Erik Satie  

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-'''Éric Alfred Leslie Satie''' ({{IPA-fr|eʁik sati|pron}}) (17 May 1866 – Paris, 1 July 1925; signed his name '''Erik Satie''' after 1884) was a French composer and pianist. Satie was a colourful figure in the early 20th century Parisian [[avant-garde]]. His work was a precursor to later artistic movements such as [[minimalism]], [[repetitive music]], and the [[Theatre of the Absurd]].+'''Éric Alfred Leslie Satie''' (17 May 1866 – Paris, 1 July 1925; signed his name '''Erik Satie''' after 1884) was a [[French composer]] and pianist. Satie was a colourful figure in the early 20th century Parisian [[avant-garde]]. His work was a precursor to later artistic movements such as [[minimalism]], [[repetitive music]], and the [[Theatre of the Absurd]].
An eccentric, Satie was introduced as a "gymnopedist" in 1887, shortly before writing his most famous compositions, the ''[[Gymnopédie]]s''. Later, he also referred to himself as a "phonometrician" (meaning "someone who measures sounds") preferring this designation to that of a "musician", after having been called "a clumsy but subtle technician" in a book on contemporary French composers published in 1911. An eccentric, Satie was introduced as a "gymnopedist" in 1887, shortly before writing his most famous compositions, the ''[[Gymnopédie]]s''. Later, he also referred to himself as a "phonometrician" (meaning "someone who measures sounds") preferring this designation to that of a "musician", after having been called "a clumsy but subtle technician" in a book on contemporary French composers published in 1911.
-In addition to his body of music, Satie also left a remarkable set of writings, having contributed work for a range of publications, from the [[dada]]ist ''[[391 (magazine)|391]]'' to the American culture chronicle ''[[Vanity Fair (American magazine 1913-1936)|Vanity Fair]]''. Although in later life he prided himself on always publishing his work under his own name, in the late nineteenth century he appears to have used pseudonyms such as '''{{Lang|fr|Virginie Lebeau}}''' and '''{{Lang|fr|François de Paule}}''' in some of his published writings.+In addition to his body of music, Satie also left a remarkable set of writings, having contributed work for a range of publications, from the [[dada]]ist ''[[391 (magazine)|391]]'' to the American culture chronicle ''[[Vanity Fair (American magazine 1913-1936)|Vanity Fair]]''. Although in later life he prided himself on always publishing his work under his own name, in the late nineteenth century he appears to have used pseudonyms such as '''Virginie Lebeau''' and '''François de Paule''' in some of his published writings.
==See also== ==See also==
 +* ''[[Mémoires d'un amnésique]]''
* [[Ambient music]] * [[Ambient music]]
* [[Dada]] * [[Dada]]
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* [[List of compositions by Erik Satie]] * [[List of compositions by Erik Satie]]
* [[Surrealism]] * [[Surrealism]]
- +* [[Furniture music]]
 +* [[Trois morceaux en forme de poire]]
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Éric Alfred Leslie Satie (17 May 1866 – Paris, 1 July 1925; signed his name Erik Satie after 1884) was a French composer and pianist. Satie was a colourful figure in the early 20th century Parisian avant-garde. His work was a precursor to later artistic movements such as minimalism, repetitive music, and the Theatre of the Absurd.

An eccentric, Satie was introduced as a "gymnopedist" in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a "phonometrician" (meaning "someone who measures sounds") preferring this designation to that of a "musician", after having been called "a clumsy but subtle technician" in a book on contemporary French composers published in 1911.

In addition to his body of music, Satie also left a remarkable set of writings, having contributed work for a range of publications, from the dadaist 391 to the American culture chronicle Vanity Fair. Although in later life he prided himself on always publishing his work under his own name, in the late nineteenth century he appears to have used pseudonyms such as Virginie Lebeau and François de Paule in some of his published writings.

See also




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