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{{Short description|Composition by Erik Satie}}
{{
[[File:Satie Cropped.jpg|thumb|[[Erik Satie]], circa 1919]]
'''''Socrate''''' is a work for voice and piano (or small orchestra) by [[Erik Satie]]. First published in 1919 for voice and piano, in 1920 a different publisher reissued the piece "revised and corrected".<ref name="Rathert">[[Wolfgang Rathert]] and [[Andreas Traub]], "Zu einer bislang unbekannten Ausgabe des 'Socrate' von Erik Satie", in
==Commission – composition==
[[File:Winnaretta Singer10.jpg|thumb|left|Self portrait by [[Winnaretta Singer
The work was commissioned by [[Winnaretta Singer|Princess Edmond de Polignac]] in October [[1916 in music|1916]]. The Princess had specified that female voices should be used: originally the idea had been that Satie would write incidental music to a performance where the Princess and/or some of her (female) friends would read aloud texts of the ancient Greek philosophers. As Satie, after all, was not so much in favour of [[melodrama]]-like settings, that idea was abandoned, and the text would be sung — be it in a more or less [[Recitative|reciting]] way. However, the specification remained that only female voices could be used (for texts of [[dialogue]]s that were supposed to have taken place between men).▼
▲The work was commissioned by [[
Satie composed ''Socrate'' between January [[1917 in music|1917]] and the spring of [[1918 in music|1918]], with a revision of the orchestral score in October of that same year. During the first months he was working on the composition, he called it ''Vie de Socrate''. In 1917 Satie was hampered by a lawsuit over an insulting postcard he had sent, which nearly resulted in prison time. The Princess diverted this danger by her financial intercession in the first months of 1918, after which Satie could work free of fear.▼
▲Satie composed ''Socrate'' between January
==The musical form==
[[File:Satie socrate manuscript.jpg|thumb|{{center|First page of Satie's manuscript for ''Socrate''}}]]
Satie presents ''Socrate'' as a "symphonic [[drama]] in three parts".▼
▲Satie presents ''Socrate'' as a "symphonic [[drama]] in three parts".
"Symphonic drama" appears to allude to ''[[Roméo et Juliette (Berlioz)|Romeo et Juliette]],'' a "dramatic symphony" that [[Hector Berlioz]] had written nearly eighty years earlier: and as usual, when Satie makes such allusions, the result is about the complete reversal of the former example. Where Berlioz's symphony is more than an hour and a half of expressionistic, heavily orchestrated drama, an [[opera]] forced into the form of a [[symphony]], Satie's thirty-minute composition reveals little drama in the music: the drama is entirely concentrated in the text, which is presented in the form of [[recitative|recitativo]]-style singing to a background of sparsely orchestrated, nearly repetitive music, picturing some aspects of Socrates' life, including his final moments.
The work differs from the musical forms of the period. The work is not acted and no scenery is required, unlike opera. Furthermore, the text is delivered by female voices, including the words of male characters. It lacks any musical sections that might be considered [[aria]]s, with the text delivered instead as [[recitative]].
It might be possible to think that Satie took formally similar secular [[cantata]]s for one or two voices and a moderate accompaniment as his examples for the musical form of ''Socrate'': nearly all Italian and German [[baroque music|baroque]] composers had written such small-scale cantatas, generally on an Italian text: [[Antonio Vivaldi|Vivaldi]] ([[Ryom Verzeichnis|RV]] 649–686), [[George Frideric Handel|Handel]] ([[Händel-Werke-Verzeichnis|HWV]] 77–177), [[Johann Sebastian Bach|Bach]] ([[BWV]] 203, 209), etc. This link is however unlikely: these older compositions all alternated ''recitatives'' with ''[[aria]]s'', further there is very little evidence Satie ever based his work directly on the examples of foreign baroque composers, and most of all, as far as the baroque composers were known in early 20th century [[Paris]], these small secular Italian cantatas would be the least remembered works of any of these composers.▼
▲
The three parts of the composition are:
# ''Portrait de Socrate'' ("Portrait of Socrates"), text taken from Plato's ''[[Symposium (Plato)|Symposium]]''
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The piece is written for voice and orchestra, but also exists in a version for voice and piano. This [[reduction (music)|reduction]] had been produced by Satie, concurrently with the orchestral version.
Each speaker in the various sections is meant to be represented by a different singer ([[Alcibiades]], Socrates, Phaedrus, Phaedo), according to Satie's indication two of these voices [[soprano]], the two other [[mezzo-soprano]]s.
Nonetheless all parts are more or less in the same range, and the work can easily be sung by a single voice, and has often been performed and recorded by a single vocalist, female as well as male. Such single vocalist performances diminish however the effect of [[dialogue]] (at least in the two first parts of the symphonic drama – in the third part there is only Phaedo telling the story of Socrates' death).
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==The text==
Although more recent translations were available, Satie preferred Victor Cousin's then antiquated
The translation of the libretto of ''Socrate'' that follows is taken from [[Benjamin Jowett]]'s translations of Plato's dialogues that can be found on the [[Gutenberg Project]] website. The original French text can be found [http://palpatine42.free.fr/blog/post/2009/02/15/apotheose-de-Socrate-par-Satie here.]
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===Part I – Portrait of Socrates===
[[File:Marcello Bacciarelli - Alcibiades Being Taught by Socrates, 1776-77.jpg|thumb|left|[[Marcello Bacciarelli]], ''Alcibiades and Socrates'']]
[From ''Symposium'',
;Alcibiades:And now, my boys, I shall praise Socrates in a figure which will appear to him to be a caricature, and yet I speak, not to make fun of him, but only for the truth's sake. I say, that he is exactly like the busts of Silenus, which are set up in the statuaries' shops, holding pipes and flutes in their mouths; and they are made to open in the middle, and have images of gods inside them. I say also that he is like Marsyas the satyr. [...] And are you not a flute-player? That you are, and a performer far more wonderful than Marsyas. He indeed with instruments used to charm the souls of men by the power of his breath, and the players of his music do so still: for the melodies of Olympus are derived from Marsyas who taught them [...] But you produce the same effect with your words only, and do not require the flute: that is the difference between you and him. [...] And if I were not afraid that you would think me hopelessly drunk, I would have sworn as well as spoken to the influence which they have always had and still have over me. For my heart leaps within me more than that of any Corybantian reveller, and my eyes rain tears when I hear them. And I observe that many others are affected in the same manner. [...] And this is what I and many others have suffered from the flute-playing of this satyr.
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===Part II – On the banks of the Ilissus===
[[File:Johann MIchael Wittmer - View of Athens from the river Ilissos - 1833.jpg|thumb|
[From ''Phaedrus'',
;Socrates:Let us turn aside and go by the Ilissus; we will sit down at some quiet spot.
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===Part III – Death of Socrates===
[[File:David - The Death of Socrates.jpg|thumb|left|[[Jacques-Louis David]] - The Death of Socrates]]
[From ''Phaedo'',
;Phaedo: As [...] Socrates lay in prison [...] we had been in the habit of assembling early in the morning at the court in which the trial took place, and which is not far from the prison. There we used to wait talking with one another until the opening of the doors (for they were not opened very early); then we went in and generally passed the day with Socrates. [...] On our arrival the jailer who answered the door, instead of admitting us, came out and told us to stay until he called us. [...] He soon returned and said that we might come in. On entering we found Socrates just released from chains, and Xanthippe, whom you know, sitting by him, and holding his child in her arms. [...] Socrates, sitting up on the couch, bent and rubbed his leg, saying, as he was rubbing: "How singular is the thing called pleasure, and how curiously related to pain, which might be thought to be the opposite of it; [...] Why, because each pleasure and pain is a sort of nail which nails and rivets the soul to the body [...] I am not very likely to persuade other men that I do not regard my present situation as a misfortune, if I cannot even persuade you that I am no worse off now than at any other time in my life. Will you not allow that I have as much of the spirit of prophecy in me as the swans? For they, when they perceive that they must die, having sung all their life long, do then sing more lustily than ever, rejoicing in the thought that they are about to go away to the god whose ministers they are." [...]
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:Crito made a sign to the servant, who was standing by; and he went out, and having been absent for some time, returned with the jailer carrying the cup of poison. Socrates said: "You, my good friend, who are experienced in these matters, shall give me directions how I am to proceed." The man answered: "You have only to walk about until your legs are heavy, and then to lie down, and the poison will act." At the same time he handed the cup to Socrates [...] Then raising the cup to his lips, quite readily and cheerfully he drank off the poison. And hitherto most of us had been able to control our sorrow; but now when we saw him drinking, and saw too that he had finished the draught, we could no longer forbear, and in spite of myself my own tears were flowing fast; so that I covered my face and wept, not for him, but at the thought of my own calamity in having to part from such a friend. [...] and he walked about until, as he said, his legs began to fail, and then he lay on his back, according to the directions, and the man who gave him the poison now and then looked at his feet and legs; and after a while he pressed his foot hard, and asked him if he could feel; and he said: "No"; and then his leg, and so upwards and upwards, and showed us that he was cold and stiff. And he felt them himself, and said: "When the poison reaches the heart, that will be the end." He was beginning to grow cold about the groin, when he uncovered his face, for he had covered himself up, and said—they were his last words—he said: "Crito, I owe a cock to Asclepius; will you remember to pay the debt?" [...] in a minute or two a movement was heard, and the attendants uncovered him; his eyes were set, and Crito closed his eyes and mouth. Such was the end, Echecrates, of our friend; concerning whom I may truly say, that of all the men of his time whom I have known, he was the wisest and justest and best.
==
Satie described he meant ''Socrate'' to be [[white (colour)|white]], and mentions to his friends that for achieving that whiteness, he gets himself into the right mood by eating nothing other than "white" foods.
▲Satie described he meant ''Socrate'' to be [[white (colour)|white]], and mentions to his friends that for achieving that whiteness, he gets himself into the right mood by eating nothing other than "white" foods.{{ref|white}} He wants ''Socrate'' to be transparent, lucid, and unimpassioned – not so surprising as counter-reaction to the turmoil that came over him for writing an offensive postcard. Also, he certainly appreciated the fragile humanity of the ancient Greek philosophers to which he was devoting his music.
==Reception history==
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===Reception in music, theatre and art history===
Summarising the critical reception at the time of the first performance, Hanlon states that "A small minority of critics praised this audacious aesthetic approach, however, the consensus was that it represented a form of musical impoverishment".<ref>{{Cite book |last=Hanlon |first=Ann-Marie |title=Satie and the French Musical Canon: A Reception Study |date=June 2013 |publisher=Newcastle University |year=2013 |pages=69–70 |type=Dissertation}}</ref>
In 1936 [[Virgil Thomson]] asked [[Alexander Calder]] to create a stage set for ''Socrate''. [[New York Times]] critic Robert Shattuck described the 1977 National Tribute to Alexander Calder performance, “I have always gone away with the feeling that ''Socrate'' creates a large space that it does not itself completely fill… Here, of course, is where Calder comes in: He was commissioned to do sets for ''Socrate'' in 1936.”<ref>https://query.nytimes.com/gst/abstract.html?res=9E07E5D61F31E135A25755C0A9679D946690D6CF</ref> In 1936 the American premiere of ''Socrate'', with a [[Calder's set for Socrate|mobile set]] by Alexander Calder was held at the [[Wadsworth Atheneum]].<ref>http://thewadsworth.org/wp-content/uploads/2011/03/wama_firsts_november2014.pdf</ref> The work then traveled to the [[Colorado Springs Fine Arts Center]] for the opening week of the FAC.<ref>http://www.csfineartscenter.org/about/history/birth-of-the-colorado-springs-fine-arts-center/</ref>▼
▲In 1936 [[Virgil Thomson]] asked [[Alexander Calder]] to create a stage set for ''Socrate''. [[New York Times]] critic Robert Shattuck described the 1977 National Tribute to Alexander Calder performance, “I have always gone away with the feeling that ''Socrate'' creates a large space that it does not itself completely fill… Here, of course, is where Calder comes in: He was commissioned to do sets for ''Socrate'' in 1936.”<ref>{{Cite news|url=https://query.nytimes.com/gst/abstract.html?res=9E07E5D61F31E135A25755C0A9679D946690D6CF|title = Music and Mobiles when Calder and Satie Joined Forces|newspaper = The New York Times|date = 6 November 1977|last1 = Shattuck|first1 = Roger}}</ref> In 1936 the American premiere of ''Socrate'', with a [[Calder's set for Socrate|mobile set]] by Alexander Calder was held at the [[Wadsworth Atheneum]].<ref>{{Cite web |url=http://thewadsworth.org/wp-content/uploads/2011/03/wama_firsts_november2014.pdf |title=Archived copy |access-date=2015-09-04 |archive-date=2015-09-05 |archive-url=https://web.archive.org/web/20150905110005/http://thewadsworth.org/wp-content/uploads/2011/03/wama_firsts_november2014.pdf |url-status=dead }}</ref> The work then traveled to the [[Colorado Springs Fine Arts Center]] for the opening week of the FAC.<ref>{{Cite web|url=http://www.csfineartscenter.org/about/history/birth-of-the-colorado-springs-fine-arts-center/|title=Birth of the Colorado Springs Fine Arts Center}}</ref>
[[John Cage]] transcribed the music of ''Socrate'' for two pianos in 1944 for [[Merce Cunningham]]'s dance, titled ''[[Idyllic Song]]''. A later dance, ''Second Hand'', was also based on Satie's ''Socrate''. When in 1969 Éditions Max Eschig refused performing rights, Cage made ''[[Cheap Imitation]]'', based on an identical rhythmic structure. In 2015, ninety years after Satie's death, Cage's 1944 setting was performed by [[Alexei Lubimov]] and Slava Poprugin<ref>[https://www.koncon.nl/en/teachers/slava-poprugin Slava Poprugin] on Royal Conservatoire The Hague</ref> for the CD ''Paris joyeux & triste''.
The
[[Mark Morris (choreographer)|Mark Morris]] created a dance in 1983 to the third section of Socrate, ''The Death of Socrates
==Recordings==
* This (abandoned) webpage gives an overview of recordings of ''Socrate'' up to the early 21st century: https://web.archive.org/web/20050406001920/http://hem.passagen.se/satie/db/socrate.htm
Recorded in 2015 and released in 2016 on the Winter & Winter CD label: Barbara Hannigan, soprano, and Reinbert de Leeuw, piano - Socrate with melodies by Satie. Also search Barbara Hannigan Socrate on Youtube.
Orchestral version recorded in 1954, available in the INA [French Institut national de l'audiovisuel] "memoire vivre" series of CDs [Suzanne Danco No. 2]: Suzanne Danco, soprano, Symphonic Orchestra of Rome of the RAI conducted by Darius Milhaud. Also search Suzanne Danco Socrate on YouTube.
==References==▼
* Dorf, Samuel. "Étrange n’est-ce pas? The Princesse Edmond de Polignac, Erik Satie’s Socrate, and a Lesbian Aesthetic of Music?” ''French Literature Series'' 34 (2007): 87–99.▼
* [[Alan Gillmor|Gillmor, Alan M.]]. ''Erik Satie''. Twayne Pub., 1988, reissued 1992 – {{ISBN|0-393-30810-3}}, 387pp.▼
* [[Ornella Volta|Volta, Ornella]] – transl. Todd Niquette. ''[https://web.archive.org/web/20110410020658/http://www.satie-archives.com/web/articl10.html Give a dog a bone: Some investigations into Erik Satie]'' (Original title: ''Le rideau se leve sur un os'' – Revue International de la Musique Francaise, Vol. 8, No. 23, 1987)▼
==See also==
*[[List of composers and their preferred lyricists]]
▲==References==
{{Reflist}}
▲* Dorf, Samuel. "Étrange n’est-ce pas? The Princesse Edmond de Polignac, Erik Satie’s Socrate, and a Lesbian Aesthetic of Music?” ''French Literature Series'' 34 (2007): 87–99.
▲*
▲* [[Ornella Volta
* {{cite book |last1=Volta |first1=Ornella |translator-last1=Bullock |translator-first1=Michael |date=1989 |chapter=''Socrate'' |title=Satie Seen Through His Letters |publisher=Marion Boyars |isbn=071452980X }}
{{Erik Satie}}
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[[Category:Compositions by Erik Satie]]
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