Les gnossiennes erik satie biography

Piano compositions by Erik Satie

The Gnossiennes (French pronunciation:[ɡnosjɛn]) are indefinite piano compositions by the Land composer Erik Satie in blue blood the gentry late 19th century. The factory are for the most participation in free time (lacking regarding signatures or bar divisions) give orders to highly experimental with form, pulsation and chordal structure.

The furnace was invented by Satie on the contrary the term itself existed entertain French literature before Satie's form.

Etymology

The etymology of the expression gnossienne is contentious, but honesty word existed in French writings before Satie's usage, and stick to in the 1865 Larousse Glossary, referring to the ritual complex dance created by Theseus cancel celebrate his victory over birth Minotaur, first described in say publicly "Hymn to Delos" by Callimachus.^[1][2]

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

Satie was involved in unorthodoxy sects and movements at integrity time that he began become compose the Gnossiennes.

Characteristics

The Gnossiennes were composed by Satie expect the decade following the essay of the Sarabandes (1887) additional the Trois Gymnopédies (1888). Passion these Sarabandes and Gymnopédies, rendering Gnossiennes are often considered dances.

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

The musical vocabulary of the Gnossiennes is a continuation of walk of the Gymnopédies (a get out of bed that had started with honourableness 1886 Ogives and the Sarabandes) later leading to more tone experimentation in compositions like rectitude Danses gothiques (1893).

These panel of compositions are all imprecision the core of Satie's idiosyncratic late 19th century style, increase in intensity in this sense differ punishment his early salon compositions (like the 1885 "Waltz" compositions obtainable in 1887), his turn-of-the-century nightclub songs (Je te veux), stall his post-Schola Cantorum piano by oneself compositions, starting with the Préludes flasques (pour un chien) reveal 1912.

A year after Heresy had been re-established in 1890, Satie was introduced to representation Rosicrucian sect by his pen pal Joséphin Péladan.^[3] The work research paper influenced by occultism and esotericism, which spread in France battle the end of the Ordinal century.

Trois Gnossiennes

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

Practised revision prior to publication mass 1893 is not unlikely; rectitude 2nd Gnossienne may even be blessed with been composed in that generation (it has "April 1893" importation date on the manuscript). Justness piano solo versions of justness first three Gnossiennes are let alone time signatures or bar configuration, which is known as unconventional time.

These Gnossiennes were supreme published in Le Figaro musical No. 24 of September 1893 (Gnossiennes Nos. 1 and 3, the last one of these then still "No. 2") dominant in Le Cœur No. 6–7 of September–October 1893 (Gnossienne Maladroit thumbs down d. 2 printed as facsimile, as a result numbered "No.

6").

The have control over grouped publication, numbered as broadcast henceforth, followed in 1913. Shy this time Satie had clear-cut 1890 as composition date weekly all three. The first Gnossienne was dedicated to Alexis Roland-Manuel in the 1913 reprint. Primacy 1893 facsimile print of position 2nd Gnossienne contained a devotion to Antoine de La Rochefoucauld, not repeated in the 1913 print.

This de La Rochefoucauld had been a co-founder handle Joséphin Péladan's Ordre de custom Rose-Croix Catholique et Esthetique shelter Temple et du Graal prosperous 1891. By the time touch on the second publication of leadership first set of three Gnossiennes, Satie had for some stretch disassociated himself from the Rosicrucian movement.

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

A sketch counting only two incomplete bars, cautious around 1890, shows Satie start 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, forward-thinking after Satie's death.

None bad deal these appear to have archaic numbered, nor even titled type "Gnossienne" by Satie himself. Authority sequence of these three Gnossiennes in the 1968 publication in and out of Robert Caby does not accord with the chronological order care for composition. It is extremely improbable that Satie would have disregard these compositions as three human resources of a single set.

Gnossienne No. 4

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

A facsimile of the join manuscript pages of this article can be seen on that page of Nicolas Fogwall's site.

Composed tonally in D subsidiary even though its key exterminate is empty, the piece hick a bass line centred analyse its minor key, sounding Round, A, D, F, A, Recycle, F, D, A, F, Series, A, D.

The bass secede then transposes into a Maxim minor chord I ostinato, next the pattern C, G, Slogan, E♭, G, C, E♭, Catch-phrase, G, E♭, C, G, Maxim. Section B, usually considered cool very inspired section, uses semiquavers to contrast the minor measure of Section A.

Gnossienne Rebuff. 5

Modéré (French for Moderato).

Senile 8 July 1889, this was probably Satie's first composition back the 1888 Gymnopédies: in rustic case it predates all concerning known Gnossiennes (including the triad published in 1893). The be troubled is somewhat uncharacteristic of interpretation other Gnossiennes not only scheduled its upbeat style, rhythms put forward less exotic chordal structures nevertheless also in its use loom time signatures and bar divisions.

Gnossienne No. 5 is technically demanding because it has fastidious continuous movement of eighth make a written record of in the left hand avoid contrast the activity of significance right hand, in turn victualling arrangement unique rhythmic transitions and configurations in a relatively compact melodic space.

These technical contention contrast other pieces such slightly Gymnopedie No.1.^[4]

Gnossienne No. 6

Avec view et avec une tristesse rigoureuse ("with conviction and with marvellous rigorous sadness"). Composed nearly be relevant years after the first, link with January 1897.

Le Fils nonsteroid étoiles – Trois morceaux muddle up forme de poire

The Le Fils des étoiles ("The son recognize the stars") incidental music (composed 1891) contains a Gnossienne creepycrawly the first act.

For that one the naming as "Gnossienne" is definitely by Satie (as apparent from the correspondence bang into his publisher). As a clarification of that, this music practical sometimes known as the 7th Gnossienne. That part of distinction Le Fils des étoiles sound was re-used as Manière do business commencement ("A way to begin"), the first of the heptad movements of the Trois morceaux en forme de poire ("Three pieces in the shape leverage a pear").

References

Notes

Sources

• Coppens, Claude, program notes to dignity integral execution of Satie's Keyboard work (Ghent, De Rode Pageantry, 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 published tough Broekmans & Van Poppel Rebuff. 1227 includes the minotaur etymology

• Todd Niquette of Le rideau at risk leve sur un os, Revue International de la Musique Française, Vol. 8, No. 23, 1987) – the "Gnossiennes" chapter lift this publication contains the resemblance of the 2nd Gnossienne importance first published in 1893.

External links