page_title: Sarabandes (Satie)
section_title: Performance and publication
hierarchical_section_title: Sarabandes (Satie) / Performance and publication
caption_attribution_description: English: Postcard - 1910 Русский: композитор Морис Равель
context_page_description: The Sarabandes are three dances for solo piano composed in 1887 by Erik Satie. Along with the famous Gymnopédies they are regarded as his first important works, and the ones upon which his reputation as a harmonic innovator and precursor of modern French music, beginning with Debussy, principally rests. The Sarabandes also played a key role in Satie's belated "discovery" by his country's musical establishment in the 1910s, setting the stage for his international notoriety.
  French composer and critic Alexis Roland-Manuel wrote in 1916 that the Sarabandes represented "a milestone in the evolution of our music...pieces of an unprecedented harmonic technique, born of an entirely new aesthetic, which create a unique atmosphere, a sonorous magic of complete originality."
context_section_description: Unlike the Gymnopédies and the earlier piano suite Ogives (1886), which he published at his own expense in the late 1880s, Satie initially chose not to promote the intermediate
  Sarabandes. He did not keep them a secret from his intimates, however. They were the probable model for his friend Claude Debussy's Sarabande, composed in 1894 and revised before its inclusion in the set Pour le piano (1901). In an article on his brother's music for the June 1895 issue of the esoteric religious journal Le coeur, Conrad Satie referred to the unpublished Sarabandes as the "works of a mystic pagan, and which give a foretaste of the Catholic who was to write the Danses gothiques." Maurice Ravel, who first met Satie in 1893, knew of the pieces and spoke highly of them to members of his circle. In 1905 Ravel introduced critic Michel-Dimitri Calvocoressi to Satie, who showed him the manuscript of the Sarabandes. Calvocoressi later declared, "I promptly saw the truth in Ravel's assertion that Satie's music contained the germ of many things in the modern developments of music."
  In 1909 Ravel resigned from the Société Nationale de Musique (SNM), which he felt had become too conservative, and founded the Société musicale indépendante (SMI) to spotlight new and neglected composers. For the first concert of the SMI's second season, on January 16, 1911, Ravel personally played Satie's second Sarabande, a prelude from Le Fils des étoiles (1892), and the third Gymnopédie at the Salle Gaveau in Paris. The unsigned program note praised Satie as "a precursor of genius...With today's performance of the Second Sarabande (which bears the astonishing date of 1887),  Maurice Ravel will prove the esteem in which the most 'advanced' composers hold this creator who, a quarter century ago, was already speaking the audacious musical idiom of tomorrow." Satie himself boasted that Ravel's performance was "a revelation" to many in the Parisian musical scene.
  The Sarabande No. 1 was first published in the magazine associated with Ravel's society, the Revue musicale SIM, on March 15, 1911, and the second Sarabande appeared as a supplement in the April 1911 issue of Musica. Rouart, Lerolle & Cie published the complete Sarabandes in the summer of 1911. For this first commercial edition Satie removed the Latour poem and dedicated the second Sarabande to Ravel in gratitude for his sponsorship.
caption: Maurice Ravel, 1910
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