Daphénéo from Trois Mélodies (1916)

Although the Offenbach tradition of comic word-setting survived well into the twentieth century - Germaine’s song from Hahn’s Brumell is a clear example of that - a sense of humour like Satie’s required a different approach. His Daphénéo is a setting of words by “M. God” or Mimi Godebski who, with her brother Jean, had inspired Ravel’s children’s piano duets Ma Mère l’Oye in 1910. As the daughter of Cipa and Ida Godebski, who cultivated a wide artistic circle, Mimi was the little favourite of several musicians - not least perhaps because she was also the niece of the highly influential Misia Sert, who held even Diaghilev in thrall. Certainly, in 1916 when Satie set Mimi’s Daphénéo he and Cocteau were hoping to get Diaghilev interested in Parade, which was duly first performed by the Ballets Russes a year later. A master of the straight face, Satie approached Daphénéo in childish innocence risking nothing that might prejudice from textual clarity: in a song that depends on the distinction between “un noisetier” and “un oisetier” he had little alternative. It is a miniature comic masterpiece and, at the same time, because of the weeping birds - a reference perhaps to Misia Sert’s ornamental tree of pearls and feathers - just a little sad.