Abstract
WITH Parade at the Ballets Russes, in 1917, Satie raised his banner of victory. With Mercure at the Soirees de Paris, in 1924, began the retreat. With Reldche at the Ballets Suedois, in 1925, the rout set in. We were bored. The disciples deserted the master. For Satie the orchestra-pit proved a pitfall. And yet, standing before this new-made grave, how forget the service he rendered to music by his annexation of a new domain-the music-hall? His whole misfortune was inability to maintain himself there as victor.
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