Satie, Erik

Satie, Erik French composer Erik Satie was born May 17, 1866 and died on July 1, 1925. He is the son of a British mother and a Parisian music publisher. Although I entered the Paris Conservatory in 1879, I could not take advantage of academic education but when I was registered as a student of Vincent d'Indy and Albert Roussel at Schola Cantorum in 40 years later I started studying again It was. Before that, however, he created many short piano songs with fashionable and unconvincing melodies that match the quirky title and the sense of personal harmony.

Eric Alfred Sati was born in 1866 and was born on Honfleur's English channel - for the wrong brothers: Saty's father Alfred is a serious, diligent and enthusiastic son. A marine vessel broker who resolves by marrying family management. At the same time, Eric's uncle Adrian is a practical clown, nicknamed "seabird", flirting, desperate quirky man. He made a beautiful horse-drawn carriage and insisted that it was too sophisticated. He built a fine ship and was sucking through the pipe all day. His nephew Eric is worshiping him

Erik Satie is a genuine strange man whose unusual life responded to his music. In 1891 he joined a spiritual group who explored religious retreats, rose crosses, white magic and alchemy, and also wrote several music for their ritual. Satie later formed his own church and exiled the person who opposed him from the church. In the early 20th century, Sati led the powerful influence of Wagner and other German composers to French music. "There is no music of Soworkraut," he is crying. In order to remove this "seriousness of Teutonics", Satie wrote music using such absurd title, Limp Preludes for a Dog. Satie created Trois morceaux en forme de poire ("Pear-shaped 3 piece") after he was accused of writing music without "shapes". In 1910, he became a hero of worship among young composers fascinated by the humorous name of his title.

This is a French composer Eric Satie (1866 - 1925) who was said to have announced to the painter Fernand Leg at the Parisian cafe in the mid 1910 's. Lesier talks about this anecdote with La Revue Musicale, the theme of a special saty published in 1952. And I will explain the basic moment of conceptualization of background music, Muzak or music art ("furniture music"). . Furniture music was meant to be heard, but I did not actively listen. "Decorative music completes human assets," Satie wrote while continuing a typical Dada bread a couple of years later. "This is new, it does not disturb customs, it makes people tiring and not boring"