Erik Satie ~1918~ Socrate (ténor & piano) (1975 recording, Cuénod & Ivaldi)

[@christophedevos3760]

Beautiful work, a masterpiece i.m.o, the music is so simple but yet so poignant. Outstanding performance as well (Satie would have loved the sirens I'm sure). Thank you very much for sharing.

[@ruslan.denshaev]

Absolutely gorgeous! My favorite work by Satie. Though M. Erik didn't approved use of male vocals, I think, that Cuénod's rendition totally fits the music. Thank you for all the precious job, that you have done to post these pieces, this is so cool! :D

[@ruslan.denshaev]

@XDranzer000 In April 1919 Marcelle Meyer wrote a letter to Princesse de Polignac in which she asked the right to perform the symphonic drama (Winnaretta Singer was a right holder of 'Socrate' for 4 years after the premiere). The first husband of Meyer, actor Pierre Bertin, already planned to sing the work alone. Of course, the pianist didn't informed the author about this enterprise. Satie was quite insulted after he received the letter from the Princesse considering this matter. In the letter to Meyer he stated clearly: " 'Socrate' is written for soprano. I would like it to be given "in public" exactly as I wrote it ... "with 4 soprani"." Satie considered male voices naturally more warm and emotional than female ones- by the timbre. And he needed as less emotions as possible. From the letter to Valentine Hugo: "Imagine, I'm working on the 'Life of Socrates'. I am very afraid to miss this piece, which I would like to make white & pure, like Antiquity. This even makes me feel uneasy, and at times I don't know what to do with myself." During the remaining years of his life, Erik Satie was extremely picky (which, in principle, was not typical for him), and attached great importance to the character of the performance of the drama, and also chose the voices for performance with great attention. While rehearsing with the singers, Satie insistently advised to scrupulously “avoid any expression or tension” in the voice, intonate evenly and never (repeating this especially!) attach importance to emotional details. In addition, with an extreme irritation, and at times in a harsh manner, he rejected any attempt to perform 'Socrate' with a male voice (or voices).

[@ruslan.denshaev]

@@translucent. No, I compose.

[@kittykoya1749]

@@ruslan.denshaev thank you so much for sharing! I just fully discovered who Satie was like a week ago. I’ve heard many of his pieces before in movies, and I also learned gymnopedie no 1 on the ukulele and didn’t even realize who it was by. (The place I found the sheet music did not state who wrote the song). I finally decided to explore it after I really wanted to know the original sound of the gymnopedie no. 1. I’m so glad I’ve decided to explore it.

[@Uxcis]

The little silly patterns and melodies Satie does on piano may sound stupid or childish at first, but if you take them seriously, and listen to it together with the unorthedox and wonderful melody of the vocals, it becomes so beautiful and unique. One of my absolute favorites.

[@eriksatieofficiel]

0:00 Portrait de Socrate 5:15 Sur les bords de l'Illissus 12:18 La Mort de Socrate

[@rogerantonybennett5272]

Some of this is faster than I've heard before. Frisky HUGUES CUENOD does a perfect job. The early LPs of SOCRATE had defects (1960s) but were convincing. Female voice(s) & chamber orchestra. Both good ideas. But this male voice is suitable with piano solo. Associations with Boulanger/Monteverdi seem to support a sturdy reputation for this great music. John Cage's "Cheep Imitation" is worth hearing too.

[@rogerantonybennett5272]

In fact I recommend a freely-pitched version of Satie-Cage's Cheep Imitation to anybody with imperfect pitch which is supposed to be about 98% of us. I used to have 131% perfect pitch in a helium tent @ -2 degrees Satie.

[@ignacio270]

Esta obra es belleza!!! Quizás lo más bello que escribió Satie. La versión de Cuenod es excelente!!

[@kukka-karelica]

3:34 🌬🌬

[@purpledohboy]

sirens @ 9:55 :)

[@eriksatieofficiel]

Yes! And not the same ones as in Parade :D

[@aleksm.1863]

I love how they sync up with the phrase and fade out as they go by. It's actually a really nice touch, however accidental.

[@wamateurpiano37]

​@@aleksm.1863I'm almost certain that it couldn't blend so nicely with anybody else other than Satie (:

[@EUrgell]

How wonderful is that? Playful and mysterious at the very same time. Typical Satie!

[@rogerantonybennett5272]

27:04 - Stern conclusion

[@josephalvarez5315]

In the description you say this is similar to Satie's other "white music". What are the characteristics of this white music? Is it a similar concept to Bartok's "night music"? I'm studying satie rn and I'm really interested to know!

[@eriksatieofficiel]

In 1917, Satie writes to his good friend Valentine Gross-Hugo: "Je m’occupe de la « Vie de Socrate ». J’ai une frousse de « rater » cette œuvre que je voudrais blanche & pure comme l’Antique. J’en suis « tout chose » & ne sais plus où me mettre." ("I am working on the "Life of Socrates". I am afraid to "fail" this work that I would like to be white and pure like the Antiquity. I am "all over the place" and do not know what to do with myself.") I think we can understand "white" as in "pure" and devoid of any expressive drive.

[@christophedevos3760]

​@@eriksatieofficielbut also in a 'modal' sense and basically shunning chromaticism. More or less 'white notes' on the piano.

[@who1srecords]

10:42 !!

[@hunlag4700]

22:26

[@philsphindings7387]

Was this influenced by eastern music?

[@eriksatieofficiel]

Not that I know of.

[@Mr-Prasguerman]

Certamente que sim

[@hunlag4700]

@@Mr-Prasguerman proof?

[@LeonardoAlvesCastro]

26:25 - 26:36

[@lylecohen1638]

Why “white music”?

[@lylecohen1638]

Also, are you perhaps planning on uploading the version with orchestra as well? Thank you for this great upload anyways!

[@eriksatieofficiel]

In 1917, Satie writes to his good friend Valentine Gross-Hugo: "Je m’occupe de la « Vie de Socrate ». J’ai une frousse de « rater » cette œuvre que je voudrais blanche & pure comme l’Antique. J’en suis « tout chose » & ne sais plus où me mettre." ("I am working on the "Life of Socrates". I am afraid to "fail" this work that I would like to be white and pure like the Antiquity. I am "all over the place" and do not know what to do with myself.") I think we can understand "white" as in "pure" and devoid of any expressive drive. I might upload an orchestral version later. I also have a recording of the piano duet arrangement by John Cage.

[@lylecohen1638]

@@eriksatieofficiel Fascinating, thank you!

[@zacharydetrick7428]

@@eriksatieofficiel literally like a white marble statue