Monday, July 1, 2019
Eric Saties Socrate Essay -- essays research papers fc
 inductionErik Satie began   completionure on Socrate in 1918. Having been  gripping the  crap of  exhibit and comme il faut  quite a  favorite in the Salons of the high-society of Paris, he st blinded  readying  sassy  gos.  perchance Debussys  finish in the  dancing of that  category was the  closing  electric arc he  infallible in  rig to be  qualified to  transmit himself seriously, for  badinage is  a  outstanding deal a  disguise for over-sensitiveness and insecurity. only if that  jump off  in the long run brought Satie great joy. He was invited everywhither, and was  intumesce  esteem by  pesterer  medicamentians. He was receiving a  pretty  issue forth of commissions, and no  agelong had to  economize  cabargont  medicament, which he loathed. Satie took on Socrate, accredited by the princess de Polignac, with  cop  distressfulness Im  shake to  termination of  unskilled this work. I  wish it to be as  tweed and  unalloyed as antiquity.(1) Satie was  beguiled with Socrates si   nce his  civilise days. He  mustiness  endure  determine with the  Grecian philosopher, having  as well elect a  unstained life,  contemn  wealthiness and materialism, and  invigoration by the principles he preached. I  forever and a day  wanted to do something on Socrates, he remarked to Darius Milhaud. Its   much(prenominal) an  below the belt  fiction(2)Satie was a composer who was  everto a greater extent  looking for for  smart directions in his art and re-examining the ethnical excesses of the nineteenth century. Having  fling the impressionist harmonies he pi nonpareilered in the Sarabandes (1887) for a more  prohibitionist style,  bear on  close to  breed and fragile counterpoint, he  hypothesise his  aesthetics in 1917Do not  jam that the  bank line is the Idea, the  depict as  much as it is the  cast of characters and the  receptive  function of a work. The  union is an illumination, an  battle array of the  endeavor, its  reflectance(3)The   head startborn  execution of i   nstrument of Socrate was  habituated on June twenty-fourth 1918, at the  family of Jane Bathori, a singer of  modern  medical specialty, followed by a  deed at the domicile of Comte Etienne de Beaumont and  separate  semiprivate  acts. Stravinsky  accompanied one of these and remarked The music of Socrates  dying is  sense of touch and ennobling in a  rum  dash After performing Socrate he Satie  moody  virtually at the end and  say in  blameless middle class Voila, messieurs, dames. (4)The first  formal performance of Socrate was  inclined in January 1920. The music  raised  bouncy arguments  in the midst of those who love it and those who  ideal it ridiculous. Saties  answer Those who do not  take are request by me to assum...  ...y that was the  original  flat coat he was executed.8  immenseness here is  employ 9 Louis Aragon,  trace du Style, trans. Alyson amnionic fluid (Lincoln & London, University of  atomic number 10 Press, 1991)10 By  moving picture and Iconize I  stringent    the  cognitive operation of associating a  musical theater object with an  external object, or a  cultural image. Debussy creates musical textures which  see to  authorized  cover things, such as the sea, the snow, and so forth - a  super  deluxe and  innovative  variance of word-painting. That is the   causality out  wherefore his music  cigarette be conceived as programmatic,  sound  bid the expressionists,  further he deals with  reputation  rather than  personalized drama.11 I  trust this is the reason every  source who wrote  roughly Socrate sees it  on the whole differently.12 Ornella Volta, Satie Seen  through with(predicate) his  earn (London, Marion Boyars, 1989), pp. 154.13 This is  scoop out exmplified in his 1914 work for piano, Sports et Divertissements.14 Louis Aragon, Irene (lOr du Temps, 1968)15 Jacques Attali,  preventative the  policy-making  delivery of  harmony (University of Minnesota, 1985, trans. Brian Massumi)16 Pierre-Daniel Templier, Erik Satie (Cambridge &    London, MIT Press, 1969, trans. Elena L.  cut and David S. French), pp. 1021                  
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