Editing Erik Satie (section)

===Move to Arcueil===
[[File:2015-Arcueil-Erik-Satie-house.jpg|thumb|upright=0.75|"Les quatre cheminées", [[Arcueil]] – Satie's home from 1898 to his death|alt=angled apartment block at intersection of two streets]]
In 1898, in search of somewhere cheaper and quieter than Montmartre, Satie moved to a room in the southern suburbs, in the [[Communes of France|commune]] of [[Arcueil|Arcueil-Cachan]], eight kilometres (five miles) from the centre of Paris.<ref>Gillmor, pp. 112–113</ref><ref>[https://www.viamichelin.co.uk/web/Routes?departure=22%20Rue%20Cauchy%2C%20Arcueil%2C%20France&arrival=Notre%20Dame%20de%20Paris&index=0&vehicle=0&type=0&distance=km&currency=EUR&highway=false&toll=false&vignette=false&orc=false&crossing=true&caravan=false&shouldUseTraffic=false&withBreaks=false&break_frequency=7200&coffee_duration=1200&lunch_duration=3600&diner_duration=3600&night_duration=32400&car=hatchback&fuel=petrol&fuelCost=1.581&allowance=0&corridor=&departureDate=&arrivalDate=&fuelConsumption=&shouldUseNewEngine=false Journey planner] {{Webarchive|url=https://web.archive.org/web/20210917125017/https://www.viamichelin.co.uk/web/Routes?departure=22%20Rue%20Cauchy,%20Arcueil,%20France&arrival=Notre%20Dame%20de%20Paris&index=0&vehicle=0&type=0&distance=km&currency=EUR&highway=false&toll=false&vignette=false&orc=false&crossing=true&caravan=false&shouldUseTraffic=false&withBreaks=false&break_frequency=7200&coffee_duration=1200&lunch_duration=3600&diner_duration=3600&night_duration=32400&car=hatchback&fuel=petrol&fuelCost=1.581&allowance=0&corridor=&departureDate=&arrivalDate=&fuelConsumption=&shouldUseNewEngine=false |date=17 September 2021 }}, ViaMichelin. Retrieved 17 September 2021</ref> This remained his home for the rest of his life. No visitors were ever admitted.<ref name=grove/> He joined the [[French Section of the Workers' International|Socialist Party]] after the [[assassination of Jean Jaurès]] (he later switched his membership to the [[French Communist Party|Communist Party]] after its foundation),<ref>Orledge, p. 233</ref> but adopted a thoroughly bourgeois image: the biographer Pierre-Daniel Templier, writes, "With his umbrella and [[bowler hat]], he resembled a quiet school teacher. Although a Bohemian, he looked very dignified, almost ceremonious".<ref>Templier, p. 56</ref>

Satie earned a living as a cabaret pianist, adapting more than a hundred compositions of popular music for piano or piano and voice, adding some of his own. The most popular of these were ''{{Lang|fr|[[Je te veux]]}}'', text by Henry Pacory; ''{{Lang|fr|Tendrement}}'', text by Vincent Hyspa; ''{{Lang|fr|[[Poudre d'or]]}}'', a waltz; ''[[La Diva de l'Empire]]'', text by Dominique Bonnaud/Numa Blès; ''{{Lang|fr|Le Picadilly}}'', a march; ''{{Lang|fr|Légende californienne}}'', text by Contamine de Latour (lost, but the music later reappears in ''{{Lang|fr|[[La belle excentrique]]}}''); and others. In his later years Satie rejected all his cabaret music as vile and against his nature.<ref>Gillmor, p. xxix</ref> Only a few compositions that he took seriously remain from this period: ''[[Jack in the Box (Satie)|Jack in the Box]]'', music to a [[pantomime]] by [[Jules Depaquit]] (called a "{{Lang|fr|clownerie}}" by Satie); ''{{Lang|fr|[[Geneviève de Brabant (Satie)|Geneviève de Brabant]]}}'', a short comic opera to a text by "Lord Cheminot" (Latour); ''{{lang|fr|[[Le poisson rêveur]]}}'' (''The Dreamy Fish''), piano music to accompany a lost tale by Cheminot, and a few others that were mostly incomplete. Few were presented, and none published at the time.<ref>Whiting, p. 259</ref>
[[File:C-Debussy-V-d'Indy-A-Roussel-M-Ravel.jpg|thumb|left|Musical friends and teachers: from top left clockwise – [[Claude Debussy|Debussy]], [[Vincent d'Indy|d'Indy]], [[Albert Roussel|Roussel]], [[Maurice Ravel|Ravel]]|alt=head and shoulders photographs of four white men, two neatly bearded, with full heads of hair, the third bald and neatly bearded, the fourth clean shaven with full head of hair]]

A decisive change in Satie's musical outlook came after he heard the premiere of Debussy's opera ''[[Pelléas et Mélisande (opera)|Pelléas et Mélisande]]'' in 1902. He found it "absolutely astounding", and he re-evaluated his own music.<ref name=grove/> In a determined attempt to improve his technique, and against Debussy's advice, he enrolled as a mature student at Paris's second main music academy, the [[Schola Cantorum de Paris|Schola Cantorum]] in October 1905, continuing his studies there until 1912.<ref>Rey, p. 61</ref> The institution was run by [[Vincent d'Indy]], who emphasised orthodox technique rather than creative originality.<ref>[https://www.oxfordreference.com/view/10.1093/acref/9780199579037.001.0001/acref-9780199579037-e-5982 "Schola Cantorum"] {{Webarchive|url=https://web.archive.org/web/20210516120912/https://www.oxfordreference.com/view/10.1093/acref/9780199579037.001.0001/acref-9780199579037-e-5982 |date=16 May 2021 }}, ''The Oxford Companion to Music'', edited by Alison Latham, Oxford University Press, 2011.</ref> Satie studied [[counterpoint]] with [[Albert Roussel]] and composition with d'Indy, and was a much more conscientious and successful student than he had been at the Conservatoire in his youth.<ref>Orledge, pp. 86 and 95</ref>

In 1911, when he was in his mid-forties, Satie came to the notice of the musical public in general. That January [[Maurice Ravel]] played some early Satie works at a concert by the [[Société musicale indépendante]], a forward-looking group set up by Ravel and others as a rival to the conservative [[Société nationale de musique]].<ref>[[Barbara L. Kelly|Kelly, Barbara L.]] [http://www.oxfordmusiconline.com/subscriber/article/grove/music/52145 "Ravel, Maurice"], ''Grove Music Online'', Oxford University Press. Retrieved 17 September 2021 {{subscription required}}</ref>{{refn|The pieces were the second ''[[Sarabandes (Satie)|Sarabande]]'', the first prelude to ''[[Le Fils des étoiles]]'' and the third of the ''Gymnopédies''.<ref>[https://gallica.bnf.fr/ark:/12148/bpt6k2890931/f7.item.r=Erik%20Satie.zoom "Courrier Musicale"] {{Webarchive|url=https://web.archive.org/web/20210917113043/https://gallica.bnf.fr/ark:/12148/bpt6k2890931/f7.item.r=Erik%20Satie.zoom |date=17 September 2021 }}, ''Le Figaro'', 14 January 1911, p. 7; and Gillmor, p. xxiii</ref>|group=n}} Satie was suddenly seen as "the precursor and apostle of the musical revolution now taking place";<ref>Orledge, p. 2</ref> he became a focus for young composers. Debussy, having orchestrated the first and third ''Gymnopédies'', conducted them in concert. The publisher Demets asked for new works from Satie, who was finally able to give up his cabaret work and devote himself to composition. Works such as the cycle ''[[Sports et divertissements]]'' (1914) were published in de luxe editions. The press began to write about Satie's music, and a leading pianist, [[Ricardo Viñes]], took him up, giving celebrated first performances of some Satie pieces.<ref name=grove/>
[[File:Erik Satie en 1909.PNG|thumb|upright=0.75|alt=Satie wearing a bowler hat and wing collar|Satie's final persona, [[bowler hat|bowler-hatted]] and formally dressed]]