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Erik Satie

Erik Satie

Éric Alfred Leslie Satie (French: [e?ik sati\]; 17 May 1866 – 1 July 1925) — he signed his name Erik Satie after 1884 — was a French composer and pianist. Satie was a colourful figure in the early 20th century Parisian avant-garde. His work was a precursor to later artistic movements such as minimalism, repetitive music, and the Theatre of the Absurd.An eccentric, Satie was introduced as a "gymnopedist" in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a "phonometrician" (meaning "someone who measures sounds") preferring this designation to that of a "musician", after having been called "a clumsy but subtle technician" in a book on contemporary French composers published in 1911.In addition to his body of music, Satie also left a remarkable set of writings, having contributed work for a range of publications, from the dadaist 391 to the American culture chronicle Vanity Fair. Although in later life he prided himself on always publishing his work under his own name, in the late 19th century he appears to have used pseudonyms such as Virginie Lebeau and François de Paule in some of his published writings.CompositionsList of compositions by Erik SatiePiano worksRecordings of Satie's piano works have been released by Cristina Ariagno, Jean-Pierre Armengaud, Jean-Joël Barbier, Aldo Ciccolini, Claude Coppens (live recording), Reinbert de Leeuw, Eve Egoyan, Philippe Entremont, Frank Glazer, Olof Höjer, Michel Legrand, Jacques Loussier, Anne Queffélec, Bill Quist, Lara Custódio, Pascal Rogé, João Paulo Santos, Yuji Takahashi, Branka Parlic, Jean-Yves Thibaudet, John Lenehan and Daniel Varsano, among others.Orchestral and vocalA recording of historical importance is Template:Erik Satie, Les inspirations insolites, re-issued by EMI as a 2-CD set, containing among other pieces: Geneviève de Brabant (in a version before Contamine's text had been recovered), Le piège de Méduse, Messe des pauvres, etc.Many other recordings exist: Parade/Relâche (Michel Plasson / Orchestre du Capitole de Toulouse), Satie: Socrate [etc.\] (Jean-Paul Fouchécourt / Ensemble), and recordings of songs, e.g., by Anne-Sophie Schmidt.Arrangements in popular musicGymnopédiesIn 1963, The Fire Within (French:Le Fou Follet), one of Louis Malle's early films, used Gymnopédie 1 and Gnossienne 1, 2 & 3 to score the film.In 1968, Blood, Sweat & Tears released their eponymous second album, which included an adaptation of Gymnopédie No. 1 (arranged by Dick Halligan) which they titled as Variations on a Theme by Erik Satie (First and Second Movements). The first movement is a straightforward elaboration of the basic theme using flutes, an acoustic guitar and a triangle. The second is a far more abstract variation using only brass instruments. In 1969, Halligan received a Grammy Award for Best Instrumental Performance for the piece.In 1974, the jazz flutist Hubert Laws recorded an arrangement by Bob James of the Gymnopédie No. 1 in his "In the Beginning" double album. The band featured keyboardist Bob James, guitarist Gene Bertoncini, bassist Ron Carter, drummer Steve Gadd, three strings, and Hubert's brother Ronnie Laws on tenor sax.In 1979 the band Sky included a version of Gymnopedie No. 1, which was arranged by John Williams, on the band's first album Sky.In 1980, Gary Numan's single "We Are Glass" featured Gymnopédie No. 1 on the B-side.Gymnopédie No. 1 is featured in the 1981 film My Dinner with Andre, directed by Louis Malle (the episode 'Critical Film Studies' of the NBC show Community—the episode itself an homage to My Dinner with Andre—also features Gymnopédie No. 1).In 1990, Movement 98's (Paul Oakenfold and Steve Osborne) single "Joy and Heartbreak" used the opening phrase of Trois Gymnopédies as the intro and instrumental.Janet Jackson released the single "Someone to Call My Lover" in 2001 from her seventh studio album, All for You. The chorus of the song includes a loop of Gymnopédie No. 1 played in 4/4 time instead of the original 3/4. Jackson had loved the Gymnopédie since childhood and wanted to incorporate its theme into one of her own songs.The English electronic duo Isan recorded versions of the Trois Gymnopédies for a 2006 7-inch single, "Trois Gymnopédies" on the Morr Music record label.The 2001 movie The Royal Tenenbaums features an arrangement of the lst Gymnopédie.The 2006 video game Mother 3 features an arrangement of the 1st Gymnopédie as background music, titled "Leder's Gymnopédie".The 2008 documentary film Man on Wire features both Gymnopédie No. 1 and Gnossienne No. 1.Gymnopédie No. 2 has been used in the original soundtrack of 2010 Japanese animated film The Disappearance of Haruhi Suzumiya by Kyoto Animation studio. The full Gymnopédies as well as Gnossiennes are included in the 2nd CD of this OST.In 2012, Gymnopédie No. 1 was used in the video for Lana Del Rey's song "Carmen"An arrangement of Gymnopédie No. 1 was featured on Anamanaguchi's 2013 album, Endless Fantasy.GnossiennesIn 1963, The Fire Within (French:Le Fou Follet), one of Louis Malle's early films, used Gymnopédie No. 1 and Gnossienne Nos. 1, 2 & 3 to score the film.In 1994, Malcolm McLaren arranged Gnossienne Nos. 3 and 4 in his concept album Paris.Gnossienne No. 1 is used in the 2003 episode "Five Little Pigs" of Agatha Christie's Poirot .The 2006 movie The Painted Veil features Gnossienne No. 1 throughout the film.The 2008 documentary film Man on Wire features both Gymnopédie No. 1 and Gnossienne No. 1.The 2nd movement of his Gymnopédies has been used in the original soundtrack of 2010 Japanese animated film The Disappearance of Haruhi Suzumiya by Kyoto Animation studio. The full Gymnopédies as well as Gnossiennes are included in the 2nd CD of this OST.In 2011, singer-songwriter Tori Amos released an album entitled Night of Hunters, where her song "Battle of Trees" is a variation on Gnossienne No. 1.In 2011, Satie's Gnossienne No. 1 was used in the film Hugo.In 2011, James Blake used Gnossienne No. 5 as the opening track of his BBC Radio 1 Essential Mix.OtherIn 1972, Satie was fashioned for the Moog synthesizer as "The Electronic Spirit of Erik Satie," performed with the Camarata Contemporary Chamber Orchestra. The same orchestra had created another Satie interpretation called "The Velvet Gentleman" in 1970.In 1987, the Serbian and former Yugoslav electronic music composer Mitar Subotic on his debut album Disillusioned!, released under the pseudonym Rex Ilusivii, recorded a twenty-five minute long instrumental track "Thanx Mr. Rorschach – Ambijenti na muziku Erika Satija" ("Thanx Mr. Rorschach – Ambient to the music by Erik Satie"), as a kind of a musical Rorschach test to the music by Satie. The Disillusioned! album back cover featured a review by the head of the Erik Satie Foundation saying: "It is a great pleasure to see that in Yugoslavia works a musician Mitar Subotic - Rex Ilusivii who composed some significant material, especially a piece, a homage to Satie, composed in a way that Satie would like best - that everyone finds one's own path and one's personality. The music of Rex Ilusivii presents exactly this formula, this procedure."In 1989, the Vienna Art Orchestra (directed by Mathias Rüegg) released The Minimalism of Eric Satie, a 2-LP set on the Swiss HatART label that included "reflections" on a number of Satie's works, notably three performances of Vexations in various instrumental/vocal combinations.In 1997, the Canadian soprano Patricia O'Callaghan included songs by Satie on her debut solo album Youkali and still performs them as part of her cabaret act.In 1999, electronic music act Plaid's CD Restproof Clockwork included a track called "Tearisci" which is an uncredited version of Satie's "Pièces Froides, No. 2: Danses De Travers: III. Encore".In 2000, ex-Genesis guitarist Steve Hackett released the album Sketches of Satie, performing Satie's works on acoustic guitar, with contributions by his brother John on flute.In 2001, the Josh G. Abrahams Radio Remix of "Come What May" from the film Moulin Rouge! sampled Satie's "Petit prélude à la journée" from Enfantillages pittoresques prominently throughout the single.Ogive Number 2 (incorrectly labelled Ogive Number 1) was re-recorded electronically by William Orbit on his album Pieces in a Modern Style

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