Reconstruction of a Roman peristylum (peristyle) and peristylium (courtyard) of Pompeii.

In Hellenistic Greek^[1] and Roman architecture^[2] a peristyle is a columned porch or open colonnade in a building surrounding a court that may contain an internal garden. Tetrastoon (pronounced /tetrastohon/, from Greek τετράστῳον, "four arcades") is another name for this feature. In the Christian ecclesiastical architecture that developed from Roman precedents, a basilica, such as Old St Peter's in Rome, would stand behind a peristyle forecourt that sheltered it from the street. In time the cloister developed from the peristyle.

In Roman architecture[link]

In rural settings a wealthy Roman could surround a villa with terraced gardens; within the city Romans created their gardens inside the domus. The peristylium was an open courtyard within the house; the columns or square pillars surrounding the garden supported a shady roofed portico whose inner walls were often embellished with elaborate wall paintings of landscapes and trompe-l'oeil architecture. Sometimes the lararium, a shrine for the Lares, the gods of the household, was located in this portico, or it might be found in the atrium. The courtyard might contain flowers and shrubs, fountains, benches, sculptures and even fish ponds.^[3] Romans devoted as large a space to the peristyle as site constraints permitted; even in the grandest development of the urban peristyle house, as it evolved in Roman North Africa, often one range of the portico was eliminated, for a larger open space.^[4]

"In the Peristyle" John William Waterhouse (1849-1917). Rochdale Art Gallery, Rochdale, England.

The end of the Roman domus is one mark of the extinction of the Late Classical culture: "the disappearance of the Roman peristyle house marks the end of the ancient world and its way of life," remarked Simon P. Ellis.^[5] "No new peristyle houses were built after A.D. 550." Noting that as houses and villas were increasingly abandoned in the fifth century, a few palatial structures were expanded and enriched, as power and classical culture became concentrated in a narrowing class, and public life withdrew to the basilica, or audience chamber, of the magnate. In the Eastern Roman empire, Late Antiquity lingered longer: Ellis identified the latest known peristyle house built from scratch as the "House of the Falconer" at Argos, dating from the style of its floor mosaics about 530-550.^[6] Existing houses were subdivided in many cases, to accommodate a larger and less elite population in a warren of small spaces, and columned porticoes were enclosed in small cubicles, as at the House of Hesychius at Cyrene.^[7]

Other uses[link]

Although Ancient Egyptian architecture predates Greek and Roman antiquity, historians frequently use the Greek term peristyle to describe similar, earlier structures in ancient Egyptian palace architecture and in Levantine houses known as liwan houses.

See also[link]

• Hypostyle
• Portico
• Loggia

Notes[link]

External links[link]

• Barbara McManus, "The Peristylium": a reconstruction of a peristyle

Leroy Jones

Leroy Jones is a jazz trumpeter from New Orleans, Louisiana. Born February 20, 1958, Jones began playing trumpet at the age of ten, and by the time he was 13 was leading the Fairview Baptist Church Marching Band, a group of young musicians organized by guitar- and banjo-player Danny Barker. When the musicians' union forced Barker to disband the group in 1974, Jones became a union musician and took over the running of the group, renamed the Hurricane Brass Band, himself. In 1975 or 1976 he left the group, touring for a time with Eddie Vinson and Della Reese before forming his own group, the Leroy Jones Quintet. In 1991 Jones joined the big band of Harry Connick, Jr., and the exposure with Connick's band (including the opportunity for the Leroy Jones Quintet to open for Connick, which they did in 1994), led to Jones' releasing his first album under his own name; Mo' Cream From The Crop came out on the Columbia Records label in 1994. The Leroy Jones Quintet continues to tour and record, and since 2004 Jones has also appeared with the Preservation Hall Jazz Band and Dr. John.

Discography[link]

(this list includes only albums Jones made as a leader; see his website for a complete discography)

• 1975 - Leroy Jones and his Hurricane Marching Brass Band of New Orleans
• 1994 - Mo' Cream from the Crop
• 1996 - Props for Pops
• 1999 - City of Sounds
• 2002 - Back To My Roots
• 2003 - Wonderful Christmas: A Brass Salute To The King Of Kings
• 2005 - New Orleans Brass Band Music: Memories Of The Fairview & Hurricane Band
• 2007 - Soft Shoe
• 2009 - Sweeter Than A Summer Breeze

Wikimedia Commons has media related to: Leroy Jones

References[link]

• Leroy Jones official website
• "Roots of 'Jazz'". BestofNewOrleans.com, April 8, 2003

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2010)

Erik Satie
Born	Éric Alfred Leslie Satie (1866-05-17)17 May 1866 Honfleur, France
Died	1 July 1925(1925-07-01) (aged 59) Paris, France
Occupation	Pianist, Composer
Partner	Suzanne Valadon

Éric Alfred Leslie Satie (pronounced: [eʁik sati]) (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.^[1]

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.^[2]

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.

Early life and training[link]

Satie house and museum in Honfleur

Satie was the son of Alfred Satie and his wife Jane Leslie (née Anton), who was born in London to Scottish parents. Erik was born at Honfleur in Normandy; his home there is open to the public. When Satie was four years old, his family moved to Paris, his father having been offered a translator's job in the capital. After his mother's death in 1872, he was sent, together with his younger brother, Conrad, back to Honfleur, to live with his paternal grandparents. There, he received his first music lessons from a local organist. When his grandmother died in 1878, the two brothers were reunited with their father in Paris, who remarried (a piano teacher) shortly afterwards. From the early 1880s onwards, Satie started publishing salon compositions by his step-mother and himself, among others.

In 1879, Satie entered the Paris Conservatoire, where he was soon labelled untalented by his teachers. Georges Mathias, his professor of piano at the Conservatoire, described his pupil's piano technique in flatly negative terms, "insignificant and laborious" and "worthless".^[3] Émile Descombes called him "the laziest student in the Conservatoire".^[4] Years later, Satie related that Mathias, with great insistence, told him that his real talent lay in composing. After being sent home for two-and-a-half years, he was readmitted to the Conservatoire at the end of 1885, but was unable to make a much more favourable impression on his teachers than he had before, and, as a result, resolved to take up military service a year later. However, Satie's military career did not last very long; within a few months he was discharged after deliberately infecting himself with bronchitis.^[5]

Career[link]

Montmartre[link]

A caricature of Eric Satie by Santiago Rusiñol, 1891

In 1887, Satie left home to take lodgings in Montmartre. By this time, he had started what was to be an enduring friendship with the romantic poet Patrice Contamine, and had had his first compositions published by his father. He soon integrated with the artistic clientele of the Le Chat Noir Café-cabaret, and started publishing his Gymnopédies. Publication of compositions in the same vein (Ogives, Gnossiennes, etc.) followed. In the same period he befriended Claude Debussy. He moved to a smaller room, still in Montmartre (rue Cortot N° 6), in 1890. By 1891 he was the official composer and chapel-master of the Rosicrucian Order "Ordre de la Rose-Croix Catholique, du Temple et du Graal", led by Sâr Joséphin Péladan, which led to compositions such as Salut drapeau!, Le fils des étoiles, and the Sonneries de la Rose+Croix. Satie gave performances at the Salon de la Rose + Croix, organized by Péladan.

By mid-1892, he had composed the first pieces in a compositional system of his own making (Fête donnée par des Chevaliers Normands en l'honneur d'une jeune demoiselle), had provided incidental music to a chivalric esoteric play (two Prélude du Nazaréen), had had his first hoax published (announcing the premiere of Le bâtard de Tristan, an anti-Wagnerian opera he probably never composed), and had broken with Péladan, starting that autumn with the Uspud project, a "Christian Ballet", in collaboration with Contamine de Latour. While the comrades from both the Chat Noir and Miguel Utrillo's Auberge du Clou sympathised, a promotional brochure was produced for the project, which reads as a pamphlet for a new esoteric sect.

In 1893, he met the young Maurice Ravel for the first time, Satie's style emerging in the first compositions of the youngster. One of Satie's own compositions of that period, the Vexations, was to remain undisclosed until after his death. By the end of the year he had founded the Eglise Métropolitaine d'Art de Jésus Conducteur (the Metropolitan Church of Art of the Leading Christ). As its only member, in the role of "Parcier et Maître de Chapelle" he started to compose a Grande messe (later to become known as the Messe des pauvres), and wrote a flood of letters, articles and pamphlets showing off his self-assuredness in religious and artistic matters. To give an example: he applied for membership of the Académie Française twice, leaving no doubt in the application letter that the board of that organisation (presided by Camille Saint-Saëns) as much as owed him such membership. Such proceedings without doubt rather helped to wreck his popularity in the cultural establishment. In 1895 he inherited some money, allowing him to have more of his writings printed, and to change from wearing a priest-like habit to being the "Velvet Gentleman".

Move to Arcueil[link]

By mid-1896 all of Satie's financial means had vanished, and he had to move to cheaper and much smaller lodgings, first at the Rue Cortot,^[6] and two years later, after he'd composed the two first sets of Template:Pièces froides in 1897, to Arcueil, a suburb some five kilometres from the centre of Paris. During this period he re-established contact with his brother Conrad for numerous practical and financial matters, disclosing some of his inner feelings in the process. The letters to Conrad made it clear that he had set aside any religious ideas.

From 1899 on Satie started making money as a cabaret pianist, adapting over a hundred compositions of popular music for piano or piano and voice, adding some of his own. The most popular of these were Je te veux, text by Henry Pacory; Tendrement, text by Vincent Hyspa; Poudre d'or, a waltz; La diva de l'"Empire", text by Dominique Bonnaud/Numa Blès; Le Picadilly, a march; Légende californienne, text by Contamine de Latour lost, but the music later reappears in La belle excentrique; and many more, many of which have been lost. In his later years Satie would reject all his cabaret music as vile and against his nature,^[7] but for the time being, it was an income.

Only a few compositions that Satie took seriously remain from this period: Jack in the Box, music to a pantomime by Jules Depaquit (called a "clownerie" by Satie), Geneviève de Brabant, a short comic opera on a serious theme, text by Lord Cheminot, The Dreamy Fish, piano music to accompany a lost tale by Lord Cheminot, and a few others that were mostly incomplete, hardly any of them staged, and none of them published at the time.

Both Geneviève de Brabant and The Dreamy Fish have been analysed by Ornella Volta as containing elements of competition with Claude Debussy, of which Debussy was probably not aware, Satie not making this music public. Meanwhile, Debussy was having one of his first major successes with Pelléas et Mélisande in 1902, leading a few years later to ‘who-was-precursor-to-whom’ debates between the two composers, in which Maurice Ravel would also get involved.

In October 1905 Satie enrolled in Vincent d'Indy's Schola Cantorum de Paris to study classical counterpoint while still continuing his cabaret work. Most of his friends were as dumbfounded as the professors at the Schola when they heard about his new plan to return to the classrooms, especially as d'Indy was an admiring pupil of Saint-Saëns, not particularly favoured by Satie. Satie would follow these courses at the Schola, as a respected pupil, for more than five years, receiving a first (intermediate) diploma in 1908. Some of his classroom counterpoint-exercises, such as the Désespoir agréable, were published after his death. Another summary, of the period prior to the Schola, also appeared in 1911: the Trois morceaux en forme de poire, which was a kind of compilation of the best of what he had written up to 1903.^{[citation needed]}

Something that becomes clear through these published compilations is that Satie did not so much reject Romanticism and its exponents like Wagner, but that he rejected certain aspects of it. From his first composition to his last, he rejected the idea of musical development^{[citation needed]}, in the strict definition of this term: the intertwining of different themes in a development section of a sonata form. As a result, his contrapuntal and other works were very short; the "new, modern" Fugues do not extend further than the exposition of the theme(s). Generally, he would say that he did not think it permitted that a composer take more time from his public than strictly necessary.^{[citation needed]} Also Melodrama, in its historical meaning of the then popular romantic genre of "spoken words to a background of music", was something Satie avoided. His 1913 Le piège de Méduse could be seen as an absurdistic spoof of that genre.

In the meantime, other changes had also taken place: Satie had become a member of a radical socialist party, and had socialised with the Arcueil community: Amongst other things, he'd been involved in the "Patronage laïque" work for children. He also changed his appearance to that of the 'bourgeois functionary' with bowler hat, umbrella, etc. He channelled his medieval interests into a peculiar secret hobby: In a filing cabinet he maintained a collection of imaginary buildings, most of them described as being made out of some kind of metal, which he drew on little cards. Occasionally, extending the game, he would publish anonymous small announcements in local journals, offering some of these buildings, e.g. a "castle in lead", for sale or rent.

Height of success and influence[link]

Erik Satie: project of bust, 1913

Starting in 1912, Satie's new humorous miniatures for piano became very successful, and he wrote and published many of these over the next few years (most of them premiered by the pianist Ricardo Viñes). His habit of accompanying the scores of his compositions with all kinds of written remarks was now well established so that a few years later he had to insist that these not be read out during performances.^{[citation needed]} He had mostly stopped using barlines by this time. In some ways these compositions were very reminiscent^{[according to whom?]} of Rossini's compositions from the final years of his life, grouped under the name Péchés de vieillesse.

However the acceleration in Satie's life did not come so much from the success of his new piano pieces; it was Ravel who inadvertently triggered the characteristics of Satie's remaining years and thus influenced the successive progressive artistic and cultural movements that rapidly manifested themselves in Paris over the following years. Paris was seen as the artistic capital of the world, and the beginning of the new century appeared to have set many minds on fire.^{[citation needed]} In 1910 the "Jeunes Ravêlites", a group of young musicians around Ravel, proclaimed their preference for Satie's earlier work from before the Schola period, reinforcing the idea that Satie had been a precursor of Debussy.

At first Satie was pleased that at least some of his works were receiving public attention, but when he realised that this meant that his more recent work was overlooked or dismissed, he looked for other young artists who related better to his more recent ideas, so as to have better mutual support in creative activity. Thus young artists such as Roland-Manuel, and later Georges Auric, and Jean Cocteau, started to receive more of his attention than the "Jeunes".

As a result of his contact with Roland-Manuel, Satie again began publicising his thoughts, with far more irony than he had done before (amongst other things, the Mémoires d'un amnésique and Cahiers d'un mammifère).^[8]

With Jean Cocteau, whom he had first met in 1915, Satie started work on incidental music for a production of Shakespeare's A Midsummer Night's Dream (resulting in the Cinq grimaces). From 1916, he and Cocteau worked on the ballet Parade, which was premiered in 1917 by Sergei Diaghilev's Ballets Russes, with sets and costumes by Pablo Picasso, and choreography by Léonide Massine. Through Picasso Satie also became acquainted with other cubists, such as Georges Braque, with whom he would work on other, aborted, projects.

With Georges Auric, Louis Durey, Arthur Honegger, and Germaine Tailleferre Satie formed the Nouveaux jeunes, shortly after writing Parade. Later the group was joined by Francis Poulenc and Darius Milhaud. In September 1918, Satie – giving little or no explanation – withdrew from the Nouveaux jeunes. Jean Cocteau gathered the six remaining members, forming the Groupe des six (to which Satie would later have access, but later again would fall out with most of its members).

From 1919 Satie was in contact with Tristan Tzara, the initiator of the Dada movement. He became acquainted with other artists involved in the movement, such as Francis Picabia (later to become a Surrealist), André Derain, Marcel Duchamp, Jean Hugo and Man Ray, among others. On the day of his first meeting with Man Ray, the two fabricated the artist's first readymade: The Gift (1921). Satie contributed writing to the Dadaist publication 391. In the first months of 1922 he was surprised to find himself entangled in the argument between Tzara and André Breton about the true nature of avant-garde art, epitomised by the failure of the Congrès de Paris. Satie originally sides with Tzara, but manages to maintain friendly relations with most players in both camps. Meanwhile, an "Ecole d'Arcueil" had formed around Satie, with young musicians like Henri Sauguet, Maxime Jacob, Roger Désormière and Henri Cliquet-Pleyel.

Finally he composed an "instantaneist" ballet (Relâche) in collaboration with Picabia, for the Ballets Suédois of Rolf de Maré. In a simultaneous project, Satie added music to the surrealist film Entr'acte by René Clair, which was given as an intermezzo for Relâche.

Personal life[link]

Satie and Suzanne Valadon, an artists' model and artist in her own right, and a long-time friend of Miguel Utrillo (and mother of Maurice Utrillo), began an affair early in 1893. 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 Danses gothiques as a kind of prayer to restore peace of mind, and Valadon painted a portrait of Satie, which she gave to him. After six months she moved away, leaving Satie broken-hearted. Afterwards, he said that he was left with "nothing but an icy loneliness that fills the head with emptiness and the heart with sadness".^[9] It is believed this was the only intimate relationship Satie ever had.^[10]

Death[link]

After years of heavy drinking, Satie died on 1 July 1925 from cirrhosis of the liver.^[11] He is buried in the cemetery in Arcueil. There is a tiny stone monument designating a grassy area in front of an apartment building—'Parc Erik Satie'. Over the course of his 27 years in residence at Arcueil, no one had ever visited his room. After his death, Satie's friends discovered compositions that were totally unknown or thought to have been lost. The orchestral score to Parade was thought, by Satie, to have been left on a bus years before. These were found behind the piano, in the pockets of his velvet suits, and in other odd places, and included the Vexations; Geneviève de Brabant and other unpublished or unfinished stage works; The Dreamy Fish; many Schola Cantorum exercises; a previously unseen set of "canine" piano pieces; and several other works for piano, many untitled. Some of these would be published later as additional Gnossiennes, Pièces froides, Enfantines, and furniture music.

Media[link]

Gymnopedies – La 1 Ere. Lent et Douloureux

Performed by Robin Alciatore. Courtesy of Musopen

Gnossienne 1

Composed c. 1890.

Gnossienne 2

Composed c. 1890.

Gnossienne 3

Composed c. 1890.

Recordings and arrangements[link]

Piano works[link]

Recordings of Satie's piano works have been released by Cristina Ariagno, Jean-Pierre Armengaud, Jean-Joël Barbier, Aldo Ciccolini, Claude Coppens (live recording), Reinbert de Leeuw, Eve Egoyan, Philippe Entremont, Frank Glazer, Olof Höjer, Michel Legrand, Jacques Loussier, Anne Queffélec, Bill Quist, Pascal Rogé, João Paulo Santos, Yūji Takahashi, Branka Parlić, Jean-Yves Thibaudet, John Lenehan and Daniel Varsano, among others.

Orchestral and vocal[link]

• A recording of historical importance is Template:Erik Satie, Les inspirations insolites, re-issued by EMI as a 2-CD set, containing among other pieces: Geneviève de Brabant (in a version before Contamine's text had been recovered), Le piège de Méduse, Messe des pauvres, etc.
• Many other recordings exist: Parade/Relâche (Michel Plasson / Orchestre du Capitole de Toulouse), Satie: Socrate [etc.] (Jean-Paul Fouchécourt / Ensemble), and recordings of songs, e.g., by Anne-Sophie Schmidt.

Arrangements in popular music[link]

• In 1968, Blood Sweat & Tears released their eponymous second album, which included an adaptation of Erik Satie's Gymnopédie #1 (arranged by Dick Halligan) which they titled as Variations on a Theme by Erik Satie (First and Second Movements). The first movement is a straightforward elaboration of the basic theme using flutes, an acoustic guitar and a triangle. The second is a far more abstract variation using only brass instruments. In 1969, Halligan received a Grammy Award for Best Instrumental Performance for the piece.
• In 1974, the jazz flutist Hubert Laws recorded an arrangement by Bob James of the "Gymnopedie #1" in his "In the Beginning" double album. The band featured keyboardist Bob James, guitarist Gene Bertoncini, bassist Ron Carter, drummer Steve Gadd, three strings, and Hubert's brother Ronnie Laws on tenor sax.
• In 1979 the band "Sky" (Tristan Fry, Francis Monkman, Kevin Peek, Herbie Flowers, and John Williams) included a version of Gymnopedie No1, which was arranged by John Williams, on the band's first album, which was entitled "Sky"
• In 1980, Gary Numan's 7-inch "We Are Glass" featured "Trois Gymnopedies (First Movement)" on the B-side.
• In 1987, the Serbian electronic music composer Mitar Subotić on his debut album Disillusioned! recorded a twenty-five minute long instrumental track "Thanx Mr. Rorschach - Ambijenti na muziku Erika Satija" ("Thanx Mr. Rorschach - Ambient to the music by Erik Satie"), as a kind of a musical Rorschach test to the music by Satie.
• In 1989, the Vienna Art Orchestra (directed by Mathias Rüegg) released The Minimalism of Eric Satie, a 2-LP set on the Swiss HatART label that included "reflections" on a number of Satie's works, notably three performances of Vexations in various instrumental/vocal combinations.
• In 1990, Movement 98's (Paul Oakenfold and Steve Osborne) single "Joy and Heartbreak" used the opening phrase of Trois Gymnopedies as the intro and instrumental.
• In 1994, Malcolm McLaren arranged Gnossienne 3&4 in his concept album Paris.
• In 1999, electronic music act Plaid's CD "Restproof Clockwork" included a track called "Tearisci" which is an uncredited version of Satie's "Pièces Froides, No. 2: Danses De Travers: III. Encore".
• In 2000, ex-Genesis guitarist Steve Hackett released the album, "Sketches of Satie", performing Satie's works on acoustic guitar, with contributions by his brother John on flute.
• The English electronic duo Isan recorded versions of the three Gymnopédies for a 2006 7-inch single, "Trois Gymnopedies" on the Morr Music record label.
• The 2006 video game Mother 3 features an arrangement of the 1st Gymnopedie as background music, titled "Leder's Gymnopedie".
• The 2006 movie The Painted Veil features Gnossienne No. 1 throughout the film.
• The 2nd movement of his Gymnopédies has been used in the original soundtrack of 2010 Japanese animated film The Disappearance of Haruhi Suzumiya by Kyoto Animation studio. The full Gymnopédies as long as Gnossiennes are included in the 2nd CD of this OST.
• Ogive Number 2 (incorrectly labelled Ogive Number 1) was re-recorded electronically by William Orbit on his album Pieces in a Modern Style
• In 2011, singer-songwriter Tori Amos released an album entitled Night of Hunters, where her song "Battle of Trees" is a variation on Gnossienne no. 1.
• In 2011, Satie's "Gnossienne No.1" was used in the film Hugo.

See also[link]

• Ambient music
• Dada
• Impressionist music
• List of compositions by Erik Satie
• Surrealism

References[link]

Sources[link]

In English, unless indicated:

Writings by Satie[link]

• A Mammal's Notebook: Collected Writings of Erik Satie (Serpent's Tail; Atlas Arkhive, No 5, 1997) ISBN 0-947757-92-9 (with introduction and notes by Ornella Volta, translations by Anthony Melville, contains several drawings by Satie)
• Correspondence presque complète: Réunie, établie et présentée par Ornella Volta (Paris: Fayard/Imes, 2000; 1265pp) ISBN 2-213-60674-9 (an almost complete edition of Satie's letters, in French)

Books and articles on Satie[link]

• Allan, Kenneth R. “Metamorphosis in 391: A Cryptographic Collaboration by Francis Picabia, Man Ray, and Erik Satie.” Art History 34, No. 1 (February, 2011): 102-125.
• Davis, Mary E., Erik Satie. Reaktion Books – Critical Lives. June 2007. ISBN 978-1-86189-321-5
• Gillmor, Alan M., Erik Satie (Twayne Pub., 1988, reissued 1992; 387pp) ISBN 0-393-30810-3
• Myers, Rollo H., Erik Satie. (Dover Publications, New York 1968.) ISBN 0-486-21903-8
• Orledge, Robert, Satie Remembered (London: Faber and Faber, London, 1995)
• Orledge, Robert, Satie the Composer Cambridge University Press: 1990; 437pp – in the series Music in the Twentieth Century [ed.] Arnold Whittall) ISBN 0-521-35037-9
• Templier, Pierre-Daniel (translated by Elena L. French and David S. French), Erik Satie (The MIT Press, 1969, reissued 1971) ISBN 0-262-70005-0 and (New York: Da Capo Press, 1980 reissue) ISBN 0-306-76039-8. Note: Templier extensively consulted Conrad, Erik Satie's brother, when writing this first biography that appeared in 1932. The English translation was, however, criticised by John Cage; in a letter to Ornella Volta (25 May 1983) he referred to the translation as disappointing compared to the formidable value of the original biography.
• Volta, Ornella and Simon Pleasance, Erik Satie (Hazan: The Pocket Archives Series, 1997; 200pp) ISBN 2-85025-565-3
• Volta, Ornella, transl. Michael Bullock, Satie Seen Through His Letters (Marion Boyars, 1989) ISBN 0-7145-2980-X
• Whiting, Steven, Satie the Bohemian: from Cabaret to Concert Hall (Oxford: Clarendon Press, 1999; 596pp). A fully researched account of Satie's musical career in what then was regarded as popular music.

Other[link]

• Satie Home page – Niclas Fogwall's website dedicated to Satie

External links[link]

Wikimedia Commons has media related to: Erik Satie

Wikiquote has a collection of quotations related to: Erik Satie

Wikisource has original works written by or about: Erik Satie

Information and listening[link]

• Biography and photos
• UbuWeb's Erik Satie pages – including an Erik Satie Primer and downloadable recordings
• About Erik Satie – The eccentric Impressionist French composer and musician
• Erik Satie at Pytheas Center for Contemporary Music
• Three Gymnopedies by Eric Satie
• (French) erik-satie.com Website dedicated to the musician, with blog, timeline, gallery, biography
• Works by or about Erik Satie in libraries (WorldCat catalog)

Scores[link]

• Public domain scores Satie's Scores + Audio
• Free scores by Erik Satie at the International Music Score Library Project
• Free scores by Erik Satie in the Werner Icking Music Archive (WIMA)
• Free scores by Erik Satie in the Choral Public Domain Library (ChoralWiki)
• www.kreusch-sheet-music.net Free Scores by Satie
• Satie's Scores – by the Mutopia Project