The Electronic Spirit of Erik Satie

The Camarata Contemporary Chamber Orchestra - The Electronic Spirit of Erik Satie

released on LP in 1972

featuring the Moog Synthesizer

Notes relating to the title:

Music Mystically Inspired

Satie was convinced that he was a spirit working under the direct guidance of some medieval cleric whose fanatical piety he had inherited from beyond the grave.

This producer is convinced that he is also a spirit working under the direct guidance of Erik Satie, whose eccentricities and mysticisms have guided him throughout the making of this LP.

FURTHER PROOF:

A.) The arranger felt the actual presence of Satie in the room with him while he was scoring. (Erik's spirit would hover around the room and, at times, reach over his shoulder and guide his pencil along the score page, shouting directions in his ear "B flat not B natural, you dummy!") His worst moment was when he added bars to Satie's barless music . . . (the arranger in this case cannot having scored any of the pieces in the LP.)

B.) The presence and guidance of Satie's spirit was never more felt than in the programming and playing of the Moog synthesizer. All the wave forms, modulation mixes, oscillations and permutations have never been duplicated since, and the Moog player, who was entirely unfamiliar with the instrument at the time, has no recollection of having done the album whatsoever!!!!!!

AN AUTOBIOGRAPHICAL NOTE BY SATIE:

M. Erik Satie was born in Honfleur (Calvados) on May 17, 1866. He is considered to be the strangest musician of our time. He classes himself among the "fantasists" who are, in his opinion, "highly respectable people. . . .

My humor reembles that of Cromwell.

I also owe much to Christopher Columbus, because the American "spirit" has occasionally tapped me on the shoulder and I have been delighted to feel its ironically glacial bite.

His music is written in the most superior style and enables us to understand why the subtle composer is justified in declaring: "Before writing a work I walk around it several times accompanied by myself."

This is what the Master has to say about his pieces: "It is clear that the Deflated, the Insignificant, and the Puffed-up will not appreciate these works. Let them swallow their beards! Let them dance on their own stomachs!"

An artist must regulate his life. Here is a timetable of my daily acts:

I rise at 7:18.

Am inspired from 10:23 to 11:47.

I lunch at 12:11 and leave the table at 12:14. A healthy horse-back ride

around my domain follows from 1:19 P.M. to 2:35 P.M.

Another bout of inspiration from 3:12 to 4:07 P.M.

From 5:00 to 6:47 P.M., various occupations (fencing, reflection,

immobility, visitations, contemplation, dexterity, swimming and

natation [the contemplation of one's navel]).

Dinner is served at 7:16 and finished at 7:20 P.M.

Afterward from 8:09 to 9:59 symphonic readings, out loud,

of course.

I go to bed regularly at 10:37 P.M. Once a week I wake up

(on Tuesdays) with a start at 3:14 A.M.

My only nourishment consists of food that is white: eggs, sugar

and shredded bones, the fat of dead animals, salt, cocoanuts, chicken

cooked in white water, moldy fruit, rice, turnips, sausage in

camphor, pastry, cheese (the white varieties, of course), cotton salad,

and certain kinds of fish, without their skins.

I breathe carefully (a little at a time), and dance very rarely. When

walking, I hold my ribs and look steadily behind me.

My expression is very serious. When I laugh, it is unintentional and

I always apologize, very politely.

I sleep with only one eye closed, very profoundly. My bed is round,

with a hole in it for my head to go through. Every hour a servant

takes my temperature and gives me another.

For a long time I have subscribed to a fashion magazine. I wear

white socks and white vest, along with a velvet coat, soft felt hat and

flowing tie (which is partially hidden by my beard), and on my

nose, I wear my pince-nez, of course.

My doctor explains himself: "Smoke, my friend. Otherwise someone

else will smoke in your place."

Tracklisting:

Side One

1. Chapters Turned Every Which Way {4:49}

2. Sketches and Exasperations of a Big Boob Made of Wood {4:52}

3. Childhood Dream of Pantagruel/Forbidden Games of Gargantua {3:32}

4. Flabby Preludes (For a Dog) {3:13}

5. Three Distinguished Waltzes of a Disgusted "Dandy" {3:05}

Side Two

1. Five Grins or Mona Lisa's Moustache {4:14}

2. Sports & Amusements {14:12}

(1)