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The ''Messe des pauvres'' (''Mass for the Poor'') is a partial setting of the mass for mixed choir and organ by Erik Satie. Composed between 1893 and 1895, it is Satie's only liturgical work and the culmination of his "Rosicrucian" or "mystic" period. It was published posthumously in 1929.〔Confirmed by Satie biographer Pierre-Daniel Templier in 1932, and by Darius Milhaud (who oversaw the publication) in his memoirs. See Templier, "Erik Satie", MIT Press, 1969, p. 85, translated from the original French edition published by Rieder, Paris, 1932; and Milhaud, "Notes without Music", Denis Dobson Ltd., London, 1952, p. 150.〕〔In 1998 Erich Schwandt elucidated the early publication history of the ''Messe'', including erroneous claims that it was first issued in 1920, though this earlier date still appears in a number of sources. See Schwandt, "A New Gloria for Satie's Messe Des Pauvres", ''Canadian University Music Review'', Vol. 18, No. 2, 1998, p. 38, note 1, and p. 40, note 11. http://www.erudit.org/revue/cumr/1998/v18/n2/1014653ar.pdf〕 A performance lasts around 18 minutes. ==History== In the early 1890s, Satie's fascination with medieval Catholicism, Gothic art and Gregorian chant led him to explore religious influences in his life and music. At first he was drawn to Joséphin Péladan's Rose + Croix movement, for which he acted as official composer from 1891 to 1892, and after breaking with Péladan he associated with the occultist writer Jules Bois, publisher of the religious esoteric journal ''Le coeur''. At the same time he was immersed in a bohemian lifestyle as a pianist at Montmartre cabarets, where his already eccentric behavior took on a growing penchant for buffoonery and exhibitionism.〔Patrick Gowers and Nigel Wilkins, "Erik Satie", "The New Grove: Twentieth-Century French Masters", Macmillan Publishers Limited, London, 1986, p. 131. Reprinted from the "The New Grove Dictionary of Music and Musicians", 1980 edition.〕 This paradox came to a head in October 1893 when Satie founded his own mock religious sect, the Église Métropolitaine de l'Art de Jésus Conducteur (Metropolitan Church of Art of Jesus the Conductor), with himself as High priest, choirmaster, and sole member. It was a spoof of the flamboyant Péladan, whose Rose + Croix creed ("the transformation of society through art") and habit of "excommunicating" his critics in bombastic letters to newspapers Satie gleefully adopted.〔Steven Moore Whiting, "Satie the Bohemian: From Cabaret to Concert Hall", Oxford University Press, 1999, pp. 162-163, 170-171.〕 He carried the charade into his daily existence, dressing in monkish robes and referring to his tiny room at 6 Rue Cortot as his ''abbatiale'' (abbey). "() liked to affect the unctuous manners of a priest," his friend Francis Jourdain recalled. "They suited him so well, he played his part so accurately - being careful not to overdo things - that the question arose as to whether a slightly false air was not innate in him."〔Quoted in Robert Orledge, "Satie Remembered", Faber and Faber Ltd., 1995, p. 39.〕 Against this background, Satie's motives for writing the ''Messe des pauvres'' - the sole composition linked to his church - are obscure. Originally entitled ''Grande Messe de l'Eglise Métropolitaine d'Art'',〔Robert Orledge, "Satie the Composer", Cambridge University Press, 1990, p. 352, note 16.〕 it was his most ambitious work to date, although there was no evident prospect of having it performed.〔Schwandt, "A New Gloria for Satie's Messe Des Pauvres", p. 38.〕 Satie authorities Ornella Volta and Robert Orledge believe he conceived the mass to occupy his mind following his recent breakup with the painter Suzanne Valadon, which had left him emotionally devastated.〔Ornella Volta, "Satie Seen Through His Letters", Marion Boyars Publishers, New York, 1989, p. 48.〕〔Orledge, "Satie the Composer", p. 211.〕 At the midpoint of their turbulent six-month affair in March 1893, Satie had composed his ''Danses gothiques'' as a "Novena for the great calm and profound tranquility of my Soul";〔http://imslp.eu/download.php?file=files/imglnks/euimg/9/95/IMSLP14401-Satie_-_Danses_Gothiques.pdf〕 similarly, the first mass movement he completed (in late 1893) was the ''Prière pour le salut de mon âme'' ("Prayer for the salvation of my soul").〔Orledge, "Satie the Composer", p. 279.〕 It is unknown how the mass assumed its final title ''Messe des pauvres''. Satie's textural choices make no reference to the poor at large, giving further weight to speculations that, impoverished as he was, he essentially wrote the mass for his own solace.〔Meredith Gailey, Allmusic review at http://www.allmusic.com/composition/messe-des-pauvres-mass-for-the-poor-for-piano-chorus-organ-mc0002361201〕 In 1895, a substantial cash gift from a friend enabled Satie to publish a series of tracts in which, under the guise of his church, he criticised those of whom he disapproved. Portions of the ''Messe des pauvres'' appeared in two of them: an extract from the ''Commune qui mundi nefas'' in a pamphlet of the same name (January 1895), and the complete ''Dixit Domine'' - calligraphed in faux Gregorian notation by Satie - in the brochure ''Intende votis supplicum'' (March 1895).〔Facsimiles of both scores appear in Nigel Wilkins (ed.), "The Writings of Erik Satie", Eulenburg Books, London, 1980, pp. 38-42.〕 The only contemporary account of the mass is an article by the composer's brother, Conrad Satie, published in the June 1895 issue of ''Le coeur''. He described it as a work in progress, humbly scored for organ and a choir of children's and men's voices. "This mass is music for the divine sacrifice, and there will be no part for the orchestras which, I'm sorry to say, find their way into most masses," he wrote.〔Conrad Satie, "Erik Satie", ''Le coeur'', June 1895, pp. 2-3. Quoted in Robert Orledge, "Satie Remembered", Faber and Faber, London, 1995, pp. 49-50.〕 He also made an intriguing statement about its structure: "Between the Kyrie and the Gloria a prayer is inserted called 'Prière des orgues'." The ''Gloria'' movement was not found in Satie's posthumous papers and is considered lost. Soon after his brother's article appeared, the unpredictable Satie lost interest in his church, the mass, and in composition altogether. That same month he exchanged his robes and religious affectations for the seven identical sets of corduroy suits that would come to define his "Velvet Gentleman" phase,〔Orledge, "Satie the Composer", pp. xxiii, xxiv.〕 and for the better part of two years he wrote nothing. In his next important work, the ''Pièces froides'' for piano (1897), Satie revisited the pre-Rose + Croix style of his ''Gnossiennes'' and turned his back on the mystical-religious influences he would later dismiss as "musique à genoux" ("music on its knees").〔Rollo H. Myers, "Erik Satie", Dover Publications, Inc., NY, 1968, p. 73. Originally published in 1948 by Denis Dobson Ltd., London.〕 The mass was not performed during his lifetime. After Satie's death in 1925, his friend and music executor Darius Milhaud brought the forgotten manuscript of the ''Messe des pauvres'' to light. Three of the movements (the ''Prière des orgues'', ''Commune qui mundi nefas'', and ''Prière pour le salut de mon âme'') were premiered by organist Paul de Maleingreau at the Concerts Pro Arte in Brussels, Belgium, on May 3, 1926.〔Facsimile of program on Nicolas Guillot's Roger Désormière website at https://sites.google.com/site/rogerdesormiere18981963/concerts-representations/annees-20〕 An early complete performance was led by Olivier Messiaen at the Église de la Sainte-Trinité, Paris on March 14, 1939.〔Peter Hill, Nigel Simeone, "Messiaen", Yale University Press, 2005, p. 82.〕 The work was first recorded in 1951. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Messe des pauvres」の詳細全文を読む スポンサード リンク
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