How about some music like this on sports days? "Sports and Pastimes" by the eccentric composer Erik Satie - 2023.10.09
Moved to tears by the "Pianist of Montmartre" who shines in extreme poverty.
Today, 9 October, is Sports Day in 2023. The relationship between sport and classical music can be found in many ways, from opening marches to cheering songs and Olympic fanfare. One of the most unique works is "Sports and Distractions" by the French composer Eric Satie (1866-1925).
There is no composer more eccentric than Satie. Satie turned his back on the traditions of Western music and continued to write elementary music based on a world of humour and irony, sticking to his principles throughout his life, even in extreme poverty. The origin of his work "Sports and Pastimes" is also unusual.
I first asked Stravinsky to accompany a collection of genre paintings by the famous painter Charles Martin, published in the Parisian women's luxury magazine Lucien Vaugeur. Still, he was unable to agree with Stravinsky. When they had no choice but to ask Sati, she refused because the fee was unreasonably high. This work, finally decided upon after the price was reduced, is much like Satie himself.
How about some music like this on sports days? "Sports and Pastimes" by the eccentric composer Erik Satie - 2023.10.09
https://www.kateigaho.com/article/detail/175060
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"Sports et Divertissements" is a cycle of twenty-one short piano pieces by Erik Satie composed in 1914. They were intended to illustrate an album of drawings by Charles Martin musically.
https://www.youtube.com/watch?v=rA-y3MdZcmM
Sports et divertissements - Wikipedia
https://en.wikipedia.org/wiki/Sports_et_divertissements
1. Choral inappétissant 00:00
2. Le Yatching 00:48
3. Le Traineau 01:43
4. Le Tango 02:04
5. Le Carnaval 05:01
6. Le Réveil de la Mariée 05:56
7. Le Golf 06:21
8. La Pêche 06:51
9. La Pieuvre 07:28
10. Le Tennis 08:01
11. Le Pique-Nique 08:51
12. Les Courses 09:15
13. Le Bain de mer 09:33
14. La Chasse 09:53
15. La Balançoire 10:10
16. Le Water-chute 11:09
17. Colin-Maillard 11:56
18. Les Quatre-Coins 12:49
19. La Comédie italienne 13:39
20. Le Feu d'artifice14:26
21. Le Flirt 14:48
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The unique feature on the 150th anniversary of the birth of Erik Satie (1866-1925), the maverick of the music world
https://tower.jp/article/campaign/2016/04/01/05
"Satie" was a musician active in Paris at the end of the 19th century and before and after World War I. For a long time, Satie was ignored as a peripheral composer and treated like an outcast from the pages of music history. Why has he been discussed from different angles since 1970?
"Perhaps Satie was too pioneering. The times have finally caught up with him, so to speak".
Erik Satie was an outsider in the world of music. The music he created, with its many strange titles and contents, significantly influenced his contemporaries in Paris and later artists worldwide. Like his music, his life was eccentric, and although he may have been treated as strange, he also had many devoted followers. Not only Debussy, who was a close friend throughout his life but also his friendship with Picasso and Jean Cocteau, which grew out of his involvement with the Ballets Russes and the 'French Six'... Duret, Honegger, Milhaud, Taillefer, Poulenc and Auric.
Through his lifelong interaction with Parisian artists, including the Six, and the friendships born of their involvement with Dadaism, he produced unique works.
Record companies released CDs of his works in 2015, the 90th anniversary of Satie's death, and in 2016, the 150th anniversary of his birth.
(5) Satie: Sports and pastimes Michael Seregow (piano)
In 1914, the publisher Lucien Vaugel planned to publish a collection of piano pieces with illustrations by the illustrator Charles Martin. He initially commissioned Stravinsky to compose the music, but when the fee could not be agreed, Satie wrote it instead. It is a beautiful work of art, with Martin's drawings printed with Satie's handwritten scores and poems, and can still be read as a book. The work consists of the preface, "Anorexia Chorale," and 20 pieces.
1. Swing 2. The Hunt 3. Italian Comedy 4. The Bride's Awakening 5. Blindfolded Demon 6. Fishing 7. Sailing 8. Swimming in the sea 9. Carnival 10. Golf 11. Octopus 12. Horse Racing 13. Positioning 14. Picnic 15. Water shooting 16. Tango 17. Sledging 18. Flirting 19. Fireworks 20. Playing Tennis
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Satie's ultra-contemporary nature is seen in the "Erik Satie and His Era Exhibition", where you can "see" the true intentions of a maverick who significantly influenced Western music.
https://mikiki.tokyo.jp/articles/-/7306
Satie's ultra-contemporary nature is seen in the "Erik Satie and His Era Exhibition", - where you can "see" the true intentions of a maverick who greatly influenced Western music.
Satie's ultra-contemporary nature is seen in the "Erik Satie and His Times" exhibition.
The "eras" in "Erik Satie and His Times" refer to the period from 1866, when Satie was born in Normandy, to 1925, when he died at 59 in St Joseph's Hospital in Paris.
Almost all the possibilities of what could be called art today are here, and I'm sure the museum staff will scold me if I say so, but if I were to make a brief list of the people who will appear in this exhibition, it would be no less than Lautrec and Utrillo. Rochefoucault, Picasso, Cocteau, Georges Braque, Brancusi, Picabia, and Man Ray-Satie lived at the same time as many of these significant figures.
There is, of course, Debussy, the elder friend, and Ravel, the younger, and Stravinsky is closely related to Diaghilev, as Satie's "amnesia" Schoenberg quietly began to dismantle music in Vienna at the end of the century, while Freud was systematising psychoanalysis.
Kafka died a year before Satie in Prague, not far from there. The 1920s was an unprecedented economic boom in the United States, and there was still some breathing space before the depression struck during what was called the Jazz Age, a reference to the jazz that was popular at the time: this was the era of Erik Satie and his generation.
This exhibition is a chronicle of the life of Satie, one of the most independent thinkers in the history of music, and a portrait of a gathering around Satie, who was so independent that people were drawn to him. This is a unique opportunity to "see" the true intentions of Satie, who has been at the forefront of rethinking several times over the past century since her birth.
As the American Dadaist Ray, who met Satie in Paris in his later years, said, Satie was "the only musician with an eye," and poems, prose, magazines and composers were naturally translated into musical scores. This is because Satie's works, including the instructions, cuts and illustrations that can be interpreted as written proverbs, change their appearance when viewed.
