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Satie's Rose Croix Music (1891–1895)

Published online by Cambridge University Press:  01 January 1965

Patrick Gowers
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Extract

It may seem strange to commemorate the centenary of Satie's birth by a discussion of his output from 1891 to 1895 rather than by an overall appreciation. But his accepted standing as a minor yet historically important composer has had a twofold result: on the one hand, little basic documentary research into his output has been undertaken; on the other, general appreciations of him have been written many times, largely by authors whose main concern is Debussy, Ravel, Les Six or recent French music as a whole. As you would expect, this literature tends to be accurate in outline but unreliable in detail. Therefore I have thought it best, rather than repeat the easily available broad facts of Satie's life and work, to concentrate on some topic which can be more thoroughly covered in the time. The Rose Croix music stands out as being conveniently self-contained, unusual, interesting and misunderstood.

Type
Research Article
Information
Proceedings of the Royal Musical Association , Volume 92 , 1965 , pp. 1 - 25
Copyright
Copyright © 1966 The Royal Musical Association and the Authors

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References

The following are available in print: Published by Editions Salabert, ParisGoogle Scholar
Le Fils des Etoiles (preludes only).Google Scholar
Trois Morceaux en forme de poire (Manière de commencement rearranged from Le Fils des Etoiles).Google Scholar
Trois Sonneries de la Rose Croix. 1. Air de l'ordre. 2. Air du grand maître. 3. Air du grand prieur.Google Scholar
Quatres Préludes. 1. Fête en l'honneur d'une jeune demoiselle (Fête donnée &c.). 2. Prélude d'Eginhard. 3. 1er prélude du Nazaréen. 4. 2e prélude du Nazaréen.Google Scholar
Danses gothiques.Google Scholar
Prélude de la porte héroīque du ciel.Google Scholar
Messe des Pauves. 1. Kyrie. 2. Dixit domine. 3. Prière des orgues. 4. Commune qui mundi nefas. 5. Chant ecclésiastique. 6. Prière pour les voyageurs (&c.). 7. Prière pour le salut de mon âme.Google Scholar
Published by Le Chant du Monde, ParisGoogle Scholar
Quatres Ogives.Google Scholar
There are two main collections of Satie MSS. The larger is in the music section of the Bibliothèque Nationale, Paris, and contains the “Cons MS” series. The other is in the Dumbarton Oaks Research Library, Washington. This includes a typewritten catalogue prepared when the collection was exhibited at Mills College in 1940. The DOMS numbering given below follows that catalogue. The letters (A), (B), &c. refer to Table I:Google Scholar
Untitled (A) (Sonnerie style) (1891), Cons MS 10051(1).Google Scholar
Untitled (B) (Gnossienne style) (1891), Cons MS 10051(2).Google Scholar
Le Fils des Etoiles, complete piano score and Péladan's autograph scenario, Cons MS 10052(1), (2).Google Scholar
Hymne au drapeau (Salut drapeau), Cons MS 10053 (with Péladan's autograph lyric).Google Scholar
Uspud, complete text and music, Cons MS 9631.Google Scholar
Vexations, privately owned MSGoogle Scholar
Bonjour Biqui, Bonjour! M.P.-D. Templier's MS collection, published in both his and R. H. Myers's biographies of Satie.Google Scholar
Untitled (C) (1893), DOMS 51.Google Scholar
Untitled (D) (Ex V), Cons MS 9597(2).Google Scholar
Untitled (E), (F), (G) and (H), DOMSS 61, 62.Google Scholar
Sketches: Exx II and III, DOMS 62.Google Scholar
Ex IV, Cons MS 9597(1).Google Scholar
Ex VI, DOMS 62. See also Cons MSS 9597(1), (1 bis) and (2).Google Scholar
For further information see: Templier, P.-D., Erik Satie, Paris, 1932.Google Scholar
Myers, R. H., Erik Satie, London, 1948.Google Scholar
De Latour, J. P. Contamine, Erik Satie intime in Comoedia, 3, 5 and 6, Paris, August, 1925.Google Scholar
Gowers, W. P., Erik Satie: his studies, notebooks and critics, unpublished thesis, Cambridge University (1966).Google Scholar
Shattuck, R., The Banquet Tears, London, 1959.Google Scholar
Shattuck and Templier give extended bibliographies.Google Scholar