Eric Alfred Leslie Satie (17 May 1866 – 1 July 1925), better known as Erik Satie, was a French composer and pianist. The son of a French father and a British mother, he studied at the Paris Conservatoire but was undistinguished and did not obtain a diploma. In the 1880s he worked as a pianist in café-cabarets in Montmartre, Paris, and began composing works, mostly for solo piano, such as his Gymnopédies and Gnossiennes. He also wrote music for a Rosicrucian sect to which he was briefly attached. Following a period of sparse compositional productivity, Satie entered Paris's second music academy, the Schola Cantorum, as a mature student. His studies there were more successful than those at the Conservatoire. From about 1910 he became the focus of successive groups of young composers attracted by his unconventionality and originality. Among them were the group known as Les Six. A meeting with Jean Cocteau in 1915 led to the creation of the ballet Parade (1917) for Sergei Diaghilev, with music by Satie, sets and costumes by Pablo Picasso, and choreography by Léonide Massine. Satie's example guided a new generation of French composers away from post-Wagnerian Impressionism towards a sparer, terser style. During his lifetime, he influenced Maurice Ravel, Claude Debussy, and Francis Poulenc, and he is seen as an influence on more recent composers such as John Cage and John Adams. His harmony is often characterised by unresolved chords; he sometimes dispensed with bar-lines, as in his Gnossiennes; and his melodies are generally simple and often reflect his love of old church music. He gave some of his later works absurd titles, such as Véritables Préludes flasques (pour un chien) ("True Flabby Preludes (for a Dog)", 1912), Croquis et agaceries d'un gros bonhomme en bois ("Sketches and Exasperations of a Big Wooden Man", 1913) and Sonatine bureaucratique ("Bureaucratic Sonatina", 1917). Most of his works are brief, and the majority are for solo piano. Exceptions include his "symphonic drama" Socrate (1919) and two late ballets Mercure and Relâche (1924). Satie never married, and his home for most of his adult life was a single small room, first in Montmartre and, from 1898 to his death, in Arcueil, a suburb of Paris. He adopted various images over the years, including a period in quasi-priestly dress, another in which he always wore identically coloured velvet suits, and is known for his last persona, in neat bourgeois costume, with bowler hat, wing collar, and umbrella. He was a lifelong heavy drinker, and died of cirrhosis of the liver at the age of 59.

Trois Mélodies (Three Songs or Melodies) is a 1916 song cycle for voice and piano by Erik Satie. One of Satie's rare excursions in mélodies (French art songs), it lasts under four minutes in performance. The composer's first English-language biographer, Rollo H. Myers, thought this work contained "the essence of Satie the ironist, the wit, and the skillful parodist".

Eric Alfred Leslie Satie (17 May 1866 – 1 July 1925), better known as Erik Satie, was a French composer and pianist. The son of a French father and a British mother, he studied at the Paris Conservatoire but was undistinguished and did not obtain a diploma. In the 1880s he worked as a pianist in café-cabarets in Montmartre, Paris, and began composing works, mostly for solo piano, such as his Gymnopédies and Gnossiennes. He also wrote music for a Rosicrucian sect to which he was briefly attached. Following a period of sparse compositional productivity, Satie entered Paris's second music academy, the Schola Cantorum, as a mature student. His studies there were more successful than those at the Conservatoire. From about 1910 he became the focus of successive groups of young composers attracted by his unconventionality and originality. Among them were the group known as Les Six. A meeting with Jean Cocteau in 1915 led to the creation of the ballet Parade (1917) for Sergei Diaghilev, with music by Satie, sets and costumes by Pablo Picasso, and choreography by Léonide Massine. Satie's example guided a new generation of French composers away from post-Wagnerian Impressionism towards a sparer, terser style. During his lifetime, he influenced Maurice Ravel, Claude Debussy, and Francis Poulenc, and he is seen as an influence on more recent composers such as John Cage and John Adams. His harmony is often characterised by unresolved chords; he sometimes dispensed with bar-lines, as in his Gnossiennes; and his melodies are generally simple and often reflect his love of old church music. He gave some of his later works absurd titles, such as Véritables Préludes flasques (pour un chien) ("True Flabby Preludes (for a Dog)", 1912), Croquis et agaceries d'un gros bonhomme en bois ("Sketches and Exasperations of a Big Wooden Man", 1913) and Sonatine bureaucratique ("Bureaucratic Sonatina", 1917). Most of his works are brief, and the majority are for solo piano. Exceptions include his "symphonic drama" Socrate (1919) and two late ballets Mercure and Relâche (1924). Satie never married, and his home for most of his adult life was a single small room, first in Montmartre and, from 1898 to his death, in Arcueil, a suburb of Paris. He adopted various images over the years, including a period in quasi-priestly dress, another in which he always wore identically coloured velvet suits, and is known for his last persona, in neat bourgeois costume, with bowler hat, wing collar, and umbrella. He was a lifelong heavy drinker, and died of cirrhosis of the liver at the age of 59.

In this list of Erik Satie's musical compositions, those series or sets comprising several pieces (e.g., Gnossienne 1, Gnossienne 2, etc.) with nothing but tempo indications to distinguish the movements by name, are generally given with the number of individual pieces simply stated in square brackets. If the pieces in a series have distinct titles, for example the 21 pieces in Sports et divertissements, all titles are given. Many of Satie's works were not published until many years after they were composed, including a considerable number first published posthumously. This article gives the known or approximate date of composition for each work.

Eric Alfred Leslie Satie (17 May 1866 – 1 July 1925), better known as Erik Satie, was a French composer and pianist. The son of a French father and a British mother, he studied at the Paris Conservatoire but was undistinguished and did not obtain a diploma. In the 1880s he worked as a pianist in café-cabarets in Montmartre, Paris, and began composing works, mostly for solo piano, such as his Gymnopédies and Gnossiennes. He also wrote music for a Rosicrucian sect to which he was briefly attached. Following a period of sparse compositional productivity, Satie entered Paris's second music academy, the Schola Cantorum, as a mature student. His studies there were more successful than those at the Conservatoire. From about 1910 he became the focus of successive groups of young composers attracted by his unconventionality and originality. Among them were the group known as Les Six. A meeting with Jean Cocteau in 1915 led to the creation of the ballet Parade (1917) for Sergei Diaghilev, with music by Satie, sets and costumes by Pablo Picasso, and choreography by Léonide Massine. Satie's example guided a new generation of French composers away from post-Wagnerian Impressionism towards a sparer, terser style. During his lifetime, he influenced Maurice Ravel, Claude Debussy, and Francis Poulenc, and he is seen as an influence on more recent composers such as John Cage and John Adams. His harmony is often characterised by unresolved chords; he sometimes dispensed with bar-lines, as in his Gnossiennes; and his melodies are generally simple and often reflect his love of old church music. He gave some of his later works absurd titles, such as Véritables Préludes flasques (pour un chien) ("True Flabby Preludes (for a Dog)", 1912), Croquis et agaceries d'un gros bonhomme en bois ("Sketches and Exasperations of a Big Wooden Man", 1913) and Sonatine bureaucratique ("Bureaucratic Sonatina", 1917). Most of his works are brief, and the majority are for solo piano. Exceptions include his "symphonic drama" Socrate (1919) and two late ballets Mercure and Relâche (1924). Satie never married, and his home for most of his adult life was a single small room, first in Montmartre and, from 1898 to his death, in Arcueil, a suburb of Paris. He adopted various images over the years, including a period in quasi-priestly dress, another in which he always wore identically coloured velvet suits, and is known for his last persona, in neat bourgeois costume, with bowler hat, wing collar, and umbrella. He was a lifelong heavy drinker, and died of cirrhosis of the liver at the age of 59.

George Orson Welles (May 6, 1915 – October 10, 1985) was an American actor and filmmaker. Remembered for his innovative work in film, radio, and theatre, he is considered among the greatest and most influential filmmakers of all time. Aged 21, Welles directed high-profile stage productions for the Federal Theatre Project in New York City—starting with a celebrated 1936 adaptation of Macbeth with an African-American cast, and ending with the political musical The Cradle Will Rock in 1937. He and John Houseman then founded the Mercury Theatre, an independent repertory theatre company that presented Broadway productions through 1941—beginning with a modern, politically charged Caesar (1937) and ending with the premiere of Richard Wright's Native Son. In 1938, his radio anthology series The Mercury Theatre on the Air gave Welles the platform to find international fame as the director and narrator of a radio adaptation of H. G. Wells's novel The War of the Worlds, which caused some listeners to believe a Martian invasion was occurring. The event rocketed the 23-year-old to notoriety, drawing offers from Hollywood studios and culminating in what is regarded as the greatest contract ever offered to a filmmaker. His first film was Citizen Kane (1941), which he co-wrote, produced, directed and starred in as the title character, Charles Foster Kane. It has been consistently ranked as one of the greatest films ever made. He directed 12 other features, the most acclaimed of which include The Magnificent Ambersons (1942), Othello (1951), Touch of Evil (1958), The Trial (1962), and Chimes at Midnight (1966). His distinctive directorial style featured layered and nonlinear narrative forms, dramatic lighting, unusual camera angles, sound techniques borrowed from radio, deep focus shots and long takes. Welles struggled for creative control while working within the studio system and later worked as an independent filmmaker, though he often failed to secure financing for his projects. He also acted in other directors' films, playing Rochester in Jane Eyre (1943), Harry Lime in The Third Man (1949), and Cardinal Wolsey in A Man for All Seasons (1966). Welles has been praised as "the ultimate auteur". He received an Academy Award and three Grammy Awards among other honors and accolades such as the Golden Lion in 1947, the Palme D'Or in 1952, the Academy Honorary Award in 1970, the AFI Life Achievement Award in 1975, and the British Film Institute Fellowship in 1983. British Film Institute polls in 2002 voted him the greatest film director ever. In 2018, he was included in the list of the greatest Hollywood actors of all time by The Daily Telegraph.

"La Diva de l'Empire" (The Diva of the Empire) is a French popular song with music by Erik Satie and lyrics by Dominique Bonnaud and Numa Blès, composed in 1904. Along with "Je te veux" (1903) it is probably the best-known example of Satie's cabaret or "café-concert" idiom. It was premiered by singer Paulette Darty, dubbed the "Queen of the Slow Waltz", in the musical revue Dévidons la bobine in Paris on July 26, 1904, and published that same year.

The Gymnopédies (French pronunciation: [ʒim.nɔ.pe.di]), or Trois Gymnopédies ('Three Nude Dances"), are three piano compositions written by French composer and pianist Erik Satie. He completed the whole set by 2 April 1888, but they were at first published individually: the first and the third compositions were published in 1888, while the second would not be published until 1895.

The Ludions is a song cycle for voice and piano (or organ) by Erik Satie, composed in 1923 to five absurdist poems by Léon-Paul Fargue. It was the last of his vocal compositions. The songs are brief and a performance of the set usually lasts less than five minutes. Songwriting occupied Satie sporadically throughout his life. He produced popular hits for the music hall (Je te veux, La Diva de l'Empire) as well as mélodies (French art songs) for more discriminating audiences. In the Ludions he fused both genres with the irreverent spirit characteristic of his later music. Biographer Pierre-Daniel Templier called the cycle "one of Satie's most successful works, due to the perfect correlation between the inspiration of the poet and that of the musician. The familiar playfulness of Fargue's poems, their childish rhythms, their humorous nostalgia, are all delicately rendered by Satie...the irony shines through very clearly."

The Messe des pauvres (Mass for the Poor) is a partial musical setting of the mass for mixed choir and organ, written from 1893 through 1895 by Erik Satie. It was intended for liturgical use in the Metropolitan Church of Art of Jesus the Conductor. The mass is Satie's only liturgical work and the culmination of his "Rosicrucian" or "mystic" period. It was published posthumously in 1929. A performance lasts around 18 minutes.

Poudre d'or (Gold Dust) is a waltz for solo piano composed in 1901 by Erik Satie. It is the first notable example of his light café-concert idiom, and is still popular today. In performance it lasts about 5 minutes. Satie also created a version for small orchestra but this survives only in a fragmentary state.