Здесь процитирован первый из посвященных Сати фрагментов Оксфордской истории западной музыки Тарускина. Речь идет о Сарабандах и Гимнопедиях, а также о национальном в искусстве, псевдомодальности, вводных тонах, могучей кучке и спартанских девушках.
The Oxford History of Western Music, Richard Taruskin, Vol.4 The early Twentieth Century, Oxford press 2005 pp.64-69
Satie was not the first French post-Wagnerian to write a sarabande. Proclaiming one’s disaffection for the “music of the future” by making an end run around the recent past was already a time-honored – even a shopworn – strategy among the would-be Wagner resisters of the Societe Nationalė. <…> By the end of the century just about every French composer had a work “dans le sltyle ancient” in his or her portfolio <…>
Satie’s Trois sarabandes differed from these efforts, however. While faithfully