An esoteric fraternal sect, the Rosicrucian Order seems to have emerged first in the 17th Century, with the anonymous publication of three manifestoes: Fama Fraternitatis (1614), Confessio Fraternitatis (1615) and the Chymical Wedding of Christian Rosenkreutz (1616). During the late 19th and early 20th Century various mystic and religious groups styled themselves as Rosicrucian, and most claimed to be authentic heirs to a long historical tradition. Self-styled 'Grand Master' Péladan founded his order in Paris in 1890 and sought to reconcile Rosicrucianism with Catholicism, as well as adding a large measure of Wagnerian Holy Grail mythology. Péladan was also the author of Le vice suprême, a classic of decadent literature.
The first Salon de la Rose-Croix was held at the fashionable Galerie Durand-Ruel in Paris on 10 March 1892, at which Satie's solemn Trois Sonneries de la Rose + Croix were performed for the first time. The previous year Satie had composed incidental music for Péladan's play Le Fils des étoiles (Son of the Stars), which was rejected by every major theatre in Paris. In June 1892 Satie also wrote two preludes for an esoteric chivalric play by Henri Mazel, Le Nazaréen.
Satie eventually tired of the implication that he was merely a disciple of Péladan, and broke from the Rose-Croix order in August 1892. The following year Satie became the founder (and sole member) of the Eglise Métropolitaine d'Art de Jésus Conducteur, a position more in keeping with his highly personal religious convictions. Despite the split, however, Satie's so-called 'Rosicrucian adventure' produced some of the composer's most enigmatic and extraordinary works.
TROIS SONNERIES DE LA ROSE + CROIX (1892)
Three fanfares for trumpets and harps written by Satie circa February 1892, and possibly also scored for orchestra. All three Sonneries were premiered at the inauguration of the first Salon de la Rose-Croix at the Galerie Durand-Ruel, Paris, on 10 March 1892, amidst Symbolist painting by Alexandre Séon, Carlos Schwabe and others. The trio were repeated at the first Rose + Croix Soirée on 22 March, when the Air du Grand Prieur appeared as Sonnerie de l'Archonte. The titular Grand Maitre of No. 2 was Joséphin Péladan, and the Grand Prieur of No. 3 Le Comte Antoine de la Rochefoucauld. The Air de l'Ordre represents a rare experiment by Satie with elements of sonata form, together with proportional symmetry based on the principle of the Golden Section.
1er] PRELUDE DU NAZAREEN (1892)
[2e] PRELUDE DU NAZAREEN (1892)
Two preludes written in June 1892 as incidental music for Le Nazaréen, an esoteric chivalric play in three acts by Henri Mazel. Like Les Fils des étoiles, both serve as immobile sound décor, and bear little or no relation to their theatrical context. Indeed Satie appears to have turned to literature for inspiration, constructing musical 'prose' from a series of motifs which are articulated at irregular intervals by a distinctive punctuation phrase.
USPUD ('Ballet chrétien') (1892)
Satie's three act 'christian ballet' was completed on 17 November 1892, with text by the Spanish-born poet José-Maria Patricio Manuel Contamine, aka Contamine de Latour. A second version was prepared overnight on 16-17 December 1892 for the benefit of Eugene Bertrand, director of the Paris Opéra. Uspud apparently took 72 days to complete, and may have been intended for the shadow theatre at the Auberge du Clou, the cabaret where Satie was then employed as a pianist. It was premiered only in 1979, at the Opéra-Comique in Paris.
Although ultimately a work of serious intent, Uspud was meant in part to shock and ridicule the Parisian musical establishment. Ever theatrical, Satie challenged Bertrand to a duel in order to gain the work a hearing (the director declined), although their subsequent peaceable meeting allowed Satie to claim that the work had been 'presented' (if not actually performed) at the Paris Opéra. Uspud can perhaps be viewed as an early experiment in the theatre of the absurd, the text of which was published entirely in lower case lettering.
Having split with Péladan's mystic order in August 1892, Satie began work on the 'sacred music' for Uspud with de Latour just a few weeks later. The story evolves around a single character, Uspud, described as a young, rich and handsome pagan, who experiences various visions during the first two acts, including demons, deformed creatures and the Christian church. In the third, a procession of saints summon him to martyrdom, but he is torn to pieces by demons before angels convey his body towards heaven. The action onstage is thus at odds with the calm and serenity of Satie's music.
DANSES GOTIQUES
In 1893, he composed the Danses gothiques.
In these first works Satie was already using a freehand style with no bar lines, arranged chromatically around complex chord structures. In the score he would replace conventional directions such as "allegro", "piano con brio"... with his own invented terminology - "from the top of your back teeth", "do your best"...
PRELUDE DE LA PORTE HEROIQUE DU CIEL (1894)
Incidental music for an esoteric drama in one act by Jules Bois, written circa February 1894, which premiered on 29 May and concerned a poet sent forth by Christ on a hazardous mission to supplant the Virgin Mary by the cult of Isis. Satie also contributed to a journal edited by Bois, Le Couer. The prelude is regarded as one of the finest works from Satie's Rosicrucian period, warmer and less aloof than most, yet still remarkably self-contained. Indeed Satie liked this miniature so much that he dedicated it to himself.
Tracklist:
Sonneries de la Rose + Croix, for piano
1 No. 1, "Air de l'Ordre" 3:44
2 No. 2, "Air du grand Maitre" 4:34
3 No. 3, "Air du Grand Prieur" 2:56
Préludes (4) for piano (& various orchestrations)
4 Fete donne par des chevaliers normands en l'honneur d'une jeune demoiselle 3:09
5 Prelude d'Enginhard 1:56
6 1st Prelude of Nazareen 6:30
7 2nd Prelude of Nazareen 3:39
Uspud, Christian ballet in 3 scenes for piano (orchestrated by Canby)
8 Act 1 8:03
9 Act 2 4:55
10 Act 3 7:10
11 Danses gothiques (9), for piano 10:26
12 Prélude de La Porte héroïque du ciel (Prelude to "The Heroic Gate of Heaven"), incidental music for piano (or orchestra) 4:23
ERIC SATIE (1808-1925)
Complete Piano Works Vol. 2
Piano – Bojan Gorišek
[1994] Audiophile / CBR320 / scans
O Púbis da Rosa
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