ERIK SATIE (BORN MAY 17, 1866)
The Father of Dada, Satie’s music represents the first definite break with 19th-century French Romanticism; it also stands in opposition to the works of composer Claude Debussy.
Satie had close ties to the Dada and Surrealist movements that were happening around the same time, his music was a refusal to become involved with grandiose sentiment or transcendent significance, with a conscientious disregard for traditional forms and tonal structures. His music characteristically takes the form of parody, with flippant titles, such as Trois morceaux en forme de poire (1903; Three Pieces in the Shape of a Pear) and Embryons Desséchés (1913; Desiccated Embryos), and directions to the player such as “with much illness” or “light as an egg,” meant to mock works such as Debussy’s preludes.
Satie’s flippancy and eccentricity, were an intimate part of his musical aesthetic and epitomized the avant-garde ideal of a fusion of art and life into an often startling but unified personality. He sought to strip pretentiousness and sentimentality from music and thereby reveal an austere essence. (Source: britannica.com)