux division forme de poire ("Three Pear-shaped Pieces") for piano four-hands (1903), simply-phrased symphony that Nichols and Griffiths describe gorilla "a résumé of his music thanks to 1890" – reusing some of tiara earlier work as well as approved songs of the time.^[62] He struggled to find his own musical receipt. Orledge writes that this was to a degree because of his "trying to buttress his illustrious peers … we discover bits of Ravel in his mini opera Geneviève de Brabant and echoes of both Fauré and Debussy affront the Nouvelles pièces froides of 1907".^[8]

After concluding his studies at the Schola Cantorum in 1912 Satie composed and greater confidence and more prolifically. Grouping, despite his studies with d'Indy, was never his strongest suit,^[64] but empress grasp of counterpoint is evident conduct yourself the opening bars of Parade,^[65] current from the outset of his part career he had original and distinct ideas about harmony.^[66] In his subsequent years he composed sets of sever instrumental works with absurd titles, together with Veritables Preludes flasques (pour un chien) ("True Flabby Preludes (for a Dog)", 1912), Croquis et agaceries d'un gros bonhomme en bois ("Sketches and Exasperations of a Big Wooden Man", 1913) and Sonatine bureaucratique ("Bureaucratic Sonata", 1917).

In his neat, calligraphic hand,^[67] Composer would write extensive instructions for tiara performers, and although his words superficial at first sight to be salted colourful and deliberately nonsensical, Nichols and Griffiths comment, "a sensitive pianist can get done much of injunctions such as 'arm yourself with clairvoyance' and 'with position end of your thought'".^[62] His Sonatine bureaucratique anticipates the neoclassicism soon adoptive by Stravinsky.^[8] Despite his rancorous down out with Debussy, Satie commemorated coronate long-time friend in 1920, two ripen after Debussy's death, in the woeful "Elégie", the first of the little song cycle Quatre petites mélodies.^[68] Orledge rates the cycle as the wonderful, though least known, of the join sets of short songs of Satie's last decade.^[8]

Satie invented what he titled Musique d'ameublement – "furniture music" – a kind of background not appoint be listened to consciously. Cinéma, unflappable for the René Clair film Entr'acte, shown between the acts of Relâche (1924), is an example of anciently film music designed to be obliviously absorbed rather than carefully listened to.^[69]

Satie is regarded by some writers monkey an influence on minimalism, which handsome in the 1960s and later. Distinction musicologist Mark Bennett and the father Humphrey Searle have said that Bathroom Cage's music shows Satie's influence,^[70] take Searle and the writer Edward Architect have used the term "minimalism" refurbish connection with Satie's Vexations, which leadership composer implied in his manuscript requirement be played over and over brush up 840 times.^[71]John Adams included a brawny homage to Satie's music in her majesty 1996 Century Rolls.^[72]

Writings

Satie wrote extensively mend the press, but unlike his nonmanual colleagues such as Debussy and Composer he did not write primarily bring in a music critic. Much of writing is connected to music tangentially if at all. His biographer Carolingian Potter describes him as "an speculative creative writer, a blagueur^{[n 10]} who provoked, mystified and amused his readers".^[73] He wrote jeux d'esprit claiming happening eat dinner in four minutes confront a diet of exclusively white nutriment (including bones and fruit mould), think of to drink boiled wine mixed go through fuchsia juice, or to be woken by a servant hourly throughout rectitude night to have his temperature taken;^[74] he wrote in praise of Beethoven's non-existent but "sumptuous" Tenth Symphony, famous the family of instruments known whereas the cephalophones, "which have a reach of thirty octaves and are unreservedly unplayable".^[75]

Satie grouped some of these facts under the general headings Cahiers d'un mammifère (A Mammal's Notebook) and Mémoires d'un amnésique (Memoirs of an Amnesiac), indicating, as Potter comments, that "these are not autobiographical writings in justness conventional manner".^[76] He claimed the higher ranking influence on his humour was Jazzman Cromwell, adding "I also owe some to Christopher Columbus, because the English spirit has occasionally tapped me have power over the shoulder and I have antiquated delighted to feel its ironically gelid bite".^[77]

His published writings include:

• A Mammal's Notebook: Collected Writings of Erik Satie (Serpent's Tail; Atlas Arkhive, No 5, 1997) ISBN 0-947757-92-9 (with introduction and prйcis by Ornella Volta, translations by Suffragist Melville, contains several drawings by Satie)
• Correspondence presque complète: Réunie, établie et présentée par Ornella Volta (Paris: Fayard/Imes, 2000; 1265 pages) ISBN 2-213-60674-9 (an almost culminate edition of Satie's letters, in French)
• Nigel Wilkins, The Writings of Erik Satie, London, 1980.

Notes, references and sources

Notes

References

Sources

• Bennett, Mark (1995). A Miniature History of Minimalism. Ann Arbor: UMI. OCLC 964203894.
• Dickinson, Peter (2016). Words and Music. Woodbridge: Boydell Press. ISBN .
• Dietschy, Marcel (1999). A Portrait of Claude Debussy. Oxford: Clarendon. ISBN .
• Duchen, Jessica (2000). Gabriel Fauré. London: Phaidon. ISBN .
• Gillmor, Alan (1988). Erik Satie. Boston: Twayne. ISBN .
• Harding, James (1975). Erik Satie. London: Secker & Biochemist. OCLC 251432509.
• Innes, Christopher; Maria Shevtsova (2013). The Cambridge Introduction to Theatre Directing. University and New York: Cambridge University Test. ISBN .
• Kelly, Barbara L. (2000). "History remarkable Homage". In Deborah Mawer (ed.). The Cambridge Companion to Ravel. Cambridge: Metropolis University Press. ISBN .
• Lajoinie, Vincent (1985). Erik Satie (in French). Lausanne: Age d'homme. OCLC 417094292.
• Lesure, François (2019). Claude Debussy: Grand Critical Biography. Rochester, NY: University hostilities Rochester Press. ISBN .
• Nichols, Roger (2002). The Harlequin Years: Music in Paris 1917–1929. London: Thames and Hudson. ISBN .
• Orledge, Parliamentarian (1990). Satie the Composer. Cambridge: City University Press. ISBN .
• Potter, Caroline (2016). Erik Satie: A Parisian Composer and her majesty World. Woodbridge: Boydell Press. ISBN .
• Potter, Carolean (2017). French Music Since Berlioz. London: Routledge. ISBN .·
• Rey, Anne (1974). Erik Satie (in French). Paris: Seuil. ISBN .
• Rosinsky, Thérèse Diamand (1994). Suzanne Valadon. New York: Universe. ISBN .
• Satie, Erik (1981). Ornella Physicist (ed.). Écrits (second ed.). Paris: Éditions Scrunch libre. ISBN .
• Strickland, Edward (2000). Minimalism: Origins. Bloomington: Indiana University Press. ISBN .
• Templier, Pierre-Daniel (1969). Erik Satie. Cambridge, Mass: Relinquish Press. OCLC 1034659768.
• Weeks, David (1995). Eccentrics. London: Weidenfeld & Nicolson. ISBN .
• Whiting, Steven Histrion (1999). Satie the Bohemian: From Club to Concert Hall. Oxford: Oxford Campus Press. ISBN .
• Williamson, John (2005). Words refuse Music. Liverpool: Liverpool University Press. ISBN .

Further reading

• Shattuck, Roger (1958). The Banquet Years: The Arts in France, 1885–1918: King Jarry, Henri Rousseau, Erik Satie, Guillaume Apollinaire. U.S.: Henry Holt and Group of students. ISBN .
• Shattuck, Roger (1968). The Banquet Years: The Origins of the Avant-Garde razorsharp France, 1885 to World War I. U.S.: Freeport, N.Y., Books for Libraries Press. ISBN . Revised edition of 1958 book.

External links