Erik Satie's Letters to Milhaud and Others

Author(s): Nigel Wilkins and Erik Satie

Source: The Musical Quarterly, Vol. 66, No. 3 (Jul., 1980), pp. 404-428
Published by: Oxford University Press
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Erik Satie's Letters to Milhaud
and Others
NIGEL WILKINS

O VER four hundred letterswritten by Erik Satie between 1892

and 1925 have been preserved in libraries' and in private
collections. My own edition, with English translation,2was regret-
tably obstructed by M. Joseph Lafosse-Satie, grandson of the com-
poser's sister Olga, who threatened legal action if publication pro-
ceeded, despite the warm support and encouragement of the princi-
pal owners of the letters,in particular my teacher Darius Milhaud,
his wife Madeleine, and M. Claude Roland-Manuel. This incident
takes its place in a series of litigations which have a bizarre touch
of Satiean eccentricityin their own right. In 1966, Pierre Aelberts
was obliged to withdraw from sale a number of reprints he had
issued of Satie's writings,despite his possession of a letterof authori-
zation from Satie himself with regard to Memoirs of an Amnesiac
(1953), the only volume allowed to escape; in 1972, Jean Barraque
was the victim of a law suit for "diffamationof character" caused
by his describing Satie ten years earlier as a "musical illiterate" in
his book on Debussy,3 an astounding adverse judgment said by some
to have hastened the composer's sad and premature death. In 1968,
John Cage was refused permission to use his two-piano arrangement
of Socrate for the Merce Cunningham Dance Company and so pro-
duced his Cheap Imitation using Satie's rhythmsbut different(I
Ching) notes. Grete Wehmeyer, in the introduction to her excellent
and informativebook Erik Satie,4 laments the obstructive attitudes
1 Bibliotheque Nationale, Paris; Bibliotheque Littdraire Jacques Doucet, Paris;
the Houghton Library of Harvard University (Dumbarton Oaks manuscripts).
2 Announced in my article "Erik Satie: miscellaneous Fragments,"in Music and
Letters,LVI/3 (October, 1975),288, n. 2.
3 (Paris, 1962).
4 (Regensburg,1974).

404

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 Satie Letters 405

which spoiled her scholarly plans: "It is particularly to be regretted

that for these reasons an appendix including writings by Satie and
their translation into German had to be abandoned."5 Further re-
criminations were threatened on the publication of my Music and
Letters article in 1975, an edition of miscellaneous notebook jot-
tings of which the heir would otherwise have been unaware, and
which was intended to be a tribute to the composer on the fiftieth
anniversaryof his death. Perhaps all this is some strangeretribution
for the trouble caused to Erik Satie by the equally absurd "Procks
Poueigh" in which he was involved in 1917.
Several of Satie's letters are "set pieces," especially some of the
earlier examples meant as public cries of outrage when the Estab-
lishment failed to recognize what he proclaimed to be his undoubted
genius. Many display Satie's lifelong penchant forplay with language
and his weakness for puns. None are so long as to be boring; many
are very short, being restricted to the small folded paper of the
Paris "pneumatique" post. Many relate directly to compositions
on which Satie or his associates were engaged during the years in
question and often add fascinatinginside informationto our knowl-
edge of artistic life in Paris at the beginning of this century. All
bear the inimitable stamp of Erik Satie's unique and fascinating
personality.
Such is the extent of this rich fund of material that the present
article must be limited to certain specificcategories. The remainder
of Satie's correspondence I hope to discuss elsewhere.

Parade and the "Procks Poueigh"

Satie met Jean Cocteau in 1914. Collaboration on the "cubist"
ballet Parade, with Picasso and Massine for Diaghilev's Ballets
Russes, began in earnest in 1915. A series of letters refer to this
composition and its aftermath. Cocteau's basic scenario was slim,
a source, later, of many satirical gibes from Satie.6 However, his
firstreaction was favorable:

5 Ibid, p. 9.
6 E.g. in 391, July, 1924. For the French text of Satie's writings,see 0. Volta, ed.,
Les Ecrits d'Erik Satie (Paris, 1977). For an English translationof writingspublished
during Satie's lifetime, see N. Wilkins, ed., The Writings of Erik Satie (London,
1980). An edition of Satie's correspondence in the original French is promised in
subsequent volumes ed. O. Volta.

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406 The Musical Quarterly

May 2, 1916,to Jean Cocteau

Dear Friend,I have receivedthe manuscript.Fantastic!I'm gettingmy ideas
sortedout.
Writeto me,won't you?
There's a devil of a lot of work to do. I am in the processof makinga sum-
mary of it all. ....

Cocteau was soon agitating for visible results of Satie's cogita-

tions, but to no avail:
June8, 1916,to Jean Cocteau
Dear friend,Do not get worried,nor nervous: I am workingat it. Just let
me get on with it, old chap. Know that I shan't hand the work over to you
until October.You won'theara noteof it beforethen...

Very soon, contact with Picasso caused Satie to admire the artist's
elaboration of the idea more than Cocteau's original idea:

September14, 1916,to ValentineHugo

"Parade" is changing into somethingbetter, behind Cocteau's back!
Picasso's ideas please me more than thoseof our Jean! How awful! And Picasso
has my "vote!" And Cocteau doesn't know! What shall I do? Picasso has told
me to carryon followingJean's text,while he, Picasso, will work on another,
his own - which is fantastic! Prodigious! ...

Valentine Hugo (n6e Gross), artist and stage designer, was a

particular confidanteand comforterof Satie at this time, and played
an important part in smoothing out the difficultiesbetween the
individualistic creatorsof Parade.
When Satie wrote to Cocteau on the following day, he attempted
to be tactful:
September15, 1916,to Jean Cocteau
Picasso has some new and unusual ideas for "Parade." He is marvel-
ousl......

In a fewdays calm had been restored:

September20, 1916,to ValentineHugo

. . It's all fixed.Cocteau knowsall. He and Picasso have come to an agree-
ment. What luck! ...

Composition and reshapingcontinued:

October 19, 1916,to Jean Cocteau
. I've been workingveryhard on our "thingummy." The "littleAmerican
girl" is going well. The "ragtime"is in good health: it fitsin well. However,I
won't be able to let you see it tomorrow,since I can't workon it thisafternoon.
You'll be quite "dotty"overit whenyouhear it.

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 Satie Letters 407

afterthe "ragtime."Placed there it goes

The "wave" piece will be effective
well,verywell indeed....
The dance of the "Petite Fille americaine" follows the "Presti-
digitateur chinois" in the score, and is itself followed by "Ragtime
du Paquebot"; in the finishedversion, the "Acrobates" comes next.
Early next year,finalpreparationswere in hand:
January9, 1917,to Jean Cocteau
. What Diaghilev wants is quite right.But what you say is even more
right.Just this once, all three of us should get together.That is essentialand
thereis stillsome musicin hand....

After the firstperformance of Parade on May 18, 1917, at the

Theatre des Champs-Elysees, conducted by Ansermet, the critic
Jean Poueigh congratulated Satie but later wrote a hostile review.
Satie then sent him the famous insulting postcard: "Monsieur et
cher ami, vous n' tes qu'un cul, mais un cul sans musique." The
result was the court case for slander, which understandably pre-
occupies a number of lettersin 1917 and early 1918.
The singer Jane Bathori, to whom Satie had dedicated his Statue
de Bronze, in 1916, recommended him to the Princesse de Polignac
(n&e Winnaretta Singer, daughter of the sewing-machine million-
aire), who commissioned Socrate. By way of an "advance," she gave
Satie financial help during his legal troubles, but certain letters
show that there were difficultiesin obtaining the lady's confidence:
August16, 1917,to Jean Cocteau
... Bad news. Maurice Bernard is away. His secretary replied . . . "How
mistakenthe Princessede Polignac is to botherherselfwiththeseBoches.'Parade'
and the 'ballets russes' are Boches and poorly thoughtof by the Front,which
is scarcelylikelyto approveof theirrowdygoings-on."
It is annoyingthat you have not writtento the Princess.There would be
nothingwrongin that and it could have made her betterdisposed toward us.
Someonemusthave been hard at workturningher againstus....
... All the same,I'm done for,well and truly!So much the worse!They will
makeme pay throughthe nose! .
. I am quite broke,my poor Old Man. Rouart anticipatesand forecasts
thatI shall lose mycase. He won'tgiveme a pennymore....
On the same day the penniless Satie addressed a desperate ap-
peal to Mme F. Dreyfus, a close friend and comforterand step-
mother of his young prot-g6 Roland-Manuel:
August16, 1917,to Mme F. Dreyfus
Dear Lady - I have a verygreatfavorto ask of you. Yes.

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408 The Musical Quarterly

Can you trustme enough to lend me three hundred francsuntil October?

By October I will have finishedmy "Vie de Socrate," on which I am work-
ing hard at the moment;and then I shall be able to repaymy debt.
Please considerverycarefullythis request froma poor man, and see, Dear
Lady, whatyou can do.
Things are going badly with my lawsuit.Alaurice Bernard is away, but a
replycame fromhis secretary to say:
"That the Princessede Polignac is not interestedin this case; Erik Satie
is a Hun."
It was verykind of him,but showsme how theythinkin the Courts: I shall
be stung,well and truly....

Satie was clearly anxious. His notebook jottings reveal his mo-
mentarytemptation to apologize to Poueigh, and his abrupt return
to his defiantstance:

...You wererightto feeloffendedand the maliciousand unjustifiedinsinua-

tionsmade in yourarticlesirritatedme momentarily -
by an artist
to a critic
incidentwhichneedlesslyupsetme
I had just spentsix monthson thehardworko[ "Parade"
Try to defend,sinceI disapproveof itsform
withlegitimatewearinessand nervousexhaustion.
... Writeto H.R. to tell him thatI refuseabsolutelyto apologize.
[B. N. Mus. 9623 (2)]

Also there is a furtherfragmentwhich, if it does not relate to

the Proces Poueigh, at least confirmsSatie's propensity for falling
out with most of his acquaintances:

I am verysorrythat the tone of my letterupset you. I have far too much

respectand admirationfor the great artistthatyou are, to want you to feel in
theslightest...
I do not want to quarrel with a man of your quality. I am sure that you
had good reasonsforwhatyou did. I have no doubtsabout yourdevotion....
[B. N. Mus. 9581]

A third letter,writtenon August 16, is proof of Satie's extreme

agitation. It bears the name of no recipient, but could conceivably
be to Poueigh:

August16, 1917 [no recipientnamed]

Dear Sir- Things are happeningfastand causingme rathera lot of trouble.
I owe you all sortsof apologies and send themto you mostsincerely.
Thank you foryourtwoletters.

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 Satie Letters 409

We should see each other,don't you think?I often come to Paris. Would
you like to arrangea meetingfornextweek?...
[Libraryof Congress,Music
Division,MS ML. 95. S283]

Cocteau at this point, despite his heroic demonstrations in the

court room when the unfavorable verdict was handed down, was
not helping as Satie would have wished. In the delightful letter
with a half page given over to a self-portraitof "Monsieur Sadie dans
sa maison - il songe," Satie again reproaches Cocteau:

August31, 1917,to Jean Cocteau

S.The
. situationis becomingserious.Have you writtento the Princess?
I've just had a letterfromMerowitch.She thinksI'm in prison.How peculiar....

Despite other distractions, the lawsuit remained constantly on

Satie's mind during the followingmonths:
October 15, 1917,to Mme F. Dreyfus
... Marnold has takenhis inspirationfromLalo, Jean d'Udine and Poueigh.
He keeps good company.His articleattackingme is sucha devastatingbore ....

Satie's spirit shows through, however, in an amusing letter to

the young Roland-Manuel, undated, but presumably from the turn
of 1917-18:

[1917-18],to Roland-Manuel
Maybe I was a little hasty.Too bad! All thingsconsidered,I have no re-
morse.
As long as I do not have difficulties with the police. The police do not like
disappearances;theydo not appreciate magic. I shall be put into prison; into
an unhealthyprison, with no air, no amusement,no exercise! I shall lie on
strawand not live out mylife.
No doubt, I shall grow ill. I shall have fleas,and a chill in the back. I shall
not be jolly. I shall growa paunch and be poorlyclothed.
No one will come to see me. ....
. But . . . but . . . I have an alibi - a tiny tiny little-ittle lalibi-bi - I
think.Can I not say,quite coolly,thatI was besidemyselfand a millionmilesfrom
thinkingof committinga crime?That is a reasonable alibi, that is; and how
verysimplel
I am saved!
My bones are savedfromgoingarthriticin stupidimprisonment!
I am myown saviorand I vote myselfwell-merited thanks.Indeed, I deserve
francreward.
a twenty-five
I am goingto collectit.
Waiter!myhat,mycoat and mystickl

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410 The Musical Quarterly

Roland-Manuel's father-in-lawM. E. Roux was a legal expert

who gave Satie some much-needed advice and assistance. Satie wrote
to him early in 1918:

February18, 1918,to M. Roux

. . . I visitedM. Guarignou,'privatesecretary
to M. Pamy.
On instructions fromhis Head, he had seen the Public Prosecutor,who has
alreadyachievedsomething:delayedmybeingput intojug....
The outcome of the case, happily for Satie, was merely a sus-
pended sentence.

Socrate
Satie was already at work on his "cantata" Socrate while deeply
engaged in the preparations for and the aftermath of Parade in
1917. The earliest referenceto the work, considered by some to be
Satie's masterpiece,comes as early as Januaryof that year:

January6, 1917,to ValentineHugo

. . I'm busywith the Life of Socrates.I have the "jitters"in case I "muck
up" thisworkthatI wantto be as whiteand pure as Antiquity.
I'm "all of a dither"about it and don't know what to do with myself.Such
a marvelouswork is waitingto be writtenon this idea, it's extrordinary. Extra-
ordinary is of
better, for
course, the vulgarherd ...

Furtherdevelopment had occurred within two weeks:

January18, 1917,to ValentineHugo

... What am I doing?I'm workingon the Life of Socrates.I have found a
veryattractivetranslation:one by VictorCousin. Plato is a perfectcollaborator,
verygentle and never importunate.It's like a dream! I am swimmingin happi-
ness.At last! I am free,freeas the air, freeas the water; freeas the wild sheep.
Long live Plato! Long live Victor Cousin! I am free! really free! What happi-
ness! ...

When Socrate had been heard at private previews before its

officialfirstperformance in January, 1920, at the Societe Nationale,
conflictingreactions made themselves felt. A particular disappoint-
ment to Satie was Roland-Manuel's dislike of the piece:
March 15, 1919,to Roland-Manuel
My Dear Friend- I never feltresentfultowardsyou, believe me. You have
a perfectrightnot to like "Socrate,"which is, afterall, a work of a totallydif-
ferentconceptionfromthe sort of thing that appeals to you. . . . It is even
quite natural that this work should make you laugh, or at least smile. Again,
I say,thatis yourprivilege,and does not makeme annoyedwithyou at all....

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 Satie Letters 411

. However could you "think"differently,My Dear Roland? Besides, there

is nothingunpleasant in this difference,and you are completelysincere:
we do not like thesame "brew"....

A letter to Jacques Doucet, who favored artistsand writers and

purchased so many literary treasures and was the founder of the
Bibliothbque Litteraire Jacques Doucet, shows appreciation for a
more acceptable attitude:
March 24, 1919,to JacquesDoucet
Dear M. Jacques Doucet - How greatlyyou honored me by coming to the
readingof "SOCRATE."
Your presencewas a great comfortto me; and touched me more than you
maysuppose.
Thank you, Dear M. Doucet; your kindnessis precious to me. There are
not manymen like you!
Take a look,anyway.Behold....

Roland-Manuel, however, persisted in his dislike and went so far

as to express it in print.

February23, 1920,to Roland-Manuel

My Dear Roland - I read yourarticleon "Socrate."Thanks forwhatyou say
about it. All the same you are a good type- all the same. I tell you that as an
old friend.I know you well, dear Friend,both you and yourqualities,but . ..
One day, when we are alone, I shall talk to you- if you like- not as an
"old bore" but as a comrade....

More pleasing was an article by the ever-sympatheticBelgian

Paul Collaer:

May 16, 1920,to Paul Collaer

Dear Sir (allow me to call you "dear": you deserveit)
- Poulenc has sentme whatyou wroteabout "Socrate."
How gratefulI am to you forwhat you say about my scorel It gave me great
joy to read this"chat"; it provesto me that,afterall, thereare some good people
in theworld.
Thank you,Dear Sir; thankyou.
When I wrote "Socrate,"I wanted to compose a simple work,devoid of any
sense of conflict;for I am but a humble admirerof Socratesand Plato - two
apparentlysympathetic gentlemen.
When it was performedat our Conservatoireby the "National Society,"my
music was poorlyreceived,which I did not findsurprising;but I was surprised
to see the audience laughingat Plato's text.Yes.
Isn't it strange?
... One would almostsay that the greatSocratesis a characterof my inven-
tion- and thatin Paris...

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412 The Musical Quarterly

At all events,the patronage of the Princesse de Polignac brought

Satie, somewhat awkwardly, into "High Society" circles; he was
furtherassisted by the patronage of the Comte de Beaumont for
Mercure in 1924. An amusing rough sketch for a letter in the note-
books shows a consequent problem of attending socialite parties
where the composer might be required to meet and even be agree-
able to his archenemies- the Critics!

[1919-20],to Mme Armandede Polignac

Madam - Thank you verymuch foryourmostkind letter.I am verypleased
to accept your invitation.However I should tell you that I am very much at
odds with MM. Marnold, Laloy, and Willy. PersonallyI have no objection to
findingmyselfin theircompany.It will be all the more amusing,and I am sure
to learn a thingor two.
I thoughtI should let you know confidentially about this peculiar situation
- which is really of no in case. Please do not let it bother
importance, any
you,Madam....
[B. N. Mus. 9627 (10)]

Happily, later performancesof Socrate were betterreceived:

January 20, 1923, to Mme Sybil Harris [patroness,wife of the American
Ambassadorto Paris]
. . I wishyou could have been here on the 4th: . . I had a terrific
success
with "Socrate"- Balguerie and the Orchestraconducted by Caplet (at the
ThdAtre des Champs-Elysdes).There was such a crowd!... You would have been
delighted:I took threecurtaincalls- just littlemel ...

Le Mddecin malgrdlui

Diaghilev, director of the Ballets Russes, decided to stage, in a

season in Monte Carlo (January,1924), a seriesof comic operas which
had fallen into neglect. They all needed fresh settings of spoken
passages, though in the original style.Diaghilev commissioned Satie,
Poulenc, and Auric to complete Gounod's Le MAdecin malgrd lui,
La Colombe, and Philemon et Baucis respectively.Through Satie's
good offices, Milhaud also received a commission to complete
Chabrier's Une Education manquee. These negotiations are the sub-
ject of a series of letters.Poulenc and Auric were particularlysuccess-
ful in the Monte Carlo season with their ballets Les Biches and
Les Fdcheux.

July21, 1923,to Darius Milhaud

. . Diaghilev has asked me to see if you would do him a favor:workon the

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 Satie Letters 413

completionof the "Education manquie." I told my dear Directorthatyou alone

could completethis work properlythanksto your immensedrive and the great
surenessof yourtouch....

July26, 1923,to SergeDiaghilev

... I have receiveda letterfromMilhaud: he is verywilling,but does not
know at all what he has to do. That is where you come in, dear friend.Please
will you see to informinghim, since I am unable to do it myself,not knowing
whatyourwishesare.
I am workingon the "Doctor,"but it is not going verywell. Yes. I am furious
- with myself,of course ...

July26, 1923,to Darius Milhaud

... Once withinthe walls,you will be adored,and Diaghilev will see withhis
own eyeswhat a fineartistyou are. I told you: he is cominground to thinking
betterof you. Our friendStravinskyhelped a little in puttinghim up to the
"job," ifI mayuse theterm....
... I am workingon the "Doctor who imagineshe is one." It is not going
well....

July30, 1923,to Pierrede Massot [coeditorwithPicabia of the periodical391]

... I have a franticamount of work to do - madly frantic.Yes.
It has been veryhot here. So now I understandwhy Diogenes had a barrel
and not a littlecask: .. .he filledit withcold waterand put himselfcoolly inside
it. Yes....
Satie here repeatshimself,using the same joke he had included
fourdaysearlierwhenwritingto Diaghilev.

August12, 1923,to Darius Milhaud

... I was furiouswithDiaghilev. I made a slip- and a slip hurts (slippers:
littlepun). Yes: ... enclosedis a notefromhimwhichmentionsyou.
Go along with it, dear friend.Once within the house ("homme," as the
English say, though theywrite it "home") you will see what happens- and
froma good way off,too. Already I feel that you have made progressin my
dear Director'smind....

August19, 1923,to Darius Milhaud

. . I am "turningout" Gounod as if it was rainingwiththestuff....

September11, 1923,to FrancisPoulenc

... You are luckyto have finishedyourTHINGUMMY. I'm only just finish-
ing the 2nd act. Yes.
I have received two charmingletters from your exquisite Director. Un-
fortunately, my 3rd act will not be ready for October 1st. I'm weeping like
Croesusabout it. Yes....

September15, 1923,to Darius Milhaud

... I am jumping for joy because (at last!) Diaghilev has writtento you.

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414 The Musical Quarterly

This is a victoryover X (an X I would dearlylike to know. Yes). I am working

like a workerwho works (somethingrarelyseen). I have just finishedthe second
act of the "M6decin malgr6lui." Someone (?) told Jean that I was "givingup."
Hm! Would this"someone"be our friendAuric?...

September15, 1923,to Igor Stravinsky

. I am workingfor our dear Director.So, I have just finishedthe 2nd act
of the "Medecin malgrdlui." I am writinglike Gounod- whichis no sillierthan
writinglikeRavel.
Perhapsit would be betterto writelike Schmitt.... Yes.
But for that,one needs to writethe piano part on eight staves.Alasl I can-
not: I do not have theintelligence....

November3, 1923,to SybilHarris

... I have just finishedthe 3rd act of the good "Medecin malgrdlui." Yes..
The Gounod familyare bringinga lawsuit against Diaghilev and claiming
several millionsin damages because of the harm done to the memoryof their
august relation.Yes. .... I shall be obliged to pay that familyat least seven or
eight hundred thousand francs.. . . I thinkI shall have to sell my jewels and
myfurs....
December10, 1923,to Darius Milhaud
... I am workingas hard as I can (and you know I am a slow worker)on
theorchestration
of the "Medecin malgr6lui." It will be finishedby Saturday....

January5, 1924, Monte Carlo postcard to ConstantinBrancusi [sculptorand

friend]
... I am here with Gounod. We are both thinkingof you. Still veryfond
of you.
Yes.... This evening:FirstNight.Serious.... Veryserious....

During the brief visit, one of the few sorties Satie ever made out
of Paris, he fell out with Auric and Poulenc, especially over their
developing friendship with the critic Louis Laloy and the opium-
smoking parties they attended where they were joined by Cocteau.
This is the theme of the final item in the "Monte-Carlo series,"
sent there to Poulenc afterSatie's abrupt returnto Arcueil:

January11, 1924,to FrancisPoulenc

... How are things?Bravo again and alwaysfor the Biches. Permitme to
advise you not to get too thickwith our (hour) L. L. Yes. Watch out with that
"character."Yes. . ... Don't forgetthat you are a thousandtimes his superior.
Yes. ....

The bitterestdescription of the atmosphere in Monte Carlo is

in Satie's short article "Ballets Russes ?L Monte-Carlo: Souvenirs
de Voyage (1923)" published in Paris-Journal,February 15, 1924.

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 Satie Letters 415

Mercure
Much to Diaghilev's displeasure, Massine left the Ballets Russes
in 1924; with Satie and Picasso he created the ballet Mercure, com-
missioned by the Comte de Beaumont, dedicated to the Comtesse Eti-
enne de Beaumont and performedas one of a series of "soirees de
Paris" on June 15, 1924. Four lettersin particular trace the progress
of this work.
March 7, 1924,to Mme de Beaumont
Dear Exquisite Countess- Greetings.Here enclosed are 4 numbers from
the ballet. I have copied themhastilyso as to allow Massine to get to work.The
other"numbers"are to follow (of course).Yes.
Please would you be so kind as to have a copy made (I shall need mine for
theorchestration - it will be returnedto you). Yes.

April 9, 1924,to Mme de Beaumont

... Here enclosed the second part of "Mercure."
"That" doesn't look much, but I want to assure you that there is a great
deal of work in this little pile. . . . Yes ...
Please read it through
....

April 15, 1924,to Leonide Massine

. I have finishedthe Polka, the New Dance and the (ratherironical)*
Appearanceof Chaos.
I am startingon the Finale (the Rape of Proserpina)again, for the third
time. Damn! ... It had to be done....
You shall have thisending (Terminus)on Thursday.Yes....

...* After all, Chaos is prettyfunnyin itself.

Roger Desormiere, one of the young members of the "Ecole

d'Arcueil" introduced to Satie by Milhaud in 1923, was a gifted
conductor and took charge of the musical direction for the "Soirees
de Paris," including the firstperformance of Mercure. The next
letterdates fromthe followingday:

June 16, 1924,to Darius Milhaud

. I am writingto Desormibreto ask him not to repeat the music during
the scene changes.I noticed that people were holding me responsiblefor the
long delay. . . . Hardly! . . . Let them wait (without me). . . . Yes. ... Watch
out for that,Dear Friend! I cannot come thisevening,and beg you to stand in
forme.
Coming out, I encounteredthe "Fake Dada" group: theysaid nothingto me.
Please ask the littlelady to forgiveme for the bang on her head I gave her
with my elbow. I am very sorryabout it....

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416 The Musical Quarterly

Reldche
The scandalous production of the "ballet
instantan6iste"Reldche,
in collaboration with Picabia, Ren6 Clair, and Rolf de Mar6's
Ballets Su6dois in November, 1924, was an altogether less restrained
affair. The general atmosphere of scandal seems to be prefigured
even in Satie's own language as he prepared the work. To Milhaud
he categorized it as a "ballet obscene."
The following letters show something of Satie's preparations in
1924:

July27, 1924,to P. de Massot

... I am workingon "Reliche" as hard as I can. Anyway,I have done the
firstpart (the firsthalf, in consequence). Yes. . ... Am fairlypleased.
Note that I write all my music myself - All the flats (especially),all the

sharps (even the double ones) are made entirely(fromhead to toe!) by myself.
All that is very curious, and denotes great strengthof character (frank and
honest).So, I blessmyself....
In the following letter, eight measures of the opening of the
"Rentr6e de la Femme" are given, to be found on page 28 of the
printed score of Reldche:
August10, 1924,to Darius Milhaud
in a different
... Here enclosedis the "littlethingummy" version.. . . Auric
won'tlike it: - "Pooh! ..." he will say.
I am working hard. Things are "moving." I am not displeased. . . . There's
The enclosedexampleputsyou in the pictureabout that....
a lot of "sob stuff."

September1, 1924,to Darius Milhaud

... The obscene ballet is finished. . . . Very happy am I. Yes. . . . The little
Russian coach (theone who did the "Cr6ationdu Monde") is back fromAmerica.
It is she - she herself- who is rehearsing "Reliche." Yes. . . . Very happy am I
and re-am I. . .. Yes ...
... The "Muttonheads"are again goingto be "staggered"and "flabbergasted."
What luck! ...

Jacques Doucet again extended support and sympathy,to the

two principal collaboratorsin October:
October9, 1924,to JacquesDoucet
... Picabia has writtento me and told me of your kind invitationfor the
15th (Wednesday).
Do I accept? . . But with pleasure! . . . And I thank you most sincerely
.
forthinkingof me....

Furtherarrangementsforthe partyfollowed:

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 Satie Letters 417

October 13, 1924, to Jacques Doucet

. Since you offer so very kindly to pick us up, I shall be at the "D6me"
at 12:30 on Wednesday. That way Duchamp may possibly be able to join us....

It is curious, and in a sense satisfying,that Satie, hard at work

in the week before the firstperformanceof his last work, Reldche,
should have been reminded, by an invitation to a commemoration
ceremony, of his early beginnings as "officialmusician" to Joseph
Peladan's Rosicrucian Sect in the early 1890s:
November 23, 1924, to M. Victor-Emile Michelet
. I am truly sorry: I have been quite snowed under by my work at the
"Theatre des Champs Elysdes" and unable to attend to what you asked me
to do....
S.
. I would have been very happy to join the friends of PMladan, whose
memory is ever dear to me....

Letters to Milhaud
The important series of forty-oneletters that Satie addressed
to Darius Milhaud, senior member of the Groupe des Six and one
of the few friends or collaborators with whom Satie did not fall
out, covers the years 1919 to 1924. The Milhauds played a most
important role in caring for Satie during his final illness in 1925;
Darius Milhaud has described the death of Satie in his Notes sans
Musique and elsewhere.7
An undated letter, probably from early 1919, inquires: "And
how is that 'Boeuf.' " Milhaud completed his celebrated ballet score
in which he used Brazilian rhythmsand effects,Le Boeuf sur le
Toit,s in Paris in 1919, and it was firstperformedat the Comedie
des Champs-Elysees on February 21, 1920. That program also in-
cluded Satie's Trois petites Pieces montees (Marche de Cocagne, De
l'Enfance de Pantagruel, Jeux de Gargantua), composed in 1919
and arranged for piano duet in 1920. The following letter suggests
this suite as more suitable for inclusion than the Cinq Grimaces
composed in 1914 forCocteau's unrealized production of A Midsum-
mer Night's Dream.
7 D. Milhaud, Notes sans Musique (Paris, 1949), Chap. XXIII; see also "Les der-
niers jours d'Erik Satie," in Le Figaro littiraire,April 23, 1949, p. 5. I wish to express
my gratitude to Madeleine Milhaud who most kindly sent me copies of all of Satie's
lettersshe could find,with friendlyencouragement.
8 The teasing letter of July 16, 1920, calls the work Boeuf chur leur toi
(Oaks
on their hoof).

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418 The MusicalQuarterly

1, 1919
January
My Dear Friend- I am so sorry:the "Grimaces"are writtenfor too large
an orchestra.If you like, I could write Trois petites Marches- including the
Marchede Cocagne- forsmallorchestra, of10 minutes....
witha duration
Poulenc's Cocardescompletedthebill.
Satie was liberal in his encouragement
of Milhaud's composing,
even thoughhe did not alwaysturnup at importantevents:
No date [1919or 1920]
... I heard, afterthe concertyesterday,that your "Codphores"went well.
Very.
Bravo!!!
Bravo,Dear Friend,
Let the "Young" composerssend the Schmitts,the Ingelbrechts,and all the
other"old" sub-Vidalists, into the imita-
Saint-Sains-belchers
Dubois-windbreakers,
tiondung heap...

FlorentSchmitt'sopera Antoine et Cldopdtre(to a text trans-

lated fromShakespeareby Gide) was performedon June 14, 1920.
On November 18, the Ballets Suedois gave D.-E. Ingelbrecht'sEl
Greco. Paul Vidal, Theodore Dubois, Camille Saint-Sainswere all
of an oldergeneration,"Establishment"figuresof the Conservatoire
and pedagogical circles. Milhaud's dramatic settingof Les Cod-
phores(on a textof Claudel, afterAeschylus)fororchestra,
soprano,
baritone,reciter,and chorus was composedin 1915 and firstper-
formedon June 15, 1919,at theConcertsDelgrange,withDelgrange
conducting.
and respectforMilhaud were deep and sincere,
Satie's affection
and it was with genuine trepidationthat he learned of Milhaud's
plansto travelto DenmarkwithClaudel.9
No date [1920]
* . I am sorryto hear thatyou are going abroad at the end of the summer.
but
are you?A beautifulcountry,
You are not goingback to yourBrazilery,
rather
distant.
....
The Trois petites Pieces montees are probably the subject of a
curious lettersummoningMilhaud to a meetingin conditionsof
greatsecrecy:
11,1920
January
. Come tomorrow,and . . "Don't give anythingaway." Not a word to
away."SERIOUS.
aboveall: "Don'tgiveanything
ANYBODY,

9 Milhaud spent the period fromspring,1917, to winter,1918, in Brazil as

to Paul Claudel,whowas at thattimeFrenchAmbassador.
"secretary"

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 Satie Letters 419

. I am workingon the "thingummies."I have found a copyistwho only

takestenminutesto do anything.Yes. ...

The following letter shows that Milhaud had already discovered

the magical copyist,who was clearly in great demand:

January24, 1920
... I have just been to see Roy, the copyist. Would you mind letting me
have your turn,since he has some of your "thingummies"?On Wednesday I
shall take him the orchestralmaterial for the Petites Pikces monties- I have
finished- Happy am I. ....

On March 8, 1920, Pierre Bertin, who was to produce Satie's

dada play Medusa's Trap the following year, supervised the first
presentation by Satie and Milhaud of "furniture music" played be-
tween the acts of a Max Jacob play but intended not to be listened
to. The following day Satie wrote to thank Milhaud and tell him
about two more pieces of his, probably the extremelybrief articles
"Pas de Casernes" and "Ne Confondons pas" in Jean Cocteau's
broadsheet Le Coq Nos. 2 and 3, published in June and July-Sep-
tember respectively.The opening displays Satie's ease and increas-
ing familiaritywith Milhaud:
March 9, 1920
Dear Milhe-Milhe- is is Tie-Tie writingto you: he has finishedhis "thin-
gummies." He is as happy as a king. We shall "get" them. Have you read
"Comoedia"? Am quite bowled over by that article. Yes, quite. A "mysterious
contributor"is mentioned:- "one of the most gifted composersof the new
school- but,ssh!it is a surprise!"Who is it?
How gratefulI am to you for coming to the "furnituremusic." Yes, old
friend....

"Furniture music" was still much in Satie's mind in October,

when Milhaud was given a rendezvous at a party in the house of
Elise Caryathis in the rue Lamarck, Montmartre; the "symphonic
composition" is a grand description of no doubt La Belle excen-
trique, composed in 1920 for Mlle Caryathis, a famous Can-Can
dancer. A letter of September 23, 1920, to Jean Cocteau describes
it as "coming along verywell."
October 14, 1920
At "Caryathis"you shall hear a symphoniccompositionand, if you like,
some?."furnituremusic." We shall be doing it, Poulenc and myself.Auric is
too lazy really for us to be able to count on him. Besides, he does not like
"furniture music". .

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420 The Musical Quarterly

Milhaud was furtherencouraged in an undated letter probably

writtenin 1921. It refersto Milhaud's L'Homme et son Desir (1918),
firstperformed by the Ballets Suddois on June 9, 1921 (conducted
by Ingelbrecht!). Audry Parr made "Brazilian" costumes, guided
by Claudel:
[1921]
... Bravo!
It is exquisite:ithaseverything:
strength, etc....
poetry,
MmeParr'scostumes are delightful.
You havea greatsuccesson yourhands,
presentandfuture ....
A furtherreference to "Caryathis parties" appears in February,
1921; theywere uninhibited, to say the least:
February 4, 1921
I
... shallgo to see Caryathis in theevening(TOMORROW) - Last Sat-
urdaywas"perfect," it seems.Theyhad a finesession:. . . spewingand urinating
on thestaircase.
etc.. ... One ofthemevenlefthisunderpants! Odd.
I hope thattomorrow eveningwillbe evenmore"jolly."That is whatI am
goingforagain- and formyself.....
P.S. - I think it would be better not to have any more "PARTIES" at Caryathis',
at least fora while. I shall go tomorrow "JUSTTO SEE."

In May, 1921, Milhaud conducted the orchestraof eight instru-

ments for the seven "Monkey's Dances" in the firstperformanceof
Le Pidge de Mdduse.10 Included in the program was Milhaud's
"shymmy" Caramel mou for singer and Jazz Band (with the col-
laboration of Jean Cocteau.11 The usual letter of thanks- for Satie
was punctilious in such matters- soon followed:

June 1, 1921
' . . I blush,at full speed, at not having thankedyou yet for your masterly
and friendly conductingof the"Dances fromthePiege de Mfduse."
Thank you, my dear friend; you conducted my work better--MUCH BETTER
- than your own shimmy.You know what you are conducting;you are aware
- and verymuchso, too....
of whatyou are directing
In December, 1921, Milhaud went to his native Provence. Satie
compared his proteg6's success with his own relative lack of it,
though it is uncertain to which performancehe refers; at this time
10 A letterof March 28, 1913,to Roland-Manuelannouncesthe completion
of
the composition.
11Caramelmou is referredto in a letterof January17, 1921, to Milhaud's
mother,Mme G. Milhaud: "Baba has just composeda fantastic'shimmy'- most,
even."

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 Satie Letters 421

the Concerts Colonne were the scene of a number of performances

especially of music by Les Six:
December23, 1921
I had expected to meet you yesterdayat dinner with Minme
. Greetinigs.
. .
Cocteau. I learnt therethat you were in Provence,coolly warmingyour elbows
in the sunshine,ifI maysayso.
P'oulenctold me all about yourperformance in Lyon. Bravo!
Good work. Perfect.AMorethan that,even . . . at the "Colonne" I did not
have a triumphantsuccess.No. Rather, I broughtback with me a jacket- a
little jacket- a tiny little jacket, a wee little jacket such as is worn in our
partsby so-calledcafewaiters (thosewho serveus drinksin certainpublic places).
Yes....
P.S. Happy New Year. May the "NIuttonheads"grovellike snakes!

In 1922, Milhaud introduced four young composer-admirersto

Satie - Henri Sauguet, Roger Desormibre, Henri Cliquet-Pleyel,
Maxime-Jacob- who in homage momentarily adopted the title
"Ecole d'Arcueil," after the suburb where Satie lived.'2 One of
these introductionsis anticipated in the followingletter:

June20, 1922
... I have not seen Cliquet yet. Is this the same personas Cliquet-Pleyel
-
I ask myselfpolitely.... You wonder if I will listento his "thingummies"....
You are luckybeing able to work.I am workingtoo, but verybadly. . . . What I
dreadful.. ... Oh well! ... Sad.
am doing is dreadful,frighteningly
Warmwishes,myDear Friend.fromone who everadmiresand lovesyou.

The meeting proved an unqualified success:

June28, 1922
.. Quite "fantastic"!
I am still being "flabbergasted"about it, and I see- and hear- why our
youngfriendsAuric and Poulenc go about pouting and blinking.. . . Heavens!
... Too true!...
He played me a very attractiveSuite for piano; some Tangos; and let me
hear someveryfetchingsongs.
On Sunday I shall hear an exquisite Quartet (whichI have alreadyheard in
piano-duetform).We shall have fun,and I am writingto Jean to prepare him
by preparinghim with a little preparatorypreparationwhich will make him
prepared,. ... ifI dare sayso myself....
It is hard to say if Satie's "forgetfulness" in October, causing
him to miss a furthermeeting with Cliquet-Pleyel, was deliberate or

in
12 Satie refersto thesecomposers his article"Parlonsa voix basse,"in Feuilles
Libres (1923), and in his lecture on Les Nouveaux jeunes (1923).

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422 The Musical Quarterly

not. It is a consistent trait in his character, borne out across the

span of his correspondence with many differentpeople, to "forget"
inconvenient appointments, or to make obvious excuses for non-
attendance, especially if any invitationmeant leaving Paris.
October 14, 1922
It is just my luck! I am writingto the good Cliquet to say what happened:
I forgotall about it. Yes.
What can I say? I am going "loony," there are no two ways about it! . . .
And I so muchwantedto see you! What unluck!...

In this case, perhaps, the absentmindedness was genuine, for in

ten days' time Satie wrote of his intention to introduce Cliquet-
Pleyel to Sybil Harris, wife of the American Ambassador and warm
supporter and friend,to whom Satie addressed two letters now pre-
served among the Harvard manuscripts.
October24, 1922
Tomorrow evenilngI shall introduce Cliquet to Mme Harris. Please
come along about line o'clock. Our friendis unable to inviteyou to dinner: no
more room. We shall havc a lot of Montparnasseartiststherewho want to meet
Cliquet. It is a pit)y.\uricis not here. He would have been verypleased to come.
Poulenc isn'tin Paris,is he? If he is, please tell him to come.Yes....

In November Satie missed another Milhaud premire - the

Sonatine for flute and piano, composed in Aix in 1922 but first
performedpublicly only in January,1923.
November7, 1922
... Alas! I was not able to come and hear yourflutesonata. Believe me I am
sorryabout it, fromeverypoint of view. Yes. Forgiveme. . ... Do you belong
to the Society for French M\usic then? . . . Can it be true. . . . What is it? . . .
H6'bertothas withdrawnPaul et Virginiefromthe workshe is to present....
Odd and mostunexpected!... What "miracle"lies behindthisgesture?.

Satie had writtento Poulenc on August 20, 1921: "I am working

on Paul et Virginie as hard as I can. I would like to have an or-
chestral excerpt from it played at Pierne's this winter." The broad-
sheet Le Coq No. 4 in November, 1920, had included the following
curious announcement: "On November 22 there took place the
reading to Erik Satie of PAUL ET VIRGINIE, comic opera in three
acts by Jean Cocteau and Raymond Radiguet. PAUL ET VIRGINIE
will be Satie's next work and his farewell to musical composition.
"Subsequently he intends to devote himself entirely to the cause
of young musicians."

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 Satie Letters 423

The notebook (Paris B. N. Mus. 9576, p. 5) contains the follow-

ing amusing lines: "Virginie was singing like a dainty little potato.
Then Paul danced on one leg so as not to disturb his parents. Vir-
ginie liked watching him dance. Virginie's song made the monkeys
weep."
Despite all this, there is no evidence that he ever composed a
single note of this work. Certainly, he was still far from saying a
"farewell to music," though it is true that in 1922 his output (six
articles and a "causerie") was entirely literary. It is just possible
that the fanfare "To waken the King of the Monkeys" which he
composed in 1921 for Fanfare No. 1 is connected with the monkeys
who wept at Virginie's song.
In December, 1922, Satie was fosteringa furthermember of the
"Arcueil School," Maxime-Jacob:
December16,1922
I have received a1 very kind letter from Maxime-Benjamin-Jacob("quite"
a name.Yes).
I am asking him to meet me at Rouart's ... on Monday at 5:30 (17:30).
Please excuse me, for Thursday: the Braques kept me and I could not re-
fuse...

Braque had provided illustrations for the deluxe edition of

Le Pikge de Mdduse in 1921 and Satie spent a few days at his house,
as well as at those of Milhaud and Derain, with the onset in 1924 of
the serious illness fromwhich he was to die on July 1, 1925.
A few days later, a letter betrays Satie's unabated displeasure
with both Roland-Manuel, who had dared to dislike Socrate13 and
with Auric, who increasingly failed to show him due respect:"14
December19,1922
. I was counting on meeting you tomorrow at "Antigone," but I could
notevengetan aisleseat.Too bad! It is notverynice.
I havereceiveda packagebearingthe signature G. Milhaudand sentfrom
Marseilles(ColonialExhibition).
This packagehas not yetbeen opened.What
is it?
A surprise
fromyourdearmother, I expect.Shereallyis tookind!Yes.

13The theme of letters to Roland-Manuel especially March 15, 1919, and Feb-
ruary 23, 1920. M. Claude Roland-Manual, son of the composer, kindly informsme
that, in his opinion, the cause of the split with Satie was Roland-Manuel's wish to
retain his independence and not join an expanded "Groupe des Sept."
14The final and irrevocable split with both Auric and Poulenc occurred in
Monte Carlo in the last days of 1923; Satie publicly mocks them both in Picabia's
journal 391, in July,1924.

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424 The MusicalQuarterly

Fancy Auric thinking that Rol.-Mlan. is very talented. He is positive that

our dear Rol.-Man. is even moretalentedthanCliquet. Odd, I say....

It was characteristic
of Satie to writeMilhaud and ask whatwas
in the parcel Milhaud's motherhad sent, ratherthan to take the
moreobviouscourseof openingit! The contentsprovedto be some
veryacceptablechestnutfondants,forwhichhe wrotea charming,
if typicallyodd,thank-you on December31, 1922.
Jean Cocteau's Antigone,produced in 1922 by Charles Dullin
at L'A telier,had incidentalmusicby Honegger,who laterdeveloped
it intoa "tragediemusicaleen troisactes"whichwas firstperformed
in Brusselsin 1927.
On December22, 1922,Satie senta shortnote to wish Milhaud
well on his imminentconcert tour in the United States. While
abroad, Milhaud, who was particularlyuncompromisinginl his
youth,made some commentsabout French music which irritated
Establishmentopinion, representedin the followingletterby one
of Satie's archenemies,thecriticEmile Vuillermoz:
28,1923
January
. Vuillermoz- at the International Committee- created a Milhaud
. .
incident.Koechlin and I stood up to him, but he intendsto ask a numberof
questionsabout youranti-French .... Yes.
attitudein America
An odd thing:Ravel shook me by the havnd(with his veryown) and (just
to be "nice") helped a littleto deal withVuillermoz.Yes....

Charles Koechlin was most sympathetictowardSatie and pub-

lishedan excellentarticleabout himin 1924.'5
That troubledid continue to stir among the membersof the
Socidt6 Independante de Musique is clear from the unreserved
terminology of a lettersent to Milhaud in February,anticipating
hisreturnto France:
February24, 1923
.. The wonderful"InternationalCommittee"are nothingbut merde.They
.
play around with us with two hands, with fourhands and feet as well. Roland-
Manuel and Lazarus are the most listened to in this band of "twits."Yes, my
dear friend.I am ashamed to mix in such company.AfterI have seen you, I
shallresign....

Following the firstexperimentsin "furnituremusic," Milhaud

obtained a commissionfor Satie to writesome music in this vein
for the American, Mrs. Eugene Meyer (Junior), whose home (thus to
15In La Revue musicale,V (March, 1924), 133-207.

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 Satie Letters 425

be musically decorated) was in Crescent Place, Washington. The

one-page score, which bears the date March 28, is now in the Biblio-
theque Litteraire Jacques Doucet. Satie was most appreciative:
March26, 1923
I am as happyas a king: I have just finishedthe "thingummy" forthe Ameri-
can lady.Yes.
It is a piece of FurnitureMusic (coloring for a PrefecturalOffice).I have
writtenthisspecimenfororchestra:Piccolo,Bb clar.,Bassoon,Horn in F, Trump.
in C, Percussion,and StringQuintet.Yes.
It is decorative and sumptuousin appearance- meant to appeal visually.
I am proud of it.
I am makinga faircopy,and thenI shall send thething.Yes.
Thanks.... If you have a hundredjobs like that,any time!...

There may have been some delay, nevertheless,since a month

later it was necessary urgently to contact the American lady. The
same letter vents more spite at the expense of Auric, though it is
uncertain which "little performer"is meant:

April 27 1923
. I am sendingan expressletterto Mme E. M. Junior (odd name, I say).
I shall come,of course.
Auric wroteme a rather"grousing"note, the dear old companion. He does
not seem to like our little performer;and so he lets out a tinylittle streamof
gall, full of the blackestdisillusionment.Our friendis distinctlysomber (som-
brero,in Spanish)....

Apart from the page of "furniture music," Satie had composed

little since 1920 until he set L.-P. Fargue's Ludions in 1923. These
are referredto in June as "mdlodoches."

June 1, 1923
... I am veryproud thatyou like thelittle"tyoons."Yes! ...

In 1923, Satie, Poulenc, and Auric were commissioned by Diaghi-

lev for the Ballets Russes season at Monte Carlo in early January,
1924. They were to complete the setting of spoken passages in some
neglected operas by Gounod. Satie was allotted Le Me'decin malgrd
lui. Through his good offices,Milhaud was also commissioned to
help with Chabrier's Education manquqe. These negotiations are
the subject of a series of lettersbetween Satie, Milhaud, and Diaghi-
lev throughout1923.
The initial letter from Satie to Milhaud in July, passing on the
invitation, reveals that it had been necessary to overcome some op-

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426 The Musical Quarterly

position to the idea on Diaghilev's part, since the impresario was

not initially greatlyin favorof securing Milhaud's collaboration:

July21, 1923
. I "pulled his leg" a bit about the way he has ostracizedyou, and he
seemsto be becomingbetterdisposedtowardyou.
What do you thinkof it?
To be frank,I cannot really advise you. I should tell you that thereis a
fee of one thousandfrancsand that the work is fairlyshort,but . . . it is of
someconsequenceand will deserveto be followedup by some COMPENSATION.
Yes.
Considerit carefully..

Work on this project continued, feverishlyat times, for the rest

of the year:
August19, 1923
... I am "turningout" Gounod as if it was rainingwiththestuff....

This same letter refersto a revival of the Piege de Meduse sug-

gested by Rolf de Mar6, Director of the Ballets Suedois, for whom
Satie was shortly,in 1924, to create his final and possibly most scan-
dalous work, the "ballet instantan6iste" Reldche, in collaboration
with Francis Picabia and Rene Clair:

. Why did I forgetto say yes about the Piege de Mdduse in the last
card I wrote to you? . . . I ask myself. Yes. . . . Do as you wish with it. I am
verytouchedby thisinvitationfromR. de Mare....
Satie's completion of the second act of Le MAPdecinmalgrd lui is
announced in a letter to Milhaud on September 15, 1923, and the
thirdact in a letterto Sybil Harris on November 3, 1923.
Meanwhile, Milhaud had been busy with preparations for the
firstperformanceof his La Brebis egarde, an early work composed
between 1910 and 1915. It was put on at the Paris Opra-Comique
in December, 1923. Again, Satie admired, but froma distance.

December10, 1923
. . I saw thatit went well and thatwiththe "Brebis 'gar'e" you have given
a remarkable work to Music .... Bravo! . . article has a lot to say
.Bruneau's
about that.Yes...
Our enemies are biting and rebitingthe dust. You are avengingus-and
how....

In the spring of 1924, Satie firstexperienced radio broadcasting.

How sad that it came just too late for him to make use of it; how

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 Satie Letters 427

propheticradio has causedhisvisionof "furniture

music"to become!
He invitedMilhaud to a hearingof the new wonder,thoughwith
his usual satiricalbite:
March 3, 1924
... The JulienHenriquetswillbe pleasedto haveyouwithme (and them-
selves)on the semaphore(Radiola) day; theyask me to inviteyou to
auditory
theirmodestmeal (cabbageand coldveal); themealwillbe beforethe (auditory)
auditionof thesaidauditory
semaphore....
Mercure, the ballet writtenby the trio that had collaborated
on Parade in 1917,Satie,Picasso,and Massine,whohad now broken
withDiaghilev,was commissionedby the Comte de Beaumontand
took up the firsthalf of 1924. It was firstperformedin the series
of "Soireesde Paris" on June 15, 1924. A letterfromthe following
day asks Milhaud to attend the second performanceto check on
the conductor,Roger Desormiere,and see that he did not keep
repeatingthe music during the prolongedscene changes thereby
giving the audience the impressionthat the music was itselfthe
cause ofdelay!
A small indicationof Satie's declininghealthcomesin an other-
wisenewslessletterearlyin August:
August7, 1924
.. Myself, I have myhandsfullof rheumatism.
Yes. .... I findit (rela-
tively)
amusing....
Reldche occupied Satie formost of the remainderof the year.
The letterof August 10, 1924,quotes a fewmeasuresof "sob stuff"
witha contentedaside thatAuric would not like it. On September
1, 1924, he announced that "the obscene ballet is finished."The
dancersin Reldchewerebeingcoached,Satie was pleased to observe,
by Borlin a "littleRussian" who had also workedon Milhaud's La
Creationdu Monde,in Parisin 1923.
The finalletterin the Milhaud seriesshowsSatie's genuinecon-
cern as he reactsto news of a severestormwhich had struckthe
Milhaud familyhome in Provenceprobablyshortlyafterthe Bel-
gian composerand strongsupporterof Satie and Les Six, Paul
Collaer,and hiswifehad been stayingthere:
September27, 1924
Dear GreatFriend- You reallyhad a TORNADO!
Howevercouldit happen?
It is incredible!...

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428 The MusicalQuarterly

At least,your "clos" was not affected,was it? . . . The little lady musthave
been afraid....
If it were me, I would be in a blue "funk." I do not like these great upsets
in Nature.I findthemuselessand misplaced....

Unlike the comparable series of forty-fourletters to Roland-

Manuel,"6the correspondence withDarius Milhaud is unmarredby
by a warmthof friendship
dissension.Indeed, it is characterized and
mutualadmirationof artistry whichmayserveas a tributeboth to
the prophetofArcueiland to the late,muchregretted maitreof Aix
and theBoulevardClichy.

16Satie also wrotefifteen

lettersto Roland-Manuel's Mme F. Dreyfus.
stepmother
The entirecollectionwas mostkindlycommunicated to me by the composer'sson,
M. ClaudeRoland-Manuel, to whomI expressmygratitude.

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