Satie the Bohemian: From Cabaret to Concert Hall

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Introduction
Part I: Cafe-Concert, Music-Hall, Cabaret
1 The Cafe-Concert
2 From Caf'Conc' to Music-Hall
3 The Cabaret Artistique
Part II: Satie's Involvement in Popular Milieux
4 Satie at the Chat Noir
5 Satie and the Divan Japonais
6 Satie at the Auberge du Clou
7 From the Auberge du Clou to Arcueil
8 Satie and Hyspa
9 Of Pantomimes and Pears
10 Waltz, Cakewalk, Theatre Song
Part III: From Cabaret to Concert Hall
11 Satie's Humouristic Works for Piano
12 From Chanson to Melodie and Back
13 The Composer as Playwright
14 Autour de Cocteau, or The Uses of Popular Music
15 On revient toujours: Satie's Last Ballets
List of Sources Cited
Index

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Erik Satie (1866-1925) came of age in the bohemian subculture of Montmartre, with its artists' cabarets and cafés-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, on the contrary, 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. From the esoteric Gymnopédies to the bizarre suites of the 1910s and avant-garde ballets of the 1920s (not to mention music journalism and playwriting), Satie's output may be daunting in its sheer diversity and heterodoxy; but his radical transvaluation of received artistic values makes far better sense once placed in the fascinating context of bohemian Montmartre.

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Brilliantly argued, deeply researched study showing how the Montmartre cabaret music influenced Satie's mature work

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