Les gnossiennes erik satie biography

Piano compositions by Erik Satie

The Gnossiennes (French pronunciation:[ɡnosjɛn]) are distinct piano compositions by the Gallic composer Erik Satie in authority late 19th century. The scrunch up are for the most wear away in free time (lacking put on ice signatures or bar divisions) trip highly experimental with form, accent and chordal structure.

The kidney was invented by Satie on the contrary the term itself existed sully French literature before Satie's routine.

Etymology

The etymology of the vocable gnossienne is contentious, but nobleness word existed in French culture before Satie's usage, and practical in the 1865 Larousse Thesaurus, referring to the ritual grill dance created by Theseus disdain celebrate his victory over rectitude Minotaur, first described in picture "Hymn to Delos" by Callimachus.^[1][2]

Another explanation is that the locution appears to derive from gnosis.

Satie was involved in proponent sects and movements at decency time that he began accept compose the Gnossiennes.

Characteristics

The Gnossiennes were composed by Satie newest the decade following the story of the Sarabandes (1887) splendid the Trois Gymnopédies (1888). Round these Sarabandes and Gymnopédies, ethics Gnossiennes are often considered dances.

It is not certain drift this qualification comes from Composer himself – the sarabande dominant the gymnopaedia were at depth historically known as dances.

The musical vocabulary of the Gnossiennes is a continuation of ensure of the Gymnopédies (a circumstance that had started with class 1886 Ogives and the Sarabandes) later leading to more rhythmic experimentation in compositions like ethics Danses gothiques (1893).

These heap of compositions are all fate the core of Satie's typical late 19th century style, suggest in this sense differ strange his early salon compositions (like the 1885 "Waltz" compositions accessible in 1887), his turn-of-the-century entertainment songs (Je te veux), keep from his post-Schola Cantorum piano by oneself compositions, starting with the Préludes flasques (pour un chien) worship 1912.

A year after Unorthodoxy had been re-established in 1890, Satie was introduced to glory Rosicrucian sect by his intimate Joséphin Péladan.^[3] The work not bad influenced by occultism and esotericism, which spread in France lose ground the end of the Nineteenth century.

Trois Gnossiennes

These Three Gnossiennes were composed around 1890 captivated first published in 1893.

Fine revision prior to publication comport yourself 1893 is not unlikely; nobleness 2nd Gnossienne may even possess been composed in that vintage (it has "April 1893" significance date on the manuscript). Significance piano solo versions of interpretation first three Gnossiennes are insolvent time signatures or bar form, which is known as cool time.

These Gnossiennes were gain victory published in Le Figaro musical No. 24 of September 1893 (Gnossiennes Nos. 1 and 3, the last one of these then still "No. 2") boss in Le Cœur No. 6–7 of September–October 1893 (Gnossienne Clumsy. 2 printed as facsimile, for that reason numbered "No. 6").

The good cheer grouped publication, numbered as careful henceforth, followed in 1913. Invitation this time Satie had spelt 1890 as composition date tail all three. The first Gnossienne was dedicated to Alexis Roland-Manuel in the 1913 reprint. Depiction 1893 facsimile print of interpretation 2nd Gnossienne contained a energy to Antoine de La Rochefoucauld, not repeated in the 1913 print.

This de La Rochefoucauld had been a co-founder get into Joséphin Péladan's Ordre de practice Rose-Croix Catholique et Esthetique defence Temple et du Graal interpolate 1891. By the time methodical the second publication of significance first set of three Gnossiennes, Satie had for some disgust disassociated himself from the Rosicrucian movement.

Also with respect calculate the tempo these Gnossiennes remnant the Gymnopédies line: slow tempos, respectively Lent (French for Lento/slow), avec étonnement ("with astonishment"), endure again Lent.

A sketch together with only two incomplete bars, out of date around 1890, shows Satie glance to orchestrate the 3rd Gnossienne.

The first and third Gnossiennes share similar chordal structures, rhythms, and thematic references.

Gnossiennes Nos. 4–7

The Gnossiennes Nos. 4–6 were published only in 1968, eke out a living after Satie's death. None loom these appear to have archaic numbered, nor even titled primate "Gnossienne" by Satie himself.

Primacy sequence of these three Gnossiennes in the 1968 publication vulgar Robert Caby does not make a statement with the chronological order remind you of composition. It is extremely illogical that Satie would have unique to these compositions as three branchs of a single set.

Gnossienne No.

4

Lent. Composition date prohibit the manuscript: 22 January 1891.

A facsimile of the a handful of manuscript pages of this layout can be seen on that page of Nicolas Fogwall's site.

Composed tonally in D delicate even though its key mould is empty, the piece character a bass line centred itemisation its minor key, sounding Round, A, D, F, A, Circle, F, D, A, F, Course, A, D.

The bass finish off then transposes into a Catchword minor chord I ostinato, masses the pattern C, G, Maxim, E♭, G, C, E♭, Catchword, G, E♭, C, G, Motto. Section B, usually considered span very inspired section, uses semiquavers to contrast the minor theme agreement of Section A.

Gnossienne Ham-fisted. 5

Modéré (French for Moderato).

Defunct 8 July 1889, this was probably Satie's first composition aft the 1888 Gymnopédies: in party case it predates all thought known Gnossiennes (including the four published in 1893). The swipe is somewhat uncharacteristic of influence other Gnossiennes not only hassle its upbeat style, rhythms explode less exotic chordal structures nevertheless also in its use unknot time signatures and bar divisions.

Gnossienne No. 5 is technically demanding because it has smashing continuous movement of eighth make a recording in the left hand prowl contrast the activity of excellence right hand, in turn provision unique rhythmic transitions and configurations in a relatively compact lyrical space. These technical demands distinguish other pieces such as Gymnopedie No.1.^[4]

Gnossienne No.

6

Avec conviction flat surface avec une tristesse rigoureuse ("with conviction and with a strict sadness"). Composed nearly eight grow older after the first, in Jan 1897.

Le Fils des étoiles – Trois morceaux en forme de poire

The Le Fils nonsteroidal étoiles ("The son of honesty stars") incidental music (composed 1891) contains a Gnossienne in dignity first act.

For this attack the naming as "Gnossienne" laboratory analysis definitely by Satie (as conspicuous from the correspondence with monarch publisher). As a result fair-haired that, this music is on occasion known as the 7th Gnossienne. That part of the Le Fils des étoiles music was re-used as Manière de commencement ("A way to begin"), leadership first of the seven movements of the Trois morceaux blessing forme de poire ("Three throw somebody into disarray in the shape of boss pear").

References

Notes

Sources

• Coppens, Claude, program notes obviate the integral execution of Satie's Piano work (Ghent, De Rode Pomp, 1–2 December 1995).
• Gillmor, Alan M., Erik Satie (Twayne Pub., 1988, reissued 1992; 387pp) ISBN 0-393-30810-3
• G. Hengeveld edition of Gnossiennes publicized by Broekmans & Van Poppel No.

  1227 includes the ogre etymology

• Todd Niquette of Le rideau se leve sur un os, Revue International de la Musique Française, Vol. 8, No. 23, 1987) – the "Gnossiennes" episode of this publication contains greatness facsimile of the 2nd Gnossienne as first published in 1893.

External links