| Series |
Oxford monographs on music
Oxford monographs on music. ^A256395
|
| Contents |
Part I. Café-concert, music-hall, cabaret. The Café-concert -- From Caf'Conc' to music-hall -- The cabaret artistique -- Part II. Satie's involvement in popular milieux. Satie at the Chat Noir -- Satie and the Divan Japonais -- Satie at the Auberge du Clou -- From the Auberge du Clou to Arcueil -- Satie and Hyspa -- Of pantomimes and pears -- Waltz, cakewalk, theatre song -- Part III. From cabaret to concert hall. Satie's humoristic works for piano -- From chanson to melodie and back -- The composer as playwright -- Autour de Cocteau, or the uses of popular music -- On revient toujours: Satie's last ballets. |
| Abstract |
Satie came of age in the bohemian subculture of Montmartre, with its artists' cabarets and café-concerts. Yet apologists have all too often downplayed this background as potentially harmful to the reputation of a composer whom they regarded as the progenitor of modern French music. Whiting argues that Satie's two decades in and around Montmartre decisively shaped his aesthetic priorities and compositional strategies. He gives the fullest account to date of Satie's professional activities as a popular musician, and of how he transferred the parodic techniques and musical idioms of cabaret entertainment to works for concert hall. He traces the many connections between Satie and artists in other domains--not just major figures like Cocteau, Picasso, and the Dadaists, but also cabaret humorists, musical performers, esoteric writers, and less familiar painters like Desboutin, Rusinol, and Casas. |
| Bibliography note | Includes bibliographical references (pages 563-578) and indexes. |
| LCCN | 97032611 |
| ISBN | 0198164580 (acid-free paper) |
