"We need a discipline of iron, ore some other metal. (...)
A shame on anyone who disobeys, for it is very sad not to obey."
(Text from the third piece of "L'enfance de Ko-Quo" for piano. 1913))
In the background an excerpt of "Parade" can be heard (libretto: Cocteau, Picasso: sets and costumes, Massine: choreography). In this ballet music Satie has inserted jazz elements and noises* (in the picture: cubist figurines by Picasso) -.
Because this ballet was understood by the bourgeois public as a provocation and subversion of patriotic morality, at the premiere in Paris in 1917 came the scandal. "The avant-garde artists (" Cubist ") from Montmartre were seen as enemies of the Nation(...)When it was announced that the two Parisian galleries -specialized on Cubism- had to be owned by Germans, was 'cubist' identified with 'German'. Parade was seen as 'cubist', that is connected to the enemies, actually the piece was identified with treason. " (Wehmeyer, Satie, 2005, S.91 ff.- (Reconstruction of the ballet PARADE look YouTube film > HERE)
PARADE (1917)
*Even as he (Cocteau) decried the Italian Futurists (...) calling them "provincial and boastful", Cocteau based himself on their aesthetic theories in demanding the presence of mechanical noises in the score. (...) Considering these noises a legitimate compensation for the dialogues (he had planned) he had been persuaded to suppress, he boasted, on the contrary, of being "the first poet not to express himself in words". He forgot the Futurist sound poems and the "Poème bruitiste" (noisist poem) by Huelsenbeck introduced by Tzara in Zurich in 1916." (ornella Volta, Satie seen through his letters, 1989, S.129)


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