with thanks to Seonwoo Kim, Ben Kahn, Gayatri Sinai Salkar, Julian Wasilewski, Fergus Egan, Charlotte Wesslemann, Anna Rosina Simmen, Dariya Cheremisina, Photios Demetriou , Paola Murguia, Will Fausset, Andreea Vasilcin, Mila Kostovic, James Westcott, Koh Noguchi, Giulia Rosa, Rosy Wing-Nga Tam, Carlton Whittaker, Sally Stott, Zhuo Chen, Luisa Pires
with thanks to Seonwoo Kim, Ben Kahn, Yue Sun, Dabin Lee, Gayatri Nilesh Sinai Salkar Luisa Pires, Sally Stott, Charlotte Wesslemann, Anna Rosina Simmen, Fergus Egan, Koh Noguchi, Rosy Wing Nga Tam
with thanks to Seonwoo Kim, Rachelle Yau, Rosa Giulia, raluca schensan, Dariya Cheremisina, Yue Sun, Dabin Lee, Sally Stott, Lei Zhang….
with thanks to Gregory Korcel, Artur Stawiarski, Seonwoo Kim, Ben Khan, Photios Demetriou, Yue Sun, Manijeh Verghese, Lea Lahaj, Leslaw Skrzypiec
with thanks to Lei Pou Wai, Sabrina Blakstad, Dariya Cheremisina, Sally Stott, Lei Zheng, Ruby Amelia Neal, Maya Kutat, Cheryl Wan Xuan Cheah, Julian Wasilewski, Thom Parkes, Leszek Skrzypiec, Ben Ibbotson, Photios Demetriou
07-10-22 1.15pm and 130pm Front members’ Room
Erik Satie’s …Furniture Music , a furnishing divertisement ,
Regularly interupted with speech to a busy front members’ room .
2 renditions of musique d’ameubleme…
with thanks to Dariya Cheremisina, Sally Stott, Luisa Pires, Cheryl Cheah, Hiroe Shigemitsu, Michela Falcone, Theodore Spyropoulos, Keiko Yoshida, Grahame Shane, Photios Demetriou, Pati de Souza, Alice Baseian
with thanks to Lei Zhang, Zhuo Chen, Luisa Pires, Sam Shapin, Guanyu Lin, Sally Stott and Pippin
with thanks to Damnoen Techamai, Alice Baseian, Sally Stott,
Lei Pou Wai, Pelin Tamay, Sara Layoun, Luisa Pires, Henry Cleaver, Angel Lara-Moreira
Coined furniture music, Satie conceptualized a concert experience where an audience intentionally ignored the performers. The “music as wallpaper” was purposely not listened to while the ensemble sat scattered amongst the patrons.
In 1902, Satie and his ensemble premiered furniture music in a Paris art gallery, where he begged his audience beforehand to ignore the performance to come. Despite his efforts, the audience politely hushed as the performance began, for they were thrilled to see performers play amongst the crowd.
The concepts of ambient music, sound installation works, and even muzak and lobby music all have their roots in Satie’s sonic wallpaper. We’ve seen furniture music go from an experimental performance practice to an unavoidable phenomenon whether we acknowledge it or not.
