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Nocturnes (Satie) ：ウィキペディア英語版

Nocturnes (Satie)

The ''Nocturnes'' are five piano pieces (planned as a set of seven, but unfinished)〔Satie planned to write at least seven ''Nocturnes'', with No. 4 serving as an "interlude" between two sets of three, based on material in the composer's notebooks at Bibliothèque nationale de France, Paris. See Robert Orledge, "Satie the Composer", Cambridge University Press, 1990, pp. 194-195 and p. 318.〕 by Erik Satie. They were written between August and November 1919. With the exception of the ''Premier Menuet'' (1920) they were his final works for solo piano, and are considered among his most significant achievements in the genre.〔Rollo H. Myers, "Erik Satie", Dover Publications, Inc., NY, 1968, p. 58. Originally published in 1948 by Denis Dobson Ltd., London.〕〔Patrick Gowers and Nigel Wilkins, "Erik Satie", "The New Grove: Twentieth-Century French Masters", Macmillan Publishers Limited, London, 1986, p. 142. Reprinted from the "The New Grove Dictionary of Music and Musicians", 1980 edition.〕 The ''Nocturnes'' stand apart from Satie's piano music of the 1910s in their complete seriousness, lacking the zany titles and extramusical texts he typically appended to his scores. In performance the set lasts about 13 minutes.
==Background==

Much had transpired in Satie's personal and professional lives in the two years since his previous keyboard piece, the Neoclassical spoof ''Sonatine bureaucratique'' (1917). There was the fallout from the scandalous premiere of his ballet ''Parade'' (1917),〔"''Parade'' has separated me from a great many friends. This work is the cause of many misfortunes." Erik Satie, letter to Henry Prunières dated September 14, 1917. Quoted in Ornella Volta (ed.), "Satie Seen Through His Letters", Marion Boyars Publishers, London, 1989, p. 149.〕 including Satie's conviction of criminal libel for sending insulting postcards to a critic, from which he narrowly escaped fine and imprisonment; his bitter estrangement from longtime friend Claude Debussy, and Debussy's subsequent death; and completion of the work he believed represented the best of himself, the "symphonic drama" ''Socrate'' (1918). Ridiculed by the French press and dogged by chronic poverty, Satie fell into a depressed state that reached its nadir in August 1918, when he wrote to Valentine Hugo, "I ''shit'' on Art, it has 'cut me up' too often." 〔Letter to Valentine Hugo, August 23, 1918. Ornella Volta (ed.), "Erik Satie: Correspondance presque complete", Fayard, Paris, 2003.〕 He then proceeded to break with the ''Nouveaux jeunes'' group of musicians he had recently founded, an act that set the stage for their eventual regrouping as Les Six. By the summer of 1919 his creative energies had revived, though his spirits remained hard-bitten and gloomy. "I have changed a lot during these last months", he later mused to singer Paulette Darty. "I am becoming very serious...too serious, even." 〔Erik Satie, letter to Paulette Darty dated November 22, 1919, around the time he completed the 5th ''Nocturne''. Quoted in Orledge, "Satie the Composer", p. 356.〕 Such feelings may have steered him to the nocturne form itself - the province of Chopin,〔Satie greatly admired Chopin, referring to him as a "poet" and "prodigious creator" in his journalistic writings (e.g., his 1922 ''Vanity Fair'' article on Stravinsky). Rollo H. Myers, for one, found "Chopinesque" qualities in the 4th ''Nocturne'' (Myers, "Erik Satie", p. 92). Satie would also have known the ''Nocturnes'' of another Chopin fan, Debussy.〕 evocative of the night and usually quiet and introspective - and affected the way the project developed.

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