Erik Satie

French composer, 1866-1925

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. 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. 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.

Source: Wikipedia

Satie, Erik

French composer (1866-1925). Autograph letter signed „ES“. No place. 8vo. 1 page.
$ 4,795 / 4.500 € (61513)

Invitation of Satie for his friend the writer René Chalupt (1885-1957): „Venez donc m’entendre: vous me ferez plaisir. Vous viendrez. Si Mademoiselle Chalupt venait avec vous, ce me serait une grande joie. Comment va? Je travaille comme un veau […]“.

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Satie, Erik

French composer (1866-1925). Autograph letter signed „ES“. [Paris]. Small-8vo. 1/2 p.
$ 4,795 / 4.500 € (61514)

To his friend the writer René Chalupt (1885-1957): „Merci de ce que j’ai trouvé dans le truc fermé mis dans votre joli écrit. Le tout n’est pas tombé dans l’oreille d’un sourd […]“.

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Satie, Erik

French composer (1866-1925). Autograph letter signed „ES“. Arcueil. 8vo. 1/2 page.
$ 5,861 / 5.500 € (61515)

To his friend the writer René Chalupt (1885-1957): „Entendu, cher ami; mais pas avant 21 h. 30 (anien 9 h 30, du soir). A ce soir […]“ - With full signature and address on the address page.

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Satie, Erik

French composer (1866-1925). Autograph letter signed (“Erik Satie“). Acueuil. 8vo. 1 page. With autograph envelope.
$ 10,123 / 9.500 € (61516)

To his friend the writer René Chalupt (1885-1957): „Demain vendredi, j’airai besoin de ,Socrate’. Voulez-vous être assez gentil pour déposer – dans la matinée – cet ouvrage chez votre concierge […] ça marche votre écrit ? ,Grouillez-vous’ cher ami […]“.

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Satie, Erik

French composer (1866-1925). Autograph letter signed „ES“. [Paris]. Small-8vo. 1/2 p.
$ 4,795 / 4.500 € (61563)

To his friend the writer René Chalupt (1885-1957): „Ai laissé vos petits poèmes chez Madame Bathori. Voulez-vous m’envoyer pour mercredi, une troisième copie du Md de Chapeaux? Excusez-moi […]“.

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Satie, Erik

French composer (1866-1925). Autograph letter signed „ES“. [Paris]. Small-8vo. 1 p.
$ 4,795 / 4.500 € (61564)

To his friend the writer René Chalupt (1885-1957): „Impossible de mettre la main sur „Uspud“. Tant pis. Vous n’avez pas la frousse? A demain […] P.S. Charles Stern est ici. Le pouvez-vous faire venir? C’est un très bon type, que j’aime beaucoup“.

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Satie, Erik

French composer (1866-1925). Autograph letter signed „ES“. [Paris]. Small-8vo. 1/2 p.
$ 3,730 / 3.500 € (61565)

To his friend the writer René Chalupt (1885-1957): „C’est entendu: Lundi. 18 heures (ancien 6.h.). Bien à vous“.

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Satie, Erik

French composer (1866-1925). Autograph letter signed „ES“. Paris. 8vo. 1/2 page.
$ 4,795 / 4.500 € (61566)

To his friend the writer René Chalupt (1885-1957): „Mais oui, & avec plaisir encore. Quoi de neuf ? Rien ? Mille choses polies à Mademoiselle Chalupt, vous prie-je […]“

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Satie, Erik

French composer (1866-1925). Autograph letter signed „ES“. Paris. 8vo. 1/2 page.
$ 4,795 / 4.500 € (61567)

To his friend the writer René Chalupt (1885-1957): „Cher gros ami. Entendu pour après demain. Je déjeune demain avec Roc Roc et J. Doucet. Nous prendrons rendez-vous pour venir ensemble vendredi. Ca vous va? […]“

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Satie, Erik

French composer (1866-1925). Autograph letter signed „ES“. Paris. 8vo. 1/2 page.
$ 4,795 / 4.500 € (61568)

To his friend the writer René Chalupt (1885-1957): „Vous avez été épatant. Oui, je le dis. Aussi, veux-je vous en remercier. Vous voyez comment cela est simple. Je vous donne ma vieille main à baiser. Vous êtes un bon ami […]“

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Satie, Erik

French composer (1866-1925). Autograph letter signed „Erik Satie“. Acueuil. 8vo. 1 page.
$ 11,189 / 10.500 € (61569)

To his friend the writer René Chalupt (1885-1957): „Cela tient, votre préface – courte & précise ? ….. Exposé net de ce que ,Socrate’ exprime ; sa situation dans l’art musical ; sa ,nouveauté’…. C’est un écrit de ,fierté’ que je demande à votre amitié. Vous constatez avec ,autorité’ sans ,discuter’ […]“

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Satie, Erik

franz. Komponist, Pionier der Neuen Musik (1866-1920). Eigenh. Billet m. U. „Erik Satie“. o. O. 1 p. Auf einem Teil eines an ihn gerichteten Briefumschlags. 7,5 x 12,5 cm.
$ 5,115 / 4.800 € (62489)

An einen Freund. „[…] Ci-joint le 'truc'. Ne partez pas sans me voir, vous me ferez plaisir […]“. - In einem anderen Brief schreibt Satie: „Je viens de terminer le 'truc' pour la Dame américaine […] C'est de la musique d'Ameublement“. - Selten.

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Satie, Erik

französischer Komponist des frühen 20. Jahrhunderts (1866-1925). Eigenhändiger Brief mit Unterschrift „Erik Satie“. Paris. 8vo. 1 p. Gebräunt.
$ 3,730 / 3.500 € (83623)

An seinen Freund, den rumänischen Maler Constantin Brâncuși (1876-1956)7 „[…] À ce cher ami Brancusi, en souvenir de notre vieille amitié de cent ans. Cet ouvrage est le mieux, le plus beau de moi même & des autres, surtout. Oui. Erik Satie.“ Mit Satie tauschte er häufig Gedanken und Sorgen aus, und beide fesselte das Thema des Sokrates, das in ihren Werken zum Ausdruck kam: in Saties sinfonischem Drama La Mort de Socrate und in der zu Ehren Saties entstandenen Skulptur Sokrate (Sokrates), 1922, von Brâncuși, der den Musiker „gerne ‚Sokrates Bruder‘ nannte.“

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Satie, Erik

French composer (1866-1925). 3 autograph lettercards signed (address field) and monogrammed "ES". Arcueil. 12mo. Together 3 pp.
$ 19,181 / 18.000 € (90099/BN59550)

Highly interesting correspondence with the young conductor Roger Désormière (1898-1963) concerning a commission for the ballet "Mercure", a possible adaptation of his ballet music "La Belle Excentrique" as a symphonic piece, and Satie's rupture with the Groupe des Six. - On 7 February 1924, Satie criticizes the conductor Paul Paray, and especially his former friends Georges Auric and Francis Poulenc, implying that they make "rotten compromises", while lauding the André Caplet, Vladimir Golschmann, and the recipient as the "only three conductors" that he knows.

In spite of a dismissive remark about the soprano Marguertie Bériza, he signals interest in working with her and Désormière: "Pour les spectacles de cette dame, disposez de moi comme vous l'entendrez". - The attack on Auric and Poulenc of the Groupe des Six foreshadows Satie's public rupture with his former friends in an article for the Paris-Journal published on 15 February. In the meantime, Satie had been commissioned to compose ballet music for Étienne de Beaumont's company "Soirées de Paris". The letter from 16 February reflects both events, with Satie first expressing his joy that Désormière was chosen as conductor of the Beaumont "thing", which would become "Mercure". Another project was the symphonic adaptation of his ballet music for "La Belle Excentrique" (1921) for one of Désormière's concerts. Satie concedes that the dancer Élisabeth Toulemont, known as Caryathis, was the owner of the piece, but appears to scold Georges Auric for objecting to the adaptation of the material due to her ownership. He announces he shall "write two little things in collaboration with Tzara" and stresses that he has "the right to turn 'la Belle Excentrique' into a symphonic piece, which Auric knows well but does not say". In closing, Satie advises Désormière to obtain a copy of his piano arrangement of "La Belle Excentrique", published by the famous Éditions de la Sirène in 1922. - The final letter in the collection from 26 February is a reaffirmation of Satie's plans for a rearrangement of "La Belle Excentrique" in order to reassure an impatient Désormière: "I work for you: give me, however, the time to compose what I have to do. Will you be so kind? ... Concerning 'La Belle Excentrique' do not 'worry': as soon as Caryathis will be back from the Midi, I will have the complete material. Yes" (transl.). - Désormière conducted "La Belle Excentrique" on 5 April at Charles Dullin's Théâre de l'Atelier. The premiere of the ballet "Mercure" with Satie's music, stage and costume designs by Pablo Picasso, and a choreography by Léonide Massine on 14 June 1924 resulted in a theatre scandal, as factions of the Parisian avantgarde audience clashed and the Surrealist group led by André Breton and Louis Aragon disrupted the performance. - Traces of folds. Minimally stained. Letter from 16 February somewhat creased..

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Satie, Erik

French composer (1866-1925). Autograph lettercard signed (address field) and monogrammed "ES". Arcueil. 12mo. 1 p. With autograph address.
$ 9,058 / 8.500 € (90100/BN59551)

Beautiful pneumatic letter to the conductor Roger Désormière two days after the scandalous premiere of the ballet Mercure with instructions for the third performance. Satie asks Désormière to return to the original version of the premiere "without the repetitions of the music while waiting for the sets" as he is "the one who pays the price for this waiting time" because "many people believe" that Satie's "music is the cause of these false intermissions - & and they 'fulminate', the very good people." He even concedes to his vocal critics: "Yes...

They are right, in fact". In a charming postscriptum, Satie thanks Désormière and congratulates him on last night's performance: "Thank you for your dedication. You are a 'chic guy'... Very successful last night!" (transl.). - With Satie's music, stage and costume design by Pablo Picasso, and a choreography by Léonide Massine who would also dance the principal role, Mercure was supposed to be the much-needed hit for Étienne de Beaumont's ballet company Soirées de Paris. However, the premiere provoked a theater scandal as different cultural factions of the Parisian avantgarde clashed in the audience. Most notoriously, the Surrealists led by André Breton and Louis Aragon tried to win over Picasso and took aim at Satie for having criticized Breton's attempt to overthrow Tzara as leader of the Dadaists. The ballet had scarcely begun when the Surrealists started chanting "Bravo Picasso! Down with Satie!" from the back of the theater. Darius Milhaud started to argue with the Breton group, Satie fans voiced their support, and a handful of people approached Picasso's box and hurled insults at him. The police were called to restore order before the performance could continue. While the following five performances of Mercure passed without incident, the reception of the ballet and particularly of Satie's music was cold and would have a lasting negative effect on his posthumous reputation. Mercure is the least known of Satie's three ballets and little performed even if the music has been revaluated since the scandalous premiere. - Roger Désormière (1898-1963) joined the Ballets Russes as principal conductor in 1925. He kept Satie's ballet music in his repertoire. - Traces of folds and somewhat creased..

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Satie, Erik

Eigenh. Musikmanuskript mit U.
Autograph ist nicht mehr verfügbar

Erik Satie (1866–1925), French composer. AMusMsS. N. p., 15 May 1914. Oblong folio. 1 p. 12 staves. In black ink. Browned; small defects to two corners. Engraver’s model for “Préface” and “Choral inappetissant”, from his piano work “Sports et Divertissements”. – Autograph music by Satie is of the utmost rarity. “Satie’s ‘Sports et Divertissements’ is among his most characteristic works. They are described by Rollo Myers as ‘a set of twenty brilliant little thumb-nail sketches of various out-of-doors sports and amusements [...] As it is they remain up to the present unchallenged and unique” (E. S., New York, 1968, p. 85 & 90).


Satie, Erik

Eigenh. Musikmanuskript
Autograph ist nicht mehr verfügbar

Erik Satie (1866-1925), Komponist. E. Musikmanuskript, o. O. u. D. [ca. 1914], 1 Seite quer-gr.-Folio. 12-zeilig. Doppelblatt. Schwarze Tinte. Leicht gebräunt. Sauber ausgeführtes Manuskript zu einem nicht näher bezeichneten Werk. – Musikmanuskripte Saties sind von großer Seltenheit. – Autograph music by Satie is of the utmost rarity.


Satie, Erik

Billet autographe signé.
Autograph ist nicht mehr verfügbar

"Avec tous ses remerciements. Erik Satie". - Traces of mounting.


Satie, Erik

Deux lettres autographes signées, au Dr. Louis Lemonnier.
Autograph ist nicht mehr verfügbar

To Dr. Louis Lemonnier: "My good Monsieur Louis - Thank you for the five hundred francs that you have sent, to my account succession Fortin, dated 19th of this month. So, I owe you to this day, one thousand three hundred twenty francs (1,320 f.), that is to say: Overdue 300 (three hundred) 1st remittance (September 1905) 500 (five hundred) Remitted in Paris 20 (twenty) 2nd remittance (October 1905) 500 (five hundred) [altogether:] 1,320 francs. Yesterday, Monsieur Tornare had a fall in his kitchen. Doctor Durand came to see him. It is nothing. It is a type of congestion that made him in that state: his heart must have skipped a beat. It is though to be his fault. Madame Tornare reproaches him for not knowing how to cough to his advantage [profitably in text]; she explains that in details to him and with illustration [spot], but him, seated at his counter, looks at her with unintelligent big eyes expressing true regret for not being able to understand such simple theme. - 'But look at me', disagreeably shouts to him Madame Tornare. And him, still looks at the one he loves, hoping, no doubt, that his poor brain will shed light. Of course, Madame is not satisfied, and judges him inferior: - 'But look at me'. Then drily, harsh toned: - 'When you do not know how to cough nor look, don't talk'. Madame Tornare is a bitter Madame Geng, with no literature or philosophy […]" (22 Oct. 1905). - "My good old man - Very chic. You can send the rest, that is to say seven hundred francs. Please deduct, expense for sending the money, I wish to pay for it. It is the least. Thanks for all you have done [fold] for me. You are a good fellow, very nice and kind. Thanks again. My respects to Madame Lemonnier" (2 Nov. 1905).