Le Piccadilly : Work information
- Work name
- Le Piccadilly
- Work number
- 1904-00-00 02:00:00
- Forlane CI
- Ivan Pastor
- Jean-Pierre Bouquet
- Recording date
Erik (Alfred Leslie) Satie
If the professors of the Paris Conservatoire had ever had to elect a student as least likely to succeed, it is possible that Erik Satie would have won hands down. Slow to progress, his skills at the piano were so poor that he was said to take three months to learn even the simplest of pieces. Satie, however, was not prepared to let an institution stand in his way and set about writing works which, although imbued with originality and a novel use of harmony, were simple enough for him to play in the salons and cafés of bohemian Paris.
Regarded by some as the father of minimalism in music, Satie wrote simple, frequently unobtrusive pieces. His musical vision perhaps seems sadly prescient - on one occasion he instructed a group of musicians to play a piece, which he had composed as background music, during the interval of a concert. He was horrified when the audience began to return to their seats and implored them to carry on as if nothing were any different.
Many of the minimalists Satie inspired picked up on his use of "white note" harmony, an aversion to modulation which drives composers to make new uses of old scales by means such as composing in the church modes or using extended chords. However, Satie also made references to Eastern chromaticism in a similar manner to Debussy. The two were close friends and influenced each other to a degree. Even such a technician as Stravinsky acknowledged that "...French music is Bizet, Chabrier and Satie".
Satie collaborated with many of the finest creative minds in Paris, including Picasso, Milhaud and Cocteau, but he was an intensely private man. He was only known to have had one relationship in his life, and he allowed no one inside his apartment. Eventually he fell victim to alcoholism, which led to his death from cirrhosis of the liver.
To many, Satie is known chiefly as an eccentric who filled his wardrobe with umbrellas and wrote pieces with titles like "Trois morceaux en forme de poire" (Three pieces in the form of a pear) just to be obstreperous. Although his bizarre reputation may have contributed his music's popularity, it has perhaps meant that his work is seen as a collection of stunts and tricks. It would be a shame if the odd titles of his pieces and details of his life were to detract from what is often honest, unique music.
- MIDI FILE - "Gnossienne" for Piano (7'57'')