text: Last years Satie became the focus of successive groups of young composers, whom he first encouraged and then distanced himself from, sometimes rancorously, when their popularity threatened to eclipse his or they otherwise displeased him. First were the "jeunes" – those associated with Ravel – and then a group known at first as the "nouveaux jeunes", later called Les Six, including Georges Auric, Louis Durey, Arthur Honegger, and Germaine Tailleferre, joined later by Francis Poulenc and Darius Milhaud. Satie dissociated himself from the second group in 1918, and in the 1920s he became the focal point of another set of young composers including Henri Cliquet-Pleyel, Roger Désormière, Maxime Jacob and Henri Sauguet, who became known as the "Arcueil School". In addition to turning against Ravel, Auric and Poulenc in particular, Satie quarrelled with his old friend Debussy in 1917, resentful of the latter's failure to appreciate the more recent Satie compositions. The rupture lasted for the remaining months of Debussy's life, and when he died the following year, Satie refused to attend the funeral. A few of his protégés escaped his displeasure, and Milhaud and Désormière were among those who remained friends with him to the last.
  The First World War restricted concert-giving to some extent, but Orledge comments that the war years brought "Satie's second lucky break", when Jean Cocteau heard Viñes and Satie perform the Trois morceaux in 1916. This led to the commissioning of the ballet Parade, premiered in 1917 by Sergei Diaghilev's Ballets Russes, with music by Satie, sets and costumes by Pablo Picasso, and choreography by Léonide Massine. This was a succès de scandale, with jazz rhythms and instrumentation including parts for typewriter, steamship whistle and siren. It firmly established Satie's name before the public, and thereafter his career centred on the theatre, writing mainly to commission.