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''Sports et divertissements'' (''Sports and Pastimes'') is a cycle of 21 short piano pieces composed in 1914 by Erik Satie. The set consists of a prefatory chorale and 20 musical vignettes depicting various sports and leisure activities. It has long been considered one of his finest achievements.〔Pierre-Daniel Templier, "Erik Satie", MIT Press, 1969, p. 85. Translated from the original French edition published by Rieder, Paris, 1932.〕〔Rollo H. Myers, "Erik Satie", Dover Publications, Inc., NY, 1968, p. 87. 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. 140. Reprinted from the "The New Grove Dictionary of Music and Musicians", 1980 edition.〕 Musically it represents the peak of Satie's humoristic piano suites (1912-1915), but stands apart from that series in its fusion of several different art forms. ''Sports'' originally appeared as a collector's album with illustrations by Charles Martin accompanied by music, prose poetry and calligraphy; the latter three were provided by Satie in his exquisite handwritten scores, which were printed in facsimile. Biographer Alan M. Gillmor wrote that "''Sports et divertissements'' is sui generis, the one work in which the variegated strands of Satie's artistic experience are unselfconsciously woven into a single fragile tapestry of sight and sound — a precarious union of Satie the musician, the poet, and the calligrapher...At turns droll and amusing, serious and sardonic, this tiny ''Gesamtkunstwerk'' affords us as meaningful a glimpse of the composer's subconscious dreamworld as we are ever likely to get."〔Alan M. Gillmor, "Musico-poetic Form in Satie's "Humoristic" Piano Suites (1913-14)", ''Canadian University Music Review''/''Revue de musique des universités canadiennes'', n° 8, 1987, p. 37. See https://www.erudit.org/revue/cumr/1987/v/n8/1014932ar.pdf.〕 ==Background== The idea for ''Sports et divertissements'' was initiated by Lucien Vogel (1886-1954), publisher of the influential Paris fashion magazine ''La Gazette du Bon Ton'' and later founder of the famous pictorial weekly ''Vu''. It was conceived as a haute couture version of the ''livre d'artiste'' ("artist's book"), a sumptuous, expensive collector's album combining art, literature, and occasionally music, which was popular among French connoisseurs in the years before World War I.〔Steven Moore Whiting, "Satie the Bohemian", Clarendon Press, 1999, p. 399.〕〔Mary E. Davis, "Erik Satie", Reaktion Books, 2007, pp. 94-96.〕 ''Gazette'' illustrator Charles Martin provided the artwork, 20 witty copper plate etchings showing the affluent at play while dressed in the latest fashions. The title itself was an advertising slogan found in women's magazines of the period, designed to draw tourists to upscale resorts.〔Davis, "Erik Satie", p. 95.〕 An often repeated legend has it that Igor Stravinsky - riding high from the scandalous success of his 1913 ballet ''Le Sacre du printemps'' - was first approached to compose the music, but he rejected Vogel's proposed fee as too small. ''Gazette'' staffer Valentine Hugo then recommended Satie, with whom she had recently become friends. Although he was offered a lesser amount than Stravinsky, the unworldly Satie claimed it was excessive and against his moral principles to accept; only when the fee was substantially reduced did he agree to the project.〔Myers, "Erik Satie", Dover Publications, Inc., NY, 1968, p. 87.〕〔Whiting, "Satie the Bohemian", p. 401, note 106.〕〔Olof Höjer's notes to "Erik Satie: The Complete Piano Music, Vol. 5", p. 23, Swedish Society Discofil, 1996.〕 A more probable story (according to Ornella Volta) is that Satie's young disciple Alexis Roland-Manuel urged him to haggle for more money and was scolded by the composer, who feared such demands would cause him to lose the commission altogether.〔Whiting, "Satie the Bohemian", p. 401, note 106.〕 In fact the 3000 francs Satie received for ''Sports'' was by far the largest sum he had earned from his music up to that point.〔Davis, "Erik Satie", p. 94.〕 Not two years earlier he had sold the first of his humoristic piano suites, the ''Véritables préludes flasques (pour un chien)'', for a mere 50 francs.〔Templier, "Erik Satie", MIT Press, 1969, pp. 34-35.〕 Satie was familiar with the ''livre d'artiste'' tradition. Some of the earliest examples had been published by the Montmartre cabaret Le Chat Noir while he was a pianist there in the late 1880s.〔Whiting, "Satie the Bohemian", pp. 399-400.〕 He found in it an ideal format for his unique interdisciplinary talents. "Keep it short" was the only advice Satie ever gave aspiring young composers,〔Ornella Volta (editor), "A Mammal's Notebook: The Writings of Erik Satie", Atlas Publishing, London, 1996 (reissued 2014), p. 11.〕 and the necessary restrictions of the ''Sports'' album - one page per composition - perfectly suited his predilection for brevity. Extramusical commentary was becoming increasingly prominent in his keyboard works of the period, and in ''Sports'' he indulged his sense of fantasy by writing a surrealistic prose poem on each theme; he then meticulously calligraphed these into his India ink scores, in black ink for the notes and words and red for the staves. Whether Vogel expected these additional contributions or not, he wisely agreed to reproduce Satie's striking autographs in facsimile. There is no record that Satie had contact with Charles Martin or access to his drawings while composing the suite.〔Helen Julia Minors, "Exploring Interart Dialogue in Erik Satie's ''Sports et divertissements'' (1914/1922)", published as Chapter 6 in Dr. Caroline Potter (ed.), "Erik Satie: Music, Art and Literature", Ashgate Publishing, Ltd., 2013.〕 Musicologists Robert Orledge and Steven Moore Whiting provided strong comparative evidence that he directly musicalized at least one of the pictures, for ''Le Golf'' (the last piece he composed);〔Robert Orledge, "Satie the Composer", Cambridge University Press, 1990, p. 214.〕 otherwise, according to Whiting, "one finds a wide range of relationships between music-''cum''-story and drawing, from the close correspondence in ''Le Golf'' to outright contradiction, with varying degrees of reinterpretation in between."〔Whiting, "Satie the Bohemian", p. 403.〕 If Satie knew of the images beforehand he evidently did not feel obligated to use them as the basis for his work, and filtered the different sporting themes through his own imagination instead. Thus, "While the relation of Satie's music to his own texts is quite close, the relation of music to drawing is more elusive."〔Whiting, "Satie the Bohemian", p. 402.〕 Ultimately, Martin's 1914 etchings would not be seen by the public for many years. The long-delayed publication of ''Sports'' led the artist to replace them with an updated set of illustrations after World War I. As Satie's material remained unchanged, the new drawings are connected to the music and texts only by their titles.〔Orledge, "Satie the Composer", p. 303.〕 As noted on the scores, the pieces were completed from March 14 (''La Pêche'') to May 20 (''Le Golf''), 1914. Satie delivered them to Vogel in groups of three as the work progressed, drawing part of his fee (150 francs per piece) each time. The ''Préface'' and introductory chorale may have been tossed in gratis, as they were not part of the original project.〔Ornella Volta, "Give a Dog a Bone: Some investigations into Erik Satie." Originally published as "Le rideau se leve sur un os" in the ''Revue International de la Musique Francaise'', Vol. 8, No. 23, 1987. English translation by Todd Niquette. Retrieved from Niclas Fogwall's defunct Satie Homepage (1996-2014) through the Internet Archive Wayback Machine at https://web.archive.org/web/20041014172728/http://www.af.lu.se/~fogwall/articl10.html#sports07r.〕 Satie would insist on installment payments for all his later big commissions. Conscious of his spendthrift nature when he had money, he used this method to cover his immediate living expenses and save himself from the temptation of squandering his entire fee at once, which had happened in the past.〔Ornella Volta (ed.), "Satie Seen Through His Letters", Marion Boyars Publishers, London, 1989, pp. 75, 169-170.〕〔Satie evidently never kept a bank account. Author Blaise Cendrars recalled a 1924 experience helping the composer cash a large check in Paris and then trying to get him safely home with the money, while Satie insisted on stopping for meals, drinks, and to stock up on cigars and his favorite detachable collars (of which he bought a gross). Blaise Cendrars, interview on French Radio, July 3, 1950. Reprinted in Robert Orledge, "Satie Remembered", Faber and Faber Limited, 1995, pp. 132-134. Also see Henri Sauguet's reminiscences in the same book, p. 210.〕 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「Sports et divertissements」の詳細全文を読む スポンサード リンク
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