Satie, for his part eschewed sonorities, made each note audible, looked back to Greek and Medieval modes of composition. His work is brief and witty, and in this too both Stein and Brancusi resemble him. He and the sculptor were to be joined, after the First World War, in a friendship based on perfect sympathy for each other’s art…
Satie Stein and Brancusi were the strict and elegant extremists of the new spirit. Going beyond primitivism, they sought an art that was fresh, clean and unencumbered
—'Brancusi', Sidney Geist p. 142
It was a dialectic of simplicity/difficulty as much as that of innocence/experience in relation to the childlike that interested both Brancusi and Satie as a dynamic within their work. For Brancusi, simplicity was a state of being only to be achieved, or arrived at, through the childlike absence of sophistication or self-consciousness. Satie’s piano pieces, which were given strange, childlike titles, were deceptively difficult pieces which could nevertheless be played by an adult and a child alike. He provided sheet music with bizarre directions and annotations, part helpfully poetic, part parodic of their own didactic function.
—from Jon Wood’s ‘When we are no longer children; Brancusi’s wooden sculpture c. 1913-25 in Constantin Brancusi ’ The Essence of Things’, Tate, 2004
The latter version (of Prometheus) was originally purchased by the English pianist Vera Moore who met Brancusi in 1931 through the art critic H.S. Ede. Although rarely discussed by scholars, Vera Moore became close friends with the artist, and in 1934 she gave birth to Brancusi’s sole and illegitimate son, John Moore. Vera Moore liked to keep Prometheus on her piano, perhaps to seek inspiration while she was playing, and Brancusi commended her choice. In light of this context, the child-like head of Prometheus can be read not only as Brancusi’s alter-ego, but also as a representation of his newborn son. The artist actually likened the intimate countenance of the sleeping head with the delicate intimacy of an embryo from which life emerges.
Satie was said to have been inspired by the form of the windows of the Notre Dame Cathedral in Paris when composing the ‘Ogives’. An ogive is the curve that forms the outline of a pointed gothic arch.
Satie, in Cocteau’s memorable phrase, composed ‘music on which one walks.’
—Mary E. Davis, ‘Erik Satie’, Reaktion Books, 2007, p. 115
As Francis Poulenc so aptly put it Socrate with its ‘limpidity like running water’ marked the ‘beginning of horizontal music that will succeed perpendicular music’
—Mary E. Davis ‘Erik Satie’, Reaktion Books 2007, p.122