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one telephone call. Although his personal appearance was customarily immaculate, his room at
Arcueil was in Orledge's word "squalid", and after his death the scores of several important works believed lost were found among the accumulated rubbish. He was incompetent with money. Having depended to a considerable extent on the generosity of friends in his early years, he was little better off when he began to earn a good income from his compositions, as he spent or gave away money as soon as he received it. He liked children, and they liked him, but his relations with adults were seldom straightforward. One of his last collaborators, Picabia, said of him:
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763:, who became known as the "Arcueil School". In addition to turning against Ravel, Auric and Poulenc in particular, Satie quarrelled with his old friend Debussy in 1917, resentful of the latter's failure to appreciate the more recent Satie compositions. The rupture lasted for the remaining months of Debussy's life, and when he died the following year, Satie refused to attend the funeral. A few of his protégés escaped his displeasure, and Milhaud and Désormière were among those who remained friends with him to the last.
278:
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231:, Alfred Satie sold his business and the family moved to Paris, where he eventually set up as a music publisher. In 1872 Jane Satie died and Eric and his brother were sent back to Honfleur to be brought up by Alfred's parents. The boys were rebaptised as Roman Catholics and educated at a local boarding school, where Satie excelled in history and Latin but nothing else. In 1874 he began taking music lessons with a local organist, Gustave Vinot, a former pupil of
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1031:("Three Pear-shaped Pieces") for piano four-hands (1903), simply-phrased music that Nichols and Griffiths describe as "a résumé of his music since 1890" – reusing some of his earlier work as well as popular songs of the time. He struggled to find his own musical voice. Orledge writes that this was partly because of his "trying to ape his illustrious peers … we find bits of Ravel in his miniature opera
201:
6990:
392:, for whose mystic sect, the Ordre de la Rose-Croix Catholique du Temple et du Graal, he was appointed composer. This gave him scope for experiment, and Péladan's salons at the fashionable Galerie Durand-Ruel gained Satie his first public hearings. Frequently short of money, Satie moved from his lodgings in the 9th arrondissement to a small room in the rue Cortot not far from
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468:. After their first night together, he proposed marriage. The two did not marry, but Valadon moved to a room next to Satie's at the rue Cortot. Satie became obsessed with her, calling her his Biqui and writing impassioned notes about "her whole being, lovely eyes, gentle hands, and tiny feet". During their relationship Satie composed the
931:
Despite being a musical iconoclast, and encourager of modernism, Satie was uninterested to the point of antipathy about innovations such as the telephone, the gramophone and the radio. He made no recordings, and as far as is known heard only a single radio broadcast (of
Milhaud's music) and made only
718:
Satie became the focus of successive groups of young composers, whom he first encouraged and then distanced himself from, sometimes rancorously, when their popularity threatened to eclipse his or they otherwise displeased him. First were the "jeunes" – those associated with Ravel – and then a group
476:
In 1895 Satie attempted to change his image once again: this time to that of "the Velvet
Gentleman". From the proceeds of a small legacy he bought seven identical dun-coloured suits. Orledge comments that this change "marked the end of his Rose+Croix period and the start of a long search for a new
352:
puts it, Satie, "free from his restrictive upbringing … enthusiastically embraced the reckless bohemian lifestyle and created for himself a new persona as a long-haired man-about-town in frock coat and top hat". This was the first of several personas that Satie invented for himself over the years.
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Satie's case is extraordinary. He's a mischievous and cunning old artist. At least, that's how he thinks of himself. Myself, I think the opposite! He's a very susceptible man, arrogant, a real sad child, but one who is sometimes made optimistic by alcohol. But he's a good friend, and I like him a
285:
In 1884 Satie wrote his first known composition, a short
Allegro for piano, written while on holiday in Honfleur. He signed himself "Erik" on this and subsequent compositions, though continuing to use "Eric" on other documents until 1906. In 1885, he was readmitted to the Conservatoire, in the
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In his neat, calligraphic hand, Satie would write extensive instructions for his performers, and although his words appear at first sight to be humorous and deliberately nonsensical, Nichols and
Griffiths comment, "a sensitive pianist can make much of injunctions such as 'arm yourself with
472:
as a means of calming his mind, and
Valadon painted his portrait, which she gave him. After five months she moved away, leaving him devastated. He said later that he was left with "nothing but an icy loneliness that fills the head with emptiness and the heart with sadness".
250:
and engaged a tutor to teach Eric Latin and Greek. Before the boys returned to Paris from
Honfleur, Alfred had met a piano teacher and salon composer, Eugénie Barnetche, whom he married in January 1879, to the dismay of the twelve-year-old Satie, who did not like her.
274:. In 1880 Satie took his first examinations as a pianist: he was described as "gifted but indolent". The following year Decombes called him "the laziest student in the Conservatoire". In 1882 he was expelled from the Conservatoire for his unsatisfactory performance.
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After concluding his studies at the Schola
Cantorum in 1912 Satie composed with greater confidence and more prolifically. Orchestration, despite his studies with d'Indy, was never his strongest suit, but his grasp of counterpoint is evident in the opening bars of
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harmonies". It is possible that their simplicity and originality were influenced by
Debussy; it is also possible that it was Satie who influenced Debussy. During the brief spell when Satie was composer to Péladan's sect he adopted a similarly austere manner.
70:, as a mature student. His studies there were more successful than those at the Conservatoire. From about 1910 he became the focus of successive groups of young composers attracted by his unconventionality and originality. Among them were the group known as
290:. He made little progress: Mathias described his playing as "Insignificant and laborious" and Satie himself "Worthless. Three months just to learn the piece. Cannot sight-read properly". Satie became fascinated by aspects of religion. He spent much time in
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179:, a suburb of Paris. He adopted various images over the years, including a period in quasi-priestly dress, another in which he always wore identically coloured velvet suits, and is known for his last persona, in neat bourgeois costume, with
315:
Keen to leave the
Conservatoire, Satie volunteered for military service, and joined the 33rd Infantry Regiment in November 1886. He quickly found army life no more to his liking than the Conservatoire, and deliberately contracted acute
822:, with jazz rhythms and instrumentation including parts for typewriter, steamship whistle and siren. It firmly established Satie's name before the public, and thereafter his career centred on the theatre, writing mainly to commission.
652:
in 1902. He found it "absolutely astounding", and he re-evaluated his own music. In a determined attempt to improve his technique, and against Debussy's advice, he enrolled as a mature student at Paris's second main music academy, the
258:. Satie strongly disliked the Conservatoire, which he described as "a vast, very uncomfortable, and rather ugly building; a sort of district prison with no beauty on the inside – nor on the outside, for that matter". He studied
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To have a feeling for harmony is to have a feeling for tonality… the melody is the Idea, the outline; as much as it is the form and the subject matter of a work. The harmony is an illumination, an exhibition of the object, its
380:(1889 and 1890). He earned a modest living as pianist and conductor at the Chat Noir, before falling out with the proprietor and moving to become second pianist at the nearby Auberge du Clou. There he became a close friend of
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soon adopted by Stravinsky. Despite his rancorous falling out with Debussy, Satie commemorated his long-time friend in 1920, two years after Debussy's death, in the anguished "Elégie", the first of the miniature song cycle
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Later he referred to himself at least once as a "phonometrician" (meaning "someone who measures sounds") after being called "a clumsy but subtle technician" in a book about contemporary French composers published in
505:, eight kilometres (five miles) from the centre of Paris. This remained his home for the rest of his life. No visitors were ever admitted. He joined a radical socialist party (he later switched his membership to the
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While Satie was earning his living as a café pianist in Montmartre he contributed songs and little waltzes. After moving to Arcueil he began to write works with quirky titles, such as the seven-movement suite
839:'s Dialogues as a "symphonic drama". Its composition was interrupted in 1917 by a libel suit brought against him by a music critic, Jean Poueigh, which nearly resulted in a jail sentence for Satie. When
1499:, I forbid anyone to read the text aloud during the musical performance. Ignorance of my instructions will incur my righteous indignation against the presumptuous culprit. No exception will be allowed".
893:
lists 25. Satie's habit of embellishing the scores of his compositions with all kinds of written remarks became so established that he had to insist that they must not be read out during performances.
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he did not write primarily as a music critic. Much of his writing is connected to music tangentially if at all. His biographer Caroline Potter describes him as "an experimental creative writer, a
333:
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1997:
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1702:
1053:, and from the outset of his composing career he had original and distinctive ideas about harmony. In his later years he composed sets of short instrumental works with absurd titles, including
688:, conducted them in concert. The publisher Demets asked for new works from Satie, who was finally able to give up his cabaret work and devote himself to composition. Works such as the cycle
684:. Satie was suddenly seen as "the precursor and apostle of the musical revolution now taking place"; he became a focus for young composers. Debussy, having orchestrated the first and third
516:
Satie earned a living as a cabaret pianist, adapting more than a hundred compositions of popular music for piano or piano and voice, adding some of his own. The most popular of these were
242:
In 1878 Satie's grandmother died, and the two boys returned to Paris to be informally educated by their father. Satie did not attend a school, but his father took him to lectures at the
1208:(Memoirs of an Amnesiac), indicating, as Potter comments, that "these are not autobiographical writings in the conventional manner". He claimed the major influence on his humour was
348:
where he became an habitué and then a resident pianist. The Chat Noir was known as the "temple de la 'convention farfelue'" – the temple of zany convention, and as the biographer
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1197:'s non-existent but "sumptuous" Tenth Symphony, and the family of instruments known as the cephalophones, "which have a compass of thirty octaves and are absolutely unplayable".
576:); and others. In his later years Satie rejected all his cabaret music as vile and against his nature. Only a few compositions that he took seriously remain from this period:
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towards a leaner, more epigrammatic style". Debussy christened him "the precursor" because of his early harmonic innovations. Satie summed up his musical philosophy in 1917:
1611:
Rey, p. 11: "Erik Alfred Leslie Satie est né le 17 mai 1866 à Honfleur (Normandie) d'une mère anglaise et protestante, d'un père catholique et anglophobe, courtier maritime"
3373:
224:, was a Roman Catholic anglophobe. A year later, the Saties had a daughter, Olga, and in 1869 a second son, Conrad. The children were baptised in the Anglican church.
434:" project, a "Christian Ballet", in collaboration with Latour. He challenged the musical establishment by proposing himself – unsuccessfully – for the seat in the
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Eugénie Satie resolved that her elder stepson should become a professional musician, and in November 1879 enrolled him in the preparatory piano class at the
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Throughout his adult life Satie was a heavy drinker, and in 1925 his health collapsed. He was taken to the Hôpital Saint-Joseph in Paris, diagnosed with
388:, enjoying the same café society and struggling to survive financially. At the Auberge du Clou Satie first encountered the flamboyant, self-styled "Sâr"
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620:), piano music to accompany a lost tale by Cheminot, and a few others that were mostly incomplete. Few were presented, and none published at the time.
144:
1986:
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1406:"un vaste bâtiment très inconfortable et assez vilain à voir – une sorte de local pénitencier sans aucun agrément extérieur – ni intérieur du reste".
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claiming to eat dinner in four minutes with a diet of exclusively white food (including bones and fruit mould), or to drink boiled wine mixed with
747:. Satie dissociated himself from the second group in 1918, and in the 1920s he became the focal point of another set of young composers including
672:
It was not until 1911, when he was in his mid-forties, that Satie came to the notice of the musical public in general. In January of that year
136:, and his melodies are generally simple and often reflect his love of old church music. He gave some of his later works absurd titles, such as
368:
In the late 1880s Satie styled himself on at least one occasion "Erik Satie – gymnopédiste", and his works from this period include the three
154:("Bureaucratic Sonatina", 1917). Most of his works are brief, and the majority are for solo piano. Exceptions include his "symphonic drama"
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and composition with d'Indy, and was a much more conscientious and successful student than he had been at the Conservatoire in his youth.
175:
Satie never married, and his home for most of his adult life was a single small room, first in Montmartre and, from 1898 to his death, in
1216:, because the American spirit has occasionally tapped me on the shoulder and I have been delighted to feel its ironically glacial bite".
1139:'s music shows Satie's influence, and Searle and the writer Edward Strickland have used the term "minimalism" in connection with Satie's
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was premiered, Satie called it "a return to classical simplicity with a modern sensibility", and among those who admired the work was
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by standing in the open, bare-chested, on a winter night. After three months' convalescence he was invalided out of the army.
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restricted concert-giving to some extent, but Orledge comments that the war years brought "Satie's second lucky break", when
336:, whose verse he set in some of his early compositions, which Satie senior published. His lodgings were close to the popular
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887:. As he contributed anonymously or under pen names to some publications it is not certain how many titles he wrote for, but
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In 1898, in search of somewhere cheaper and quieter than Montmartre, Satie moved to a room in the southern suburbs, in the
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39:
after 1884, was a French composer and pianist. He was the son of a French father and a British mother. He studied at the
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1103:. Orledge rates the cycle as the finest, though least known, of the four sets of short songs of Satie's last decade.
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43:, but was an undistinguished student and obtained no diploma. In the 1880s he worked as a pianist in café-cabaret in
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1234:(with introduction and notes by Ornella Volta, translations by Anthony Melville, contains several drawings by Satie)
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juice, or to be woken by a servant hourly throughout the night to have his temperature taken; he wrote in praise of
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1817:
1124:(1924), is an example of early film music designed to be unconsciously absorbed rather than carefully listened to.
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In his later years Satie became known for his prose. He was in demand as a journalist, making contributions to the
509:), but adopted a thoroughly bourgeois image: the biographer Pierre-Daniel Templier, writes, "With his umbrella and
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The Banquet Years: The Arts in France, 1885–1918: Alfred Jarry, Henri Rousseau, Erik Satie, Guillaume Apollinaire
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of the liver. He died there at 8.00 p.m. on 1 July, at the age of 59. He was buried in the cemetery at Arcueil.
694:(1914) were published in de luxe editions. The press began to write about Satie's music, and a leading pianist,
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396:, so high up the Butte Montmartre that he said he could see from his window all the way to the Belgian border.
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513:, he resembled a quiet school teacher. Although a Bohemian, he looked very dignified, almost ceremonious".
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442:. Between 1893 and 1895, Satie, affecting a quasi-priestly dress, was the founder and only member of the
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Her death was mysterious: she was found drowned on the beach at Honfleur in unexplained circumstances.
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In 1893 Satie had what is believed to be his only love affair, a five-month liaison with the painter
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Satie wrote extensively for the press, but unlike his professional colleagues such as Debussy and
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A decisive change in Satie's musical outlook came after he heard the premiere of Debussy's opera
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2255:"Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection"
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By mid-1892, Satie had composed the first pieces in a compositional system of his own making (
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332:. By this time he had started what was to be an enduring friendship with the romantic poet
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After a spell in which he composed little, Satie entered Paris's second music academy, the
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430:, an anti-Wagnerian opera), and broken away from Péladan, starting that autumn with the "
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Fête donnée par des Chevaliers Normands en l'honneur d'une jeune demoiselle (XIe siecle)
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126:. His harmony is often characterised by unresolved chords, he sometimes dispensed with
106:
towards a sparer, terser style. Among those influenced by him during his lifetime were
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968:, Satie's importance lay in "directing a new generation of French composers away from
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In 1887, at the age of 21, Satie moved from his father's residence to lodgings in the
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in October 1905, continuing his studies there until 1912. The institution was run by
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384:, who proved a kindred spirit in his experimental approach to composition. Both were
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Anton). Jane Satie was an English Protestant of Scottish descent; Alfred Satie, a
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The Banquet Years: The Origins of the Avant-Garde in France, 1885 to World War I
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Correspondence presque complète: Réunie, établie et présentée par Ornella Volta
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450:" in the rue Cortot, he published scathing attacks on his artistic enemies.
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5517:
5510:
5496:
5468:
5440:
5405:
5398:
5370:
5356:
5342:
5321:
5230:
5188:
5181:
5021:
4993:
4944:
4930:
4804:
4769:
4664:
4650:
4587:
4514:
4407:
4365:
4163:
3988:
1074:
1017:
1008:(1889 onwards) for piano. They evoke the ancient world by what the critics
787:
756:
662:
403:
Fête donnée par des Chevaliers Normands en l'honneur d'une jeune demoiselle
339:
99:
Satie's example guided a new generation of French composers away from post-
75:
26:
4909:
1459:
in 1896. Professors from the Conservatoire were elected on both occasions.
698:, took him up, giving celebrated first performances of some Satie pieces.
183:, wing collar, and umbrella. He was a lifelong heavy drinker, and died of
6908:
6789:
6648:
6639:
6455:
6378:
5419:
5384:
5300:
5293:
5035:
4937:
4825:
4755:
4692:
4569:
4435:
4295:
4253:
4205:
4142:
4121:
4114:
4086:
4002:
3945:
3785:
3338:
1577:
1573:
1016:
describe as "pure simplicity, monotonous repetition, and highly original
1004:
897:
728:
385:
376:
132:
127:
60:
55:
2692:
Kelly, Barbara L. (2000). "History and Homage". In Deborah Mawer (ed.).
1423:, a condition that can make reading music as difficult as reading words.
6838:
6392:
6163:
6065:
5946:
5614:
5600:
5349:
5335:
5272:
5195:
5084:
4951:
4888:
4748:
4578:
4379:
4337:
4274:
3931:
3545:
3324:
1806:
1176:
706:
520:
510:
453:
345:
317:
235:. Vinot stimulated Satie's love of old church music, and in particular
180:
47:, Paris, and began composing works, mostly for solo piano, such as his
44:
566:, text by Contamine de Latour (lost, but the music later reappears in
216:, Normandy, the first child of Alfred Satie and his wife Jane Leslie (
6887:
6845:
6710:
6420:
5503:
5258:
5125:
4846:
4797:
4762:
4323:
3750:
3492:
1141:
1136:
942:
701:
583:
422:), had a hoax published (announcing the premiere of his non-existent
408:
259:
184:
119:
4727:
4594:
3952:
3913:
3897:
3883:
3774:
2835:
1420:
829:
that resulted in what Orledge rates as the composer's masterpiece,
411:
213:
205:
277:
118:, and he is seen as an influence on more recent composers such as
6486:
5524:
4986:
4601:
3890:
3874:
3860:
3236:
3215:
1190:
1168:
1080:
831:
720:
502:
490:
176:
156:
71:
1200:
Satie grouped some of these writings under the general headings
923:
35:(17 May 1866 – 1 July 1925), who signed his name
3808:
3387:
304:
3703:
1372:
1354:
1163:
200:
3075:
2465:, Oxford University Press, 2005. Retrieved 18 September 2021
2374:, Oxford University Press, 2011. Retrieved 18 September 2021
2340:, Oxford University Press, 2013. Retrieved 18 September 2021
2332:
Kennedy, Joyce, Michael Kennedy, and Tim Rutherford-Johnson.
1739:, Oxford University Press, 2001. Retrieved 20 September 2021
1363:
1316:
1065:("Sketches and Exasperations of a Big Wooden Man", 1913) and
920:), both provoked headlines with their first night scandals.
836:
606:, a short comic opera to a text by "Lord Cheminot" (Latour);
308:, a set of four piano pieces inspired by Gregorian chant and
286:
intermediate piano class of his stepmother's former teacher,
148:("Sketches and Exasperations of a Big Wooden Man", 1913) and
7001:
3719:
2209:
Kelly, p. 15 (Ravel); and Schmidt, p. 13 (Auric and Poulenc)
1713:, Oxford University Press, 2020. Retrieved 16 September 2021
21:
4281:
3815:
2191:
Gillmor, p. 259; Potter (2017), p. 233; and Whiting, p. 493
1322:
1304:
867:
1252:(an almost complete edition of Satie's letters, in French)
1183:
who provoked, mystified and amused his readers". He wrote
302:
later dubbed him "Esotérik Satie". From this period comes
2121:, edited by Alison Latham, Oxford University Press, 2011.
1805:
Ganschow, Leonore, Jenafer Lloyd-Jones, and T. R. Miles.
1345:
1298:
1149:
included a specific homage to Satie's music in his 1996
906:(with choreography by Massine and décor by Picasso) and
627:
Musical friends and teachers: from top left clockwise –
2147:, Oxford University Press. Retrieved 17 September 2021
1088:
clairvoyance' and 'with the end of your thought'". His
204:
Satie's birthplace and childhood home, now a museum in
2677:. Cambridge and New York: Cambridge University Press.
1993:, Oxford University Press. Retrieved 16 September 2021
719:
known at first as the "nouveaux jeunes", later called
6978:
1451:
Satie repeated this gesture twice – on the deaths of
1360:
1342:
1313:
1295:
1224:
A Mammal's Notebook: Collected Writings of Erik Satie
1127:
Satie is regarded by some writers as an influence on
896:
In 1920 there was a festival of Satie's music at the
825:
In October 1916 Satie received a commission from the
794:
in 1916. This led to the commissioning of the ballet
2672:
1796:, Gresham College, 2021. Retrieved 17 September 2021
1369:
1351:
1319:
1301:
5718:
A Sunday Afternoon on the Island of La Grande Jatte
3020:. U.S.: Freeport, N.Y., Books for Libraries Press.
1366:
1348:
1310:
1292:
996:Among his earliest compositions were sets of three
298:examining obscure medieval manuscripts. His friend
294:contemplating the stained glass windows and in the
3602:Sonnerie pour réveiller le bon gros Roi des Singes
676:played some early Satie works at a concert by the
3639:Metropolitan Church of Art of Jesus the Conductor
7038:
3518:Choses vues à droite et à gauche (sans lunettes)
3374:Les trois valses distinguées du précieux dégoûté
2954:Satie the Bohemian: From Cabaret to Concert Hall
2880:(second ed.). Paris: Éditions Champ libre.
2735:. Rochester, NY: University of Rochester Press.
1263:
3297:Croquis et agaceries d'un gros bonhomme en bois
3015:
2996:
2675:The Cambridge Introduction to Theatre Directing
1787:"Erik Satie: His music, the vision, his legacy"
1062:Croquis et agaceries d'un gros bonhomme en bois
835:, two years later. Satie set translations from
444:Eglise Métropolitaine d'Art de Jésus Conducteur
145:Croquis et agaceries d'un gros bonhomme en bois
2173:, 14 January 1911, p. 7; and Gillmor, p. xxiii
3735:
3588:Petit prélude de 'La Mort de Monsieur Mouche'
3091:
2798:Erik Satie: A Parisian Composer and his World
2755:The Harlequin Years: Music in Paris 1917–1929
2486:Potter (2016), p. 230; and Strickland, p. 124
1698:Orledge, Robert, revised by Caroline Potter.
1586:(18th ed.). Cambridge University Press.
6657:
6646:
3840:
3829:
3783:
3772:
3525:Cinq grimaces pour Le songe d'une nuit d'été
3479:Veritables Preludes flasques (pour un chien)
2673:Innes, Christopher; Maria Shevtsova (2013).
1238:
1226:(Serpent's Tail; Atlas Arkhive, No 5, 1997)
1059:("True Flabby Preludes (for a Dog)", 1912),
1056:Veritables Preludes flasques (pour un chien)
808:, with music by Satie, sets and costumes by
608:
598:
591:
568:
560:
552:
536:
528:
518:
424:
416:
401:
337:
243:
142:("True Flabby Preludes (for a Dog)", 1912),
139:Veritables Preludes flasques (pour un chien)
88:, with music by Satie, sets and costumes by
7077:20th-century French male classical pianists
7067:19th-century French male classical pianists
3911:
1512:is "a joker or prankster" according to the
1442:"La vu s'étend jusqu'à la frontière belge".
847:, a composer whom Satie regarded with awe.
3742:
3728:
3098:
3084:
2970:
2894:
2053:, ViaMichelin. Retrieved 17 September 2021
1781:
1779:
1777:
1775:
1773:
78:in 1915 led to the creation of the ballet
3047:International Music Score Library Project
2975:. Liverpool: Liverpool University Press.
2899:. Bloomington: Indiana University Press.
2876:Satie, Erik (1981). Ornella Volta (ed.).
2781:. Cambridge: Cambridge University Press.
2696:. Cambridge: Cambridge University Press.
2573:
1694:
1692:
1690:
1688:
1686:
1684:
1682:
1680:
1678:
1676:
890:Grove's Dictionary of Music and Musicians
2913:
2856:
2710:
2592:
2264:, Artic.edu. Retrieved 17 September 2021
1674:
1672:
1670:
1668:
1666:
1664:
1662:
1660:
1658:
1656:
1583:Cambridge English Pronouncing Dictionary
1162:
1073:
984:
922:
765:
700:
622:
484:
452:
355:
276:
199:
20:
2951:
2771:
2749:
2652:
2633:
2556:
2463:The International Encyclopedia of Dance
1770:
1244:(Paris: Fayard/Imes, 2000; 1265 pages)
1167:Satie's grave bearing a white cross in
550:, text by Dominique Bonnaud/Numa Blès;
63:sect to which he was briefly attached.
16:French composer and pianist (1866–1925)
7039:
2814:
2795:
2727:
2611:
2362:
2360:
2358:
2356:
2328:
2326:
2324:
2012:
2010:
1731:Cooper, Martin, and Charles Timbrell.
1619:
1617:
6583:Six Characters in Search of an Author
3723:
3079:
2937:. London: Weidenfeld & Nicolson.
2932:
2875:
2691:
2444:
1987:"Dubois, (François Clément) Théodore"
1653:
1607:
1605:
1603:
1564:
1536:
1384:
912:("Cancelled") (in collaboration with
493:– Satie's home from 1898 to his death
3423:Prélude de la porte héroïque du ciel
3072:– Satie birthplace museum, Honfleur.
2733:Claude Debussy: A Critical Biography
2715:(in French). Lausanne: Age d'homme.
2368:"Satie, Erik (Eric) (Alfred Leslie)"
2366:Griffiths, Paul, and Roger Nichols.
1970:
3500:Vieux sequins et vieilles cuirasses
2956:. Oxford: Oxford University Press.
2834:
2405:Orledge, p. 95; and Gillmor, p. 137
2353:
2321:
2007:
1752:
1700:Satie, Erik (Eric) (Alfred Leslie)"
1644:
1614:
1116:, composed for the René Clair film
13:
5778:Nude Descending a Staircase, No. 2
2990:
2857:Rosinsky, Thérèse Diamand (1994).
2334:"Satie, Erik (Eric) Alfred Leslie"
1600:
960:List of compositions by Erik Satie
875:to the English-language magazines
790:heard Viñes and Satie perform the
775:, 1917 – music by Satie, décor by
480:
407:), provided incidental music to a
190:
14:
7218:
7142:French people of Scottish descent
3430:Préludes flasques (pour un chien)
3353:Heures séculaires et instantanées
3036:
1496:Heures séculaires et instantanées
1493:He wrote in the first edition of
212:Satie was born on 17 May 1866 in
7202:Alcohol-related deaths in France
7072:20th-century classical composers
7057:19th-century classical composers
7024:
7012:
7000:
6988:
6965:
6964:
3702:
3691:
3690:
3472:Trois morceaux en forme de poire
3001:. U.S.: Henry Holt and Company.
2914:Templier, Pierre-Daniel (1969).
2694:The Cambridge Companion to Ravel
2660:. London: Secker & Warburg.
1542:Longman Pronunciation Dictionary
1338:
1288:
1219:His published writings include:
1071:("Bureaucratic Sonata", 1917).
1028:Trois morceaux en forme de poire
866:and other publications from the
344:cabaret on the southern edge of
7192:Schola Cantorum de Paris alumni
7137:French male classical composers
2534:
2525:
2516:
2507:
2498:
2489:
2480:
2471:
2435:
2426:
2417:
2408:
2399:
2387:
2312:
2303:
2294:
2285:
2276:
2267:
2248:
2239:
2230:
2221:
2212:
2203:
2194:
2185:
2176:
2153:
2133:
2124:
2101:
2092:
2083:
2074:
2065:
2056:
2037:
2028:
2019:
1979:
1961:
1952:
1943:
1934:
1925:
1916:
1907:
1898:
1889:
1880:
1871:
1862:
1853:
1844:
1835:
1826:
1807:"Dyslexia and Musical Notation"
1799:
1761:
1725:
1716:
1502:
1487:
1462:
1445:
1436:
1426:
1419:has conjectured that Satie had
1409:
1400:
187:of the liver at the age of 59.
6732:Grosvenor School of Modern Art
6725:Fourth dimension in literature
3290:Chapitres tournés en tous sens
3105:
2952:Whiting, Steven Moore (1999).
2920:. Cambridge, Mass: MIT Press.
2338:The Oxford Dictionary of Music
2300:Potter (2016), pp. 239 and 241
1850:Rey, p. 22; and Gillmor, p. 64
1635:
1626:
1558:
1530:
1391:
1275:
1106:Satie invented what he called
900:in Paris. In 1924 the ballets
195:
1:
7082:20th-century French composers
7062:19th-century French composers
3749:
3032:Revised edition of 1958 book.
2800:. Woodbridge: Boydell Press.
2757:. London: Thames and Hudson.
2578:. Woodbridge: Boydell Press.
2559:A Brief History of Minimalism
2372:The Oxford Companion to Music
2119:The Oxford Companion to Music
1523:
1264:Notes, references and sources
1212:, adding "I also owe much to
713:
678:Société musicale indépendante
323:
3645:The Minimalism of Erik Satie
3191:Trois petites pièces montées
3057:Choral Public Domain Library
2595:A Portrait of Claude Debussy
1120:, shown between the acts of
682:Société nationale de musique
438:made vacant by the death of
160:(1919) and two late ballets
59:. He also wrote music for a
7:
6825:List of avant-garde artists
5802:The Cabinet of Dr. Caligari
2895:Strickland, Edward (2000).
2842:(in French). Paris: Seuil.
1904:Innes and Shevtsova, p. 151
1468:The pieces were the second
1158:
10:
7223:
7127:French classical composers
6683:Classical Hollywood cinema
3659:Musée-Placard d'Erik Satie
3486:Verset laïque et somptueux
3458:Sonneries de la Rose+Croix
2817:French Music Since Berlioz
2711:Lajoinie, Vincent (1985).
2550:
2522:Dickinson, pp. 248 and 249
2504:Potter (2016), pp. 206–207
1516:French-English dictionary.
1257:The Writings of Erik Satie
1204:(A Mammal's Notebook) and
966:Oxford Dictionary of Music
957:
310:Gothic church architecture
270:, who had been a pupil of
7177:Pupils of Georges Mathias
7152:French surrealist artists
6946:
6624:
6465:
6333:
6173:
5922:
5911:
5754:Les Demoiselles d'Avignon
5708:
5534:
5094:
4577:
4568:
4445:
4229:
3971:
3962:
3757:
3685:
3611:
3509:
3465:Sports et divertissements
3395:Petite ouverture à danser
3311:Descriptions automatiques
3260:
3200:
3161:
3122:
3113:
3053:Free scores by Erik Satie
3043:Free scores by Erik Satie
2971:Williamson, John (2005).
2815:Potter, Caroline (2017).
2796:Potter, Caroline (2016).
2593:Dietschy, Marcel (1999).
2574:Dickinson, Peter (2016).
2457:18 September 2021 at the
2381:18 September 2021 at the
2347:18 September 2021 at the
2049:17 September 2021 at the
1820:18 September 2021 at the
1705:18 September 2021 at the
1544:(3rd ed.). Longman.
691:Sports et divertissements
534:, text by Vincent Hyspa;
338:
244:
7182:Pupils of Vincent d'Indy
7087:Ballets Russes composers
4539:The Master and Margarita
3016:Shattuck, Roger (1968).
2997:Shattuck, Roger (1958).
2414:Orledge, pp. 116 and 174
1268:
1043:Nouvelles pièces froides
953:
948:
927:Satie in his later years
884:The Transatlantic Review
526:, text by Henry Pacory;
489:"Les quatre cheminées",
33:Eric Alfred Leslie Satie
7167:Musicians from Normandy
7122:French ballet composers
6832:List of modernist poets
6718:Fourth dimension in art
5894:Meshes of the Afternoon
3451:Sonatine bureaucratique
3283:Avant-dernières pensées
3230:Quatre petites mélodies
3209:Bonjour Biqui, Bonjour!
2467:(subscription required)
2376:(subscription required)
2342:(subscription required)
2149:(subscription required)
1995:(subscription required)
1815:(subscription required)
1741:(subscription required)
1474:, the first prelude to
1206:Mémoires d'un amnésique
1171:, to the south of Paris
1100:Quatre petites mélodies
1090:Sonatine bureaucratique
1068:Sonatine bureaucratique
800:, premiered in 1917 by
705:Satie's final persona,
436:Académie des Beaux-Arts
151:Sonatine bureaucratique
7157:Neoclassical composers
7112:Experimental composers
6916:Second Viennese School
6658:
6647:
4551:The Sound and the Fury
4455:In Search of Lost Time
3912:
3841:
3830:
3784:
3773:
2861:. New York: Universe.
2634:Gillmor, Alan (1988).
2557:Bennett, Mark (1995).
2130:Orledge, pp. 86 and 95
1239:
1202:Cahiers d'un mammifère
1172:
1084:
993:
983:
939:
928:
812:, and choreography by
779:
710:
643:
609:
599:
592:
569:
561:
553:
537:
529:
519:
494:
461:
425:
417:
402:
365:
282:
209:
92:, and choreography by
29:
7207:French Army personnel
7107:Deaths from cirrhosis
6895:Reactionary modernism
6818:List of art movements
2933:Weeks, David (1995).
2819:. London: Routledge.
2597:. Oxford: Clarendon.
2531:Potter (2016), p. 207
2495:Potter (2016), p. 252
1480:and the third of the
1166:
1109:Musique d'ameublement
1077:
988:
978:
934:
926:
827:Princesse de Polignac
769:
704:
626:
562:Légende californienne
488:
477:artistic direction".
456:
374:(1888) and the first
359:
280:
203:
24:
7172:People of Montmartre
7162:People from Honfleur
6739:Hanshinkan Modernism
6595:The Threepenny Opera
6511:Pelléas et Mélisande
3539:Geneviève de Brabant
3276:Aperçus désagréables
3251:Trois poèmes d'amour
3184:La belle excentrique
3116:List of compositions
3068:13 July 2017 at the
2543:in Dickinson, p. 247
2034:Giilmor, pp. 112–113
2004:; and Duchen, p. 120
1746:1 April 2022 at the
1214:Christopher Columbus
1034:Geneviève de Brabant
749:Henri Cliquet-Pleyel
737:Germaine Tailleferre
709:and formally dressed
649:Pelléas et Mélisande
601:Geneviève de Brabant
571:La belle excentrique
426:Le bâtard de Tristan
418:Préludes du Nazaréen
7097:Composers for piano
6797:International Style
6547:Afternoon of a Faun
5826:Battleship Potemkin
5730:Mont Sainte-Victoir
3581:Les Pantins dansent
3567:Le Fils des étoiles
3560:La statue retrouvée
3553:La Diva de l'Empire
2897:Minimalism: Origins
2619:. London: Phaidon.
2273:Orledge, p. xxxviii
2160:"Courrier Musicale"
2000:24 May 2021 at the
1868:Templier, pp. 10–11
1477:Le Fils des étoiles
1415:Satie's biographer
1041:and Debussy in the
1037:and echoes of both
964:In the view of the
547:La Diva de l'Empire
334:Contamine de Latour
292:Notre-Dame de Paris
256:Paris Conservatoire
229:Franco-Prussian War
41:Paris Conservatoire
6676:Buddhist modernism
6633:American modernism
6559:The Rite of Spring
4527:The Sun Also Rises
4503:The Magic Mountain
3574:Le piège de Méduse
3532:En habit de cheval
3510:Other compositions
3416:Prélude d'Eginhard
3318:Embryons desséchés
2778:Satie the Composer
2638:. Boston: Twayne.
2561:. Ann Arbor: UMI.
2282:Williamson, p, 176
2260:2015-02-12 at the
2165:2021-09-17 at the
2145:Grove Music Online
2139:Kelly, Barbara L.
2113:2021-05-16 at the
1991:Grove Music Online
1931:Gillmor, pp. 76–77
1813:1994, pp. 185–202
1811:Annals of Dyslexia
1792:2020-11-25 at the
1737:Grove Music Online
1711:Grove Music Online
1386:[eʁiksati]
1173:
1085:
994:
929:
819:succès de scandale
780:
739:, joined later by
711:
644:
495:
462:
366:
330:9th arrondissement
283:
210:
30:
7147:French socialists
7132:French communists
6976:
6975:
6704:Experimental film
6620:
6619:
6607:Waiting for Godot
5907:
5906:
4564:
4563:
4467:The Metamorphosis
3717:
3716:
3367:Le poisson rêveur
3223:Messe des pauvres
2982:978-0-85323-619-1
2963:978-0-19-816458-6
2944:978-0-297-81447-4
2906:978-0-253-21388-4
2887:978-2-85184-073-8
2868:978-0-87663-777-7
2849:978-2-02-000255-4
2826:978-1-315-09389-5
2807:978-1-78327-083-5
2788:978-0-521-35037-2
2764:978-0-500-51095-7
2742:978-1-58046-903-6
2703:978-0-52-164856-1
2684:978-0-521-84449-9
2645:978-0-8057-9472-4
2626:978-0-7148-3932-5
2604:978-0-19-315469-8
2585:978-1-78327-106-1
2450:Shattuck, Roger.
2396:in Orledge, p. 68
2108:"Schola Cantorum"
1785:Orledge, Robert.
1593:978-0-521-15255-6
1551:978-1-4058-8118-0
611:Le poisson rêveur
246:Collège de France
233:Louis Niedermeyer
74:. A meeting with
25:Satie in 1920 by
7214:
7029:
7028:
7027:
7017:
7016:
7015:
7005:
7004:
6993:
6992:
6991:
6984:
6968:
6967:
6939:
6937:Vulgar modernism
6932:
6930:Underground film
6925:
6918:
6911:
6904:
6897:
6890:
6883:
6876:
6869:
6862:
6855:
6848:
6841:
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6827:
6820:
6813:
6806:
6799:
6792:
6783:
6776:
6769:
6762:
6755:
6753:Hippie modernism
6748:
6741:
6734:
6727:
6720:
6713:
6706:
6699:
6692:
6685:
6678:
6671:
6669:Bloomsbury Group
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5850:Un Chien Andalou
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5808:
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5742:The Starry Night
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5071:Toulouse-Lautrec
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3832:Der Blaue Reiter
3825:
3818:
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3790:
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3779:
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3768:
3744:
3737:
3730:
3721:
3720:
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3693:
3673:(1921 sculpture)
3664:Surrealist music
3612:Related articles
3304:Danses gothiques
3162:Orchestral works
3100:
3093:
3086:
3077:
3076:
3031:
3012:
2986:
2967:
2948:
2929:
2910:
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2792:
2768:
2746:
2729:Lesure, François
2724:
2707:
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2669:
2649:
2630:
2608:
2589:
2570:
2544:
2538:
2532:
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2523:
2520:
2514:
2513:Weeks, pp. 83–84
2511:
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2298:
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2291:Gillmor, p. xxiv
2289:
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2252:
2246:
2243:
2237:
2234:
2228:
2227:Dietschy, p. 190
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2207:
2201:
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2189:
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2141:"Ravel, Maurice"
2137:
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2128:
2122:
2105:
2099:
2096:
2090:
2087:
2081:
2080:Gillmor, p. xxix
2078:
2072:
2069:
2063:
2060:
2054:
2041:
2035:
2032:
2026:
2023:
2017:
2014:
2005:
1996:
1983:
1977:
1974:
1968:
1967:Whiting, p. 156.
1965:
1959:
1956:
1950:
1947:
1941:
1938:
1932:
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1923:
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1733:"Cortot, Alfred"
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1300:
1297:
1294:
1287:
1279:
1242:
1092:anticipates the
860:L'Esprit nouveau
802:Sergei Diaghilev
753:Roger Désormière
614:
604:
595:
574:
564:
556:
542:
532:
524:
470:Danses gothiques
428:
420:
405:
390:Joséphin Péladan
362:Santiago Rusiñol
343:
342:
296:National Library
249:
248:
7222:
7221:
7217:
7216:
7215:
7213:
7212:
7211:
7037:
7036:
7035:
7025:
7023:
7013:
7011:
6999:
6995:Classical music
6989:
6987:
6979:
6977:
6972:
6963:
6955:
6942:
6935:
6928:
6923:Structural film
6921:
6914:
6907:
6900:
6893:
6886:
6879:
6874:New Objectivity
6872:
6865:
6860:Neo-romanticism
6858:
6853:Neo-primitivism
6851:
6844:
6837:
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6508:
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6499:Verklärte Nacht
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4406:
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4364:
4357:
4350:
4345:Lowell (Robert)
4343:
4336:
4329:
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4315:
4308:
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4280:
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3807:
3800:
3793:
3782:
3771:
3764:
3753:
3748:
3718:
3713:
3681:
3634:Furniture music
3607:
3505:
3256:
3196:
3157:
3131:Jack in the Box
3118:
3109:
3104:
3070:Wayback Machine
3063:"Maisons Satie"
3039:
3028:
3009:
2993:
2991:Further reading
2983:
2973:Words and Music
2964:
2945:
2907:
2888:
2869:
2859:Suzanne Valadon
2850:
2827:
2808:
2789:
2773:Orledge, Robert
2765:
2743:
2704:
2685:
2646:
2627:
2613:Duchen, Jessica
2605:
2586:
2576:Words and Music
2553:
2548:
2547:
2539:
2535:
2530:
2526:
2521:
2517:
2512:
2508:
2503:
2499:
2494:
2490:
2485:
2481:
2476:
2472:
2466:
2459:Wayback Machine
2449:
2445:
2440:
2436:
2432:Gillmor, p. 208
2431:
2427:
2422:
2418:
2413:
2409:
2404:
2400:
2392:
2388:
2383:Wayback Machine
2375:
2365:
2354:
2349:Wayback Machine
2341:
2331:
2322:
2318:Gillmor, p. 259
2317:
2313:
2309:Gillmor, p. 258
2308:
2304:
2299:
2295:
2290:
2286:
2281:
2277:
2272:
2268:
2262:Wayback Machine
2253:
2249:
2245:Gillmor, p. xxv
2244:
2240:
2236:Orledge, p. 255
2235:
2231:
2226:
2222:
2217:
2213:
2208:
2204:
2200:Nichols, p. 264
2199:
2195:
2190:
2186:
2181:
2177:
2167:Wayback Machine
2158:
2154:
2148:
2138:
2134:
2129:
2125:
2115:Wayback Machine
2106:
2102:
2097:
2093:
2089:Whiting, p. 259
2088:
2084:
2079:
2075:
2071:Templier, p. 56
2070:
2066:
2062:Orledge, p. 233
2061:
2057:
2051:Wayback Machine
2044:Journey planner
2042:
2038:
2033:
2029:
2025:Orledge, p. 157
2024:
2020:
2016:Rosinsky, p. 49
2015:
2008:
2002:Wayback Machine
1994:
1984:
1980:
1976:Whiting, p. 152
1975:
1971:
1966:
1962:
1958:Whiting, p. 151
1957:
1953:
1949:Lajoinie, p. 21
1948:
1944:
1939:
1935:
1930:
1926:
1921:
1917:
1913:Whiting, p. 172
1912:
1908:
1903:
1899:
1894:
1890:
1885:
1881:
1877:Templier, p. 11
1876:
1872:
1867:
1863:
1858:
1854:
1849:
1845:
1840:
1836:
1831:
1827:
1822:Wayback Machine
1814:
1804:
1800:
1794:Wayback Machine
1784:
1771:
1766:
1762:
1757:
1753:
1748:Wayback Machine
1740:
1730:
1726:
1721:
1717:
1707:Wayback Machine
1697:
1654:
1650:Orledge, p. xix
1649:
1645:
1640:
1636:
1631:
1627:
1623:Gillmor, p. xix
1622:
1615:
1610:
1601:
1594:
1563:
1559:
1552:
1535:
1531:
1526:
1521:
1520:
1514:Merriam-Webster
1507:
1503:
1492:
1488:
1467:
1463:
1457:Ambroise Thomas
1450:
1446:
1441:
1437:
1431:
1427:
1414:
1410:
1405:
1401:
1396:
1392:
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1341:
1332:
1331:
1309:
1291:
1282:
1281:
1280:
1276:
1271:
1266:
1259:, London, 1980.
1255:Nigel Wilkins,
1210:Oliver Cromwell
1161:
1135:have said that
1133:Humphrey Searle
1002:(1888) and his
962:
956:
951:
914:Francis Picabia
845:Igor Stravinsky
814:Léonide Massine
784:First World War
741:Francis Poulenc
733:Arthur Honegger
716:
655:Schola Cantorum
618:The Dreamy Fish
579:Jack in the Box
507:Communist Party
483:
481:Move to Arcueil
466:Suzanne Valadon
458:Suzanne Valadon
326:
300:Alphonse Allais
288:Georges Mathias
272:Frédéric Chopin
266:and piano with
264:Albert Lavignac
237:Gregorian chant
222:shipping broker
198:
193:
191:Life and career
116:Francis Poulenc
94:Léonide Massine
86:Serge Diaghilev
68:Schola Cantorum
17:
12:
11:
5:
7220:
7210:
7209:
7204:
7199:
7197:Surreal comedy
7194:
7189:
7184:
7179:
7174:
7169:
7164:
7159:
7154:
7149:
7144:
7139:
7134:
7129:
7124:
7119:
7114:
7109:
7104:
7099:
7094:
7089:
7084:
7079:
7074:
7069:
7064:
7059:
7054:
7049:
7034:
7033:
7021:
7009:
6997:
6974:
6973:
6956:
6948:
6947:
6944:
6943:
6941:
6940:
6933:
6926:
6919:
6912:
6905:
6898:
6891:
6884:
6881:Poetic realism
6877:
6870:
6863:
6856:
6849:
6842:
6835:
6828:
6821:
6814:
6811:Late modernity
6807:
6804:Late modernism
6800:
6793:
6786:
6785:
6784:
6777:
6770:
6756:
6749:
6746:High modernism
6742:
6735:
6728:
6721:
6714:
6707:
6700:
6693:
6690:Degenerate art
6686:
6679:
6672:
6665:
6660:Ballets Russes
6654:
6643:
6636:
6628:
6626:
6622:
6621:
6618:
6617:
6615:
6614:
6602:
6590:
6578:
6566:
6554:
6542:
6530:
6518:
6506:
6494:
6482:
6469:
6467:
6463:
6462:
6460:
6459:
6452:
6445:
6438:
6431:
6424:
6417:
6410:
6403:
6396:
6389:
6382:
6375:
6368:
6361:
6354:
6347:
6339:
6337:
6331:
6330:
6328:
6327:
6320:
6313:
6306:
6299:
6292:
6285:
6278:
6271:
6264:
6257:
6250:
6243:
6236:
6229:
6222:
6215:
6208:
6201:
6194:
6187:
6179:
6177:
6171:
6170:
6168:
6167:
6160:
6153:
6146:
6139:
6132:
6125:
6118:
6111:
6104:
6097:
6090:
6083:
6076:
6069:
6062:
6055:
6048:
6041:
6034:
6027:
6020:
6013:
6006:
5999:
5992:
5985:
5978:
5971:
5964:
5957:
5950:
5943:
5936:
5928:
5926:
5917:
5909:
5908:
5905:
5904:
5902:
5901:
5889:
5877:
5867:
5857:
5845:
5833:
5821:
5809:
5797:
5785:
5773:
5761:
5749:
5737:
5725:
5712:
5710:
5706:
5705:
5703:
5702:
5695:
5688:
5681:
5674:
5667:
5660:
5653:
5646:
5639:
5632:
5625:
5618:
5611:
5604:
5597:
5590:
5583:
5576:
5569:
5562:
5555:
5548:
5540:
5538:
5532:
5531:
5529:
5528:
5521:
5514:
5507:
5500:
5493:
5486:
5479:
5472:
5465:
5458:
5451:
5444:
5437:
5430:
5423:
5416:
5409:
5406:Ray (Satyajit)
5402:
5399:Ray (Nicholas)
5395:
5388:
5381:
5374:
5367:
5360:
5353:
5346:
5339:
5332:
5325:
5318:
5311:
5304:
5297:
5290:
5283:
5276:
5269:
5262:
5255:
5248:
5241:
5234:
5227:
5220:
5213:
5206:
5199:
5192:
5185:
5178:
5171:
5164:
5157:
5150:
5143:
5136:
5129:
5122:
5115:
5108:
5100:
5098:
5092:
5091:
5089:
5088:
5081:
5074:
5067:
5060:
5053:
5046:
5039:
5032:
5025:
5018:
5011:
5004:
4997:
4990:
4983:
4976:
4969:
4962:
4955:
4948:
4941:
4934:
4927:
4920:
4913:
4906:
4899:
4892:
4885:
4878:
4871:
4864:
4857:
4850:
4843:
4836:
4829:
4822:
4815:
4808:
4801:
4794:
4787:
4780:
4773:
4766:
4759:
4752:
4745:
4738:
4731:
4724:
4717:
4710:
4703:
4696:
4689:
4682:
4675:
4668:
4661:
4654:
4647:
4640:
4633:
4626:
4619:
4612:
4605:
4598:
4591:
4583:
4581:
4572:
4566:
4565:
4562:
4561:
4559:
4558:
4546:
4534:
4522:
4510:
4498:
4491:The Waste Land
4486:
4474:
4462:
4449:
4447:
4443:
4442:
4440:
4439:
4432:
4425:
4418:
4411:
4404:
4397:
4390:
4383:
4376:
4369:
4362:
4355:
4348:
4341:
4334:
4327:
4320:
4313:
4306:
4299:
4292:
4285:
4278:
4271:
4264:
4257:
4250:
4243:
4235:
4233:
4227:
4226:
4224:
4223:
4216:
4209:
4202:
4195:
4188:
4181:
4174:
4167:
4160:
4153:
4146:
4139:
4132:
4125:
4118:
4111:
4104:
4097:
4090:
4083:
4076:
4069:
4062:
4055:
4048:
4041:
4034:
4027:
4020:
4013:
4006:
3999:
3992:
3985:
3977:
3975:
3966:
3960:
3959:
3957:
3956:
3949:
3942:
3935:
3928:
3921:
3920:
3919:
3901:
3894:
3887:
3880:
3879:
3878:
3864:
3857:
3856:
3855:
3848:
3837:
3819:
3812:
3805:
3802:Constructivism
3798:
3791:
3780:
3769:
3761:
3759:
3755:
3754:
3747:
3746:
3739:
3732:
3724:
3715:
3714:
3712:
3711:
3699:
3686:
3683:
3682:
3680:
3679:
3674:
3666:
3661:
3656:
3648:
3641:
3636:
3631:
3623:
3615:
3613:
3609:
3608:
3606:
3605:
3598:
3595:Salut drapeau!
3591:
3584:
3577:
3570:
3563:
3556:
3549:
3542:
3535:
3528:
3521:
3513:
3511:
3507:
3506:
3504:
3503:
3496:
3489:
3482:
3475:
3468:
3461:
3454:
3447:
3440:
3437:Premier Menuet
3433:
3426:
3419:
3412:
3405:
3402:Pièces froides
3398:
3391:
3384:
3377:
3370:
3363:
3356:
3349:
3342:
3335:
3328:
3321:
3314:
3307:
3300:
3293:
3286:
3279:
3272:
3264:
3262:
3258:
3257:
3255:
3254:
3247:
3244:Trois mélodies
3240:
3233:
3226:
3219:
3212:
3204:
3202:
3198:
3197:
3195:
3194:
3187:
3180:
3177:Le Bœuf Angora
3173:
3165:
3163:
3159:
3158:
3156:
3155:
3148:
3141:
3134:
3126:
3124:
3120:
3119:
3114:
3111:
3110:
3103:
3102:
3095:
3088:
3080:
3074:
3073:
3060:
3050:
3038:
3037:External links
3035:
3034:
3033:
3026:
3013:
3007:
2992:
2989:
2988:
2987:
2981:
2968:
2962:
2949:
2943:
2930:
2911:
2905:
2892:
2886:
2873:
2867:
2854:
2848:
2832:
2825:
2812:
2806:
2793:
2787:
2769:
2763:
2751:Nichols, Roger
2747:
2741:
2725:
2708:
2702:
2689:
2683:
2670:
2654:Harding, James
2650:
2644:
2631:
2625:
2609:
2603:
2590:
2584:
2571:
2552:
2549:
2546:
2545:
2533:
2524:
2515:
2506:
2497:
2488:
2479:
2470:
2443:
2441:Orledge, p. 39
2434:
2425:
2423:Gillmor, p. 37
2416:
2407:
2398:
2386:
2352:
2320:
2311:
2302:
2293:
2284:
2275:
2266:
2247:
2238:
2229:
2220:
2218:Lesure, p. 333
2211:
2202:
2193:
2184:
2175:
2152:
2132:
2123:
2100:
2091:
2082:
2073:
2064:
2055:
2036:
2027:
2018:
2006:
1985:Pasler, Jann.
1978:
1969:
1960:
1951:
1942:
1933:
1924:
1915:
1906:
1897:
1888:
1879:
1870:
1861:
1859:Gillmor, p. 12
1852:
1843:
1841:Harding, p. 35
1834:
1832:Gillmor, p. 33
1825:
1798:
1769:
1767:Gillmor, p. xx
1760:
1758:Orledge, p. xx
1751:
1724:
1715:
1652:
1643:
1634:
1625:
1613:
1599:
1592:
1557:
1550:
1538:Wells, John C.
1528:
1527:
1525:
1522:
1519:
1518:
1501:
1486:
1461:
1453:Charles Gounod
1444:
1435:
1425:
1417:Robert Orledge
1408:
1399:
1390:
1273:
1272:
1270:
1267:
1265:
1262:
1261:
1260:
1253:
1235:
1160:
1157:
1078:Manuscript of
1014:Paul Griffiths
955:
952:
950:
947:
852:Revue musicale
806:Ballets Russes
792:Trois morceaux
745:Darius Milhaud
715:
712:
667:Albert Roussel
659:Vincent d'Indy
588:Jules Depaquit
503:Arcueil-Cachan
482:
479:
440:Ernest Guiraud
382:Claude Debussy
350:Robert Orledge
325:
322:
268:Émile Decombes
197:
194:
192:
189:
112:Claude Debussy
15:
9:
6:
4:
3:
2:
7219:
7208:
7205:
7203:
7200:
7198:
7195:
7193:
7190:
7188:
7185:
7183:
7180:
7178:
7175:
7173:
7170:
7168:
7165:
7163:
7160:
7158:
7155:
7153:
7150:
7148:
7145:
7143:
7140:
7138:
7135:
7133:
7130:
7128:
7125:
7123:
7120:
7118:
7117:Fin de siècle
7115:
7113:
7110:
7108:
7105:
7103:
7100:
7098:
7095:
7093:
7090:
7088:
7085:
7083:
7080:
7078:
7075:
7073:
7070:
7068:
7065:
7063:
7060:
7058:
7055:
7053:
7050:
7048:
7045:
7044:
7042:
7032:
7022:
7020:
7010:
7008:
7003:
6998:
6996:
6986:
6985:
6982:
6971:
6961:
6960:
6959:Postmodernism
6954:
6953:
6945:
6938:
6934:
6931:
6927:
6924:
6920:
6917:
6913:
6910:
6906:
6903:
6902:Metamodernism
6899:
6896:
6892:
6889:
6885:
6882:
6878:
6875:
6871:
6868:
6867:New Hollywood
6864:
6861:
6857:
6854:
6850:
6847:
6843:
6840:
6836:
6833:
6829:
6826:
6822:
6819:
6815:
6812:
6808:
6805:
6801:
6798:
6794:
6791:
6787:
6782:
6778:
6775:
6771:
6768:
6764:
6763:
6761:
6760:Impressionism
6757:
6754:
6750:
6747:
6743:
6740:
6736:
6733:
6729:
6726:
6722:
6719:
6715:
6712:
6708:
6705:
6701:
6698:
6694:
6691:
6687:
6684:
6680:
6677:
6673:
6670:
6666:
6662:
6661:
6655:
6651:
6650:
6644:
6641:
6637:
6634:
6630:
6629:
6627:
6623:
6609:
6608:
6603:
6597:
6596:
6591:
6585:
6584:
6579:
6573:
6572:
6567:
6561:
6560:
6555:
6549:
6548:
6543:
6537:
6536:
6531:
6525:
6524:
6519:
6513:
6512:
6507:
6501:
6500:
6495:
6489:
6488:
6483:
6477:
6476:
6471:
6470:
6468:
6464:
6457:
6453:
6450:
6446:
6443:
6439:
6436:
6432:
6429:
6425:
6422:
6418:
6415:
6411:
6408:
6404:
6401:
6397:
6394:
6390:
6387:
6383:
6380:
6376:
6373:
6369:
6366:
6362:
6359:
6355:
6352:
6348:
6345:
6341:
6340:
6338:
6336:
6332:
6325:
6321:
6318:
6314:
6311:
6307:
6304:
6300:
6297:
6293:
6290:
6286:
6283:
6279:
6276:
6272:
6269:
6265:
6262:
6258:
6255:
6251:
6248:
6244:
6241:
6237:
6234:
6230:
6227:
6223:
6220:
6216:
6213:
6209:
6206:
6202:
6199:
6195:
6192:
6188:
6185:
6181:
6180:
6178:
6176:
6172:
6165:
6161:
6158:
6154:
6151:
6147:
6144:
6140:
6137:
6133:
6130:
6126:
6123:
6119:
6116:
6112:
6109:
6105:
6102:
6098:
6095:
6091:
6088:
6084:
6081:
6077:
6074:
6070:
6067:
6063:
6060:
6056:
6053:
6049:
6046:
6042:
6039:
6035:
6032:
6028:
6025:
6021:
6018:
6014:
6011:
6007:
6004:
6000:
5997:
5993:
5990:
5986:
5983:
5979:
5976:
5972:
5969:
5965:
5962:
5958:
5955:
5951:
5948:
5944:
5941:
5937:
5934:
5930:
5929:
5927:
5925:
5921:
5918:
5916:
5910:
5896:
5895:
5890:
5884:
5883:
5878:
5872:
5868:
5862:
5858:
5852:
5851:
5846:
5840:
5839:
5834:
5828:
5827:
5822:
5816:
5815:
5810:
5804:
5803:
5798:
5792:
5791:
5786:
5780:
5779:
5774:
5768:
5767:
5762:
5756:
5755:
5750:
5744:
5743:
5738:
5732:
5731:
5726:
5720:
5719:
5714:
5713:
5711:
5707:
5700:
5696:
5693:
5689:
5686:
5682:
5679:
5675:
5672:
5668:
5665:
5661:
5658:
5654:
5651:
5647:
5644:
5640:
5637:
5633:
5630:
5626:
5623:
5619:
5616:
5612:
5609:
5605:
5602:
5598:
5595:
5591:
5588:
5587:Hundertwasser
5584:
5581:
5577:
5574:
5570:
5567:
5563:
5560:
5556:
5553:
5549:
5546:
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5501:
5498:
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5491:
5487:
5484:
5480:
5477:
5473:
5470:
5466:
5463:
5459:
5456:
5452:
5449:
5445:
5442:
5438:
5435:
5431:
5428:
5424:
5421:
5417:
5414:
5410:
5407:
5403:
5400:
5396:
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5382:
5379:
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5368:
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5260:
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5123:
5120:
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5099:
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5044:
5040:
5037:
5033:
5030:
5026:
5023:
5019:
5016:
5012:
5009:
5005:
5002:
4998:
4995:
4991:
4988:
4984:
4981:
4977:
4974:
4970:
4967:
4963:
4960:
4956:
4953:
4949:
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4928:
4925:
4921:
4918:
4914:
4911:
4907:
4904:
4900:
4897:
4893:
4890:
4886:
4883:
4879:
4876:
4872:
4869:
4865:
4862:
4858:
4855:
4851:
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4844:
4841:
4837:
4834:
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4827:
4823:
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4816:
4813:
4809:
4806:
4802:
4799:
4795:
4792:
4788:
4785:
4781:
4778:
4774:
4771:
4767:
4764:
4760:
4757:
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3997:
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3990:
3986:
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3964:Literary arts
3961:
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3940:
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3916:
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3905:Neoplasticism
3902:
3899:
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3892:
3888:
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3872:
3871:
3869:
3868:Functionalism
3865:
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3849:
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3827:
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3823:Expressionism
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3795:Ashcan School
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3677:Ornella Volta
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3360:Le Piccadilly
3357:
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3054:
3051:
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3041:
3040:
3029:
3023:
3019:
3014:
3010:
3008:0-394-70415-0
3004:
3000:
2995:
2994:
2984:
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2969:
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2714:
2709:
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2699:
2695:
2690:
2686:
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2676:
2671:
2667:
2663:
2659:
2655:
2651:
2647:
2641:
2637:
2632:
2628:
2622:
2618:
2617:Gabriel Fauré
2614:
2610:
2606:
2600:
2596:
2591:
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2577:
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2568:
2564:
2560:
2555:
2554:
2542:
2537:
2528:
2519:
2510:
2501:
2492:
2483:
2477:Bennett, p. 7
2474:
2464:
2460:
2456:
2453:
2452:"Satie, Erik"
2447:
2438:
2429:
2420:
2411:
2402:
2395:
2390:
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2373:
2369:
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2329:
2327:
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2270:
2263:
2259:
2256:
2251:
2242:
2233:
2224:
2215:
2206:
2197:
2188:
2182:Orledge, p. 2
2179:
2172:
2168:
2164:
2161:
2156:
2146:
2142:
2136:
2127:
2120:
2116:
2112:
2109:
2104:
2095:
2086:
2077:
2068:
2059:
2052:
2048:
2045:
2040:
2031:
2022:
2013:
2011:
2003:
1999:
1992:
1988:
1982:
1973:
1964:
1955:
1946:
1937:
1928:
1919:
1910:
1901:
1895:Orledge, p. 6
1892:
1883:
1874:
1865:
1856:
1847:
1838:
1829:
1823:
1819:
1812:
1808:
1802:
1795:
1791:
1788:
1782:
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1778:
1776:
1774:
1764:
1755:
1749:
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1734:
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1679:
1677:
1675:
1673:
1671:
1669:
1667:
1665:
1663:
1661:
1659:
1657:
1647:
1641:Gillmor, p. 9
1638:
1632:Gillmor, p. 8
1629:
1620:
1618:
1608:
1606:
1604:
1595:
1589:
1585:
1584:
1579:
1575:
1571:
1567:
1566:Jones, Daniel
1561:
1553:
1547:
1543:
1539:
1533:
1529:
1515:
1511:
1505:
1498:
1497:
1490:
1483:
1479:
1478:
1473:
1472:
1465:
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1454:
1448:
1439:
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1418:
1412:
1403:
1394:
1387:
1377:
1335:
1327:
1285:
1278:
1274:
1258:
1254:
1251:
1250:2-213-60674-9
1247:
1243:
1241:
1236:
1233:
1232:0-947757-92-9
1229:
1225:
1222:
1221:
1220:
1217:
1215:
1211:
1207:
1203:
1198:
1196:
1192:
1188:
1187:
1186:jeux d'esprit
1182:
1178:
1170:
1165:
1156:
1154:
1153:
1152:Century Rolls
1148:
1144:
1143:
1138:
1134:
1130:
1125:
1123:
1119:
1115:
1111:
1110:
1104:
1102:
1101:
1095:
1094:neoclassicism
1091:
1083:
1082:
1076:
1072:
1070:
1069:
1064:
1063:
1058:
1057:
1052:
1046:
1044:
1040:
1036:
1035:
1030:
1029:
1022:
1019:
1015:
1011:
1010:Roger Nichols
1007:
1006:
1001:
1000:
991:
987:
982:
977:
975:
974:impressionism
971:
967:
961:
946:
944:
938:
933:
925:
921:
919:
915:
911:
910:
905:
904:
899:
894:
892:
891:
886:
885:
880:
879:
874:
873:
869:
865:
864:Paris-Journal
861:
857:
853:
848:
846:
842:
838:
834:
833:
828:
823:
821:
820:
816:. This was a
815:
811:
810:Pablo Picasso
807:
803:
799:
798:
793:
789:
785:
778:
774:
773:
768:
764:
762:
761:Henri Sauguet
758:
754:
750:
746:
742:
738:
734:
730:
726:
725:Georges Auric
722:
708:
707:bowler-hatted
703:
699:
697:
696:Ricardo Viñes
693:
692:
687:
683:
679:
675:
674:Maurice Ravel
670:
668:
664:
660:
656:
651:
650:
642:
638:
634:
630:
625:
621:
619:
615:
613:
612:
605:
603:
602:
596:" by Satie);
594:
589:
585:
582:, music to a
581:
580:
575:
573:
572:
565:
563:
557:
555:
549:
548:
543:
541:
540:
533:
531:
525:
523:
522:
514:
512:
508:
504:
500:
492:
487:
478:
474:
471:
467:
459:
455:
451:
449:
445:
441:
437:
433:
429:
427:
421:
419:
413:
410:
406:
404:
397:
395:
391:
387:
383:
379:
378:
373:
372:
363:
358:
354:
351:
347:
341:
335:
331:
321:
319:
313:
311:
307:
306:
301:
297:
293:
289:
281:Satie in 1884
279:
275:
273:
269:
265:
261:
257:
252:
247:
240:
238:
234:
230:
225:
223:
219:
215:
207:
202:
188:
186:
182:
178:
173:
171:
170:
165:
164:
159:
158:
153:
152:
147:
146:
141:
140:
135:
134:
129:
125:
121:
117:
113:
109:
108:Maurice Ravel
105:
104:impressionism
102:
97:
95:
91:
90:Pablo Picasso
87:
83:
82:
77:
73:
69:
64:
62:
58:
57:
52:
51:
46:
42:
38:
34:
28:
23:
19:
7187:Rosicrucians
6957:
6950:
6697:Ecomodernism
6605:
6593:
6581:
6569:
6557:
6545:
6535:The Firebird
6533:
6521:
6509:
6497:
6485:
6473:
6086:
5892:
5882:Citizen Kane
5880:
5871:Fallingwater
5861:Villa Savoye
5848:
5836:
5824:
5812:
5800:
5790:Black Square
5788:
5776:
5764:
5752:
5740:
5728:
5716:
5608:Le Corbusier
5536:Architecture
4549:
4537:
4525:
4515:Mrs Dalloway
4513:
4501:
4489:
4477:
4465:
4453:
4338:Lowell (Amy)
3701:
3689:
3668:
3650:
3643:
3625:
3618:
3600:
3593:
3586:
3579:
3572:
3565:
3558:
3551:
3544:
3537:
3530:
3523:
3516:
3498:
3491:
3484:
3477:
3470:
3463:
3456:
3449:
3442:
3435:
3428:
3421:
3414:
3407:
3400:
3393:
3386:
3379:
3372:
3365:
3358:
3351:
3344:
3337:
3330:
3323:
3316:
3309:
3302:
3295:
3288:
3281:
3274:
3267:
3249:
3242:
3235:
3228:
3221:
3214:
3207:
3189:
3182:
3175:
3168:
3150:
3143:
3136:
3129:
3106:
3059:(ChoralWiki)
3017:
2998:
2972:
2953:
2934:
2916:
2896:
2877:
2858:
2839:
2816:
2797:
2777:
2754:
2732:
2712:
2693:
2674:
2657:
2635:
2616:
2594:
2575:
2558:
2540:
2536:
2527:
2518:
2509:
2500:
2491:
2482:
2473:
2462:
2446:
2437:
2428:
2419:
2410:
2401:
2393:
2389:
2371:
2337:
2314:
2305:
2296:
2287:
2278:
2269:
2250:
2241:
2232:
2223:
2214:
2205:
2196:
2187:
2178:
2170:
2155:
2144:
2135:
2126:
2118:
2103:
2094:
2085:
2076:
2067:
2058:
2039:
2030:
2021:
1990:
1981:
1972:
1963:
1954:
1945:
1936:
1927:
1918:
1909:
1900:
1891:
1882:
1873:
1864:
1855:
1846:
1837:
1828:
1810:
1801:
1763:
1754:
1736:
1727:
1722:Satie, p. 67
1718:
1710:
1646:
1637:
1628:
1581:
1578:Esling, John
1574:Setter, Jane
1570:Roach, Peter
1560:
1541:
1532:
1509:
1504:
1494:
1489:
1481:
1475:
1469:
1464:
1455:in 1894 and
1447:
1438:
1428:
1411:
1402:
1393:
1277:
1256:
1237:
1223:
1218:
1205:
1201:
1199:
1184:
1180:
1174:
1150:
1140:
1126:
1121:
1117:
1113:
1107:
1105:
1098:
1089:
1086:
1079:
1066:
1060:
1054:
1050:
1047:
1042:
1032:
1026:
1023:
1003:
997:
995:
989:
979:
972:‐influenced
965:
963:
940:
935:
930:
907:
901:
895:
888:
882:
876:
870:
863:
859:
855:
851:
849:
840:
830:
824:
817:
795:
791:
788:Jean Cocteau
781:
770:
757:Maxime Jacob
723:, including
717:
689:
685:
671:
663:counterpoint
647:
645:
617:
607:
597:
577:
567:
559:
554:Le Picadilly
551:
545:
535:
527:
517:
515:
496:
475:
469:
463:
447:
446:. From his "
431:
423:
415:
400:
398:
375:
369:
367:
327:
314:
303:
284:
253:
241:
226:
217:
211:
174:
167:
161:
155:
149:
143:
137:
131:
130:, as in his
98:
79:
76:Jean Cocteau
65:
54:
48:
36:
32:
31:
27:Henri Manuel
18:
7052:1925 deaths
7047:1866 births
6952:Romanticism
6909:Remodernism
6790:Incoherents
6649:Avant-garde
6640:Armory Show
6247:Maeterlinck
6150:Villa-Lobos
6136:Szymanowski
6115:Stockhausen
6052:Lutosławski
5770:(1909–1910)
4570:Visual arts
4543:(1928–1940)
4459:(1913–1927)
3982:Apollinaire
3946:Synchromism
3786:Art Nouveau
3630:(1924 film)
3409:Poudre d'or
3346:Gymnopédies
3339:Gnossiennes
3261:Piano music
3201:Vocal music
1482:Gymnopédies
1005:Gnossiennes
999:Gymnopédies
981:reflection.
898:Salle Erard
878:Vanity Fair
729:Louis Durey
686:Gymnopédies
590:(called a "
558:, a march;
544:, a waltz;
539:Poudre d'or
394:Sacre-Coeur
377:Gnossiennes
371:Gymnopédies
196:Early years
133:Gnossiennes
84:(1917) for
61:Rosicrucian
56:Gnossiennes
50:Gymnopédies
7041:Categories
6839:Maximalism
6774:Literature
6449:Wiesenthal
6351:Cunningham
6344:Balanchine
6324:Witkiewicz
6296:Strindberg
6282:Pirandello
6254:Mayakovsky
6129:Stravinsky
6101:Schoenberg
5913:Performing
5838:Metropolis
5629:Mendelsohn
5434:Rossellini
5427:Richardson
5238:Fassbinder
5224:Eisenstein
5161:Cassavetes
4917:Modigliani
4791:Goncharova
4777:Giacometti
4171:Dos Passos
3973:Literature
3932:Surrealism
3843:Die Brücke
3546:Je te veux
3444:Sarabandes
3325:Enfantines
3107:Erik Satie
3027:0836928261
2935:Eccentrics
2926:1034659768
2917:Erik Satie
2840:Erik Satie
2713:Erik Satie
2658:Erik Satie
2636:Erik Satie
2098:Rey, p. 61
1940:Rey, p. 17
1922:Rey, p. 33
1886:Rey, p. 14
1524:References
1147:John Adams
1129:minimalism
1045:of 1907".
990:Gymnopédie
958:See also:
918:René Clair
714:Last years
530:Tendrement
521:Je te veux
511:bowler hat
414:play (two
346:Montmartre
324:Montmartre
318:bronchitis
227:After the
208:, Normandy
181:bowler hat
124:John Adams
45:Montmartre
37:Erik Satie
7019:Biography
6888:Pulp noir
6846:Modernity
6711:Film noir
6435:St. Denis
6358:Diaghilev
6094:Schaeffer
6017:Hindemith
5989:Dutilleux
5961:Boulanger
5766:The Dance
5462:Tarkovsky
5455:Sternberg
5287:Hitchcock
5203:Dovzhenko
5119:Antonioni
5064:Stieglitz
4903:Metzinger
4854:Kokoschka
4833:Kandinsky
4247:Aldington
4240:Akhmatova
4157:Marinetti
4150:Mansfield
4101:Hemingway
3939:Symbolism
3758:Movements
3751:Modernism
3652:Monotones
3627:Entr'acte
3620:A Romance
3493:Vexations
3381:Nocturnes
2836:Rey, Anne
2721:417094292
2666:251432509
2567:964203894
2171:Le Figaro
1471:Sarabande
1195:Beethoven
1142:Vexations
1137:John Cage
1118:Entr'acte
943:cirrhosis
593:clownerie
584:pantomime
448:Abbatiale
409:chivalric
386:bohemians
360:Satie by
340:Chat Noir
260:solfeggio
185:cirrhosis
128:bar-lines
120:John Cage
101:Wagnerian
6970:Category
6571:Fountain
6475:Don Juan
6414:Nijinsky
6310:Wedekind
6289:Piscator
6184:Anderson
6108:Scriabin
6024:Honegger
5678:Sullivan
5664:Saarinen
5657:Rietveld
5650:Niemeyer
5622:Melnikov
5552:Bunshaft
5483:Truffaut
5448:Sjöström
5392:Pudovkin
5364:Minnelli
5329:Kurosawa
5322:Kuleshov
5252:Flaherty
5078:Vuillard
5057:Steichen
5015:Rousseau
4980:Pissarro
4959:O'Keeffe
4924:Mondrian
4875:Malevich
4868:Magritte
4840:Kirchner
4784:van Gogh
4735:Doesburg
4714:Delaunay
4707:Delaunay
4630:Brâncuși
4616:Boccioni
4579:Painting
4429:Williams
4352:Mallarmé
4268:Cendrars
4178:Platonov
4136:Lawrence
4129:Koestler
4066:Flaubert
4059:Faulkner
4024:Bulgakov
3953:Tonalism
3914:De Stijl
3898:Lettrism
3884:Futurism
3775:Art Deco
3696:Category
3670:The Gift
3655:(ballet)
3066:Archived
2838:(1974).
2775:(1990).
2753:(2002).
2731:(2019).
2656:(1975).
2615:(2000).
2455:Archived
2379:Archived
2345:Archived
2258:Archived
2163:Archived
2111:Archived
2047:Archived
1998:Archived
1818:Archived
1790:Archived
1744:Archived
1703:Archived
1580:(eds.).
1568:(2011).
1540:(2008).
1510:blagueur
1421:dyslexia
1181:blagueur
1159:Writings
412:esoteric
214:Honfleur
206:Honfleur
172:(1924).
7092:Cabaret
6981:Portals
6625:Related
6487:Ubu Roi
6442:Tamiris
6428:Sokolow
6407:Massine
6275:Osborne
6268:O'Neill
6261:O'Casey
6219:Chekhov
6205:Beckett
6191:Anouilh
6175:Theatre
6122:Strauss
6080:Russolo
6059:Milhaud
6038:Janáček
6010:Górecki
6003:Feldman
5982:Debussy
5975:Copland
5933:Antheil
5671:Steiner
5594:Johnson
5573:Guimard
5566:Gropius
5413:Resnais
5315:Kubrick
5245:Fellini
5231:Epstein
5217:Edwards
5182:Cocteau
5168:Chaplin
5140:Bresson
5133:Bergman
5112:Aldrich
5105:Akerman
5050:Soutine
5022:Schiele
4973:Picasso
4966:Picabia
4896:Matisse
4770:Gauguin
4742:Duchamp
4700:Kooning
4679:Claudel
4672:Chirico
4665:Chagall
4658:Cézanne
4651:Cassatt
4623:Bonnard
4609:Bellows
4602:Balthus
4479:Ulysses
4401:Stevens
4394:Seferis
4213:Unamuno
4052:Forster
4031:Chekhov
3996:Beckett
3925:Orphism
3891:Imagism
3875:Bauhaus
3861:Fauvism
3766:Acmeism
3269:Allegro
3237:Socrate
3216:Ludions
3152:Relâche
3138:Mercure
3123:Ballets
3055:in the
3049:(IMSLP)
3045:at the
2551:Sources
1382:French:
1191:fuchsia
1169:Arcueil
1122:Relâche
1081:Socrate
909:Relâche
903:Mercure
868:Dadaist
841:Socrate
832:Socrate
777:Picasso
721:Les Six
637:Roussel
629:Debussy
499:commune
491:Arcueil
364:, 1890s
177:Arcueil
169:Relâche
163:Mercure
157:Socrate
72:Les Six
6611:(1953)
6599:(1928)
6587:(1921)
6575:(1917)
6563:(1913)
6551:(1912)
6539:(1910)
6527:(1905)
6523:Salome
6515:(1902)
6503:(1899)
6491:(1896)
6479:(1888)
6456:Wigman
6386:Graham
6379:Fuller
6372:Fokine
6365:Duncan
6317:Wilder
6303:Toller
6240:Kaiser
6212:Brecht
6198:Artaud
6157:Webern
6143:Varèse
6073:Partch
6045:Ligeti
5968:Boulez
5940:Bartók
5898:(1943)
5886:(1941)
5874:(1936)
5864:(1931)
5854:(1929)
5842:(1927)
5830:(1925)
5818:(1923)
5806:(1920)
5794:(1915)
5782:(1912)
5758:(1907)
5746:(1889)
5734:(1887)
5722:(1886)
5699:Wright
5685:Tatlin
5643:Neutra
5545:Breuer
5511:Welles
5497:Vertov
5420:Renoir
5371:Murnau
5357:Marker
5350:Lupino
5308:Keaton
5294:Hubley
5280:Godard
5266:Fuller
5210:Dreyer
5189:Dassin
5147:Buñuel
5043:Sisley
5036:Signac
5029:Seurat
5001:Renoir
4819:Hopper
4721:Demuth
4644:Calder
4637:Braque
4588:Albers
4555:(1929)
4531:(1926)
4519:(1925)
4507:(1924)
4495:(1922)
4483:(1922)
4471:(1915)
4422:Valéry
4408:Thomas
4373:Pessoa
4317:George
4310:Elytis
4303:Éluard
4289:Desnos
4261:Cavafy
4231:Poetry
4192:Proust
4185:Porter
4087:Hamsun
4045:Döblin
4038:Conrad
4010:Breton
3989:Barnes
3809:Cubism
3388:Ogives
3145:Parade
3024:
3005:
2979:
2960:
2941:
2924:
2903:
2884:
2878:Écrits
2865:
2846:
2823:
2804:
2785:
2761:
2739:
2719:
2700:
2681:
2664:
2642:
2623:
2601:
2582:
2565:
2541:Quoted
2394:Quoted
1590:
1548:
1248:
1230:
1114:Cinéma
1051:Parade
970:Wagner
862:, the
856:Action
797:Parade
772:Parade
735:, and
633:d'Indy
460:, 1885
305:Ogives
114:, and
81:Parade
7031:Music
7007:Opera
6781:Post-
6767:Music
6466:Works
6421:Shawn
6400:Laban
6335:Dance
6233:Jarry
6226:Ibsen
6164:Weill
6087:Satie
5996:Falla
5954:Berio
5924:Music
5709:Works
5636:Nervi
5580:Horta
5559:Gaudí
5518:Wiene
5490:Varda
5476:Trnka
5385:Pabst
5343:Losey
5301:Jones
5273:Gance
5196:Deren
5175:Clair
5154:Carné
5126:Avery
5008:Rodin
4994:Redon
4952:Nolde
4945:Munch
4938:Moore
4931:Monet
4882:Manet
4861:Léger
4826:Kahlo
4805:Grosz
4763:Ernst
4756:Ensor
4693:Degas
4446:Works
4436:Yeats
4415:Tzara
4387:Rilke
4380:Pound
4359:Moore
4331:Lorca
4324:Jacob
4296:Eliot
4275:Crane
4254:Auden
4220:Woolf
4206:Svevo
4199:Stein
4164:Musil
4122:Kafka
4115:Joyce
4108:Hesse
4094:Hašek
4017:Broch
3852:Music
3708:Audio
3170:Danse
1433:1911.
1269:Notes
1177:Dukas
1039:Fauré
1018:modal
992:No. 3
954:Music
949:Works
837:Plato
665:with
641:Ravel
432:Uspud
262:with
7102:Dada
6393:Holm
6066:Nono
6031:Ives
5947:Berg
5915:arts
5692:Mies
5615:Loos
5601:Kahn
5525:Wood
5504:Vigo
5469:Tati
5441:Sirk
5336:Lang
5259:Ford
5096:Film
5085:Wood
4910:Miró
4889:Marc
4847:Klee
4812:Höch
4798:Gris
4749:Dufy
4686:Dalí
4366:Owen
4282:H.D.
4143:Mann
4080:Gide
4073:Ford
4003:Bely
3816:Dada
3022:ISBN
3003:ISBN
2977:ISBN
2958:ISBN
2939:ISBN
2922:OCLC
2901:ISBN
2882:ISBN
2863:ISBN
2844:ISBN
2821:ISBN
2802:ISBN
2783:ISBN
2759:ISBN
2737:ISBN
2717:OCLC
2698:ISBN
2679:ISBN
2662:OCLC
2640:ISBN
2621:ISBN
2599:ISBN
2580:ISBN
2563:OCLC
1588:ISBN
1546:ISBN
1246:ISBN
1228:ISBN
1012:and
937:lot.
916:and
881:and
782:The
759:and
743:and
166:and
122:and
53:and
5378:Ozu
4987:Ray
4728:Dix
4595:Arp
872:391
804:'s
586:by
501:of
218:née
7043::
6949:←
2461:,
2370:,
2355:^
2336:,
2323:^
2169:,
2143:,
2117:,
2009:^
1989:,
1809:,
1772:^
1735:,
1709:,
1655:^
1616:^
1602:^
1576:;
1572:;
1508:A
1380:;
1373:iː
1364:ɑː
1355:iː
1336::
1334:US
1330:,
1317:ɑː
1286::
1284:UK
1155:.
858:,
854:,
755:,
751:,
731:,
727:,
639:,
635:,
631:,
312:.
239:.
110:,
96:.
6983::
6962:→
3743:e
3736:t
3729:v
3099:e
3092:t
3085:v
3030:.
3011:.
2985:.
2966:.
2947:.
2928:.
2909:.
2890:.
2871:.
2852:.
2831:·
2829:.
2810:.
2791:.
2767:.
2745:.
2723:.
2706:.
2687:.
2668:.
2648:.
2629:.
2607:.
2588:.
2569:.
1596:.
1554:.
1484:.
1376:/
1370:t
1367:ˈ
1361:s
1358:,
1352:t
1349:ˈ
1346:æ
1343:s
1340:/
1326:/
1323:i
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1314:s
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1296:s
1293:ˈ
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