| Sponsored by Reading Rhythms In the Review’s January 15, 2026, issue, the concert pianist Jeremy Denk writes about Erik Satie, “the truest bad boy of musical modernism in the hypercompetitive market of Paris before World War I.” For casual listeners who know Satie as the composer of, say, the Gymnopédies (as Denk characterizes them, “a concentrated wistfulness—essence of rainy Parisian café, possibly right after a breakup”), it may come as a surprise to learn that he was also the composer of a postcard to a critic he addressed as “Monsieur Fuckface…Famous Gourd and Composer for Nitwits.” Denk describes the profound aimlessness, the rebuke to excessively serious Romantic music, that can be found in Satie’s work:
Below, alongside Denk’s essay, are five articles from our archives about Satie, Dmitri Shostakovich, Arnold Schoenberg, Jeremy Denk, and playing the piano. Jeremy Denk |
martes, 6 de enero de 2026
‘Like a Nightingale with a Toothache’
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