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Derivation of erik saties gnossiennes - music


The 'trois Gnossiennes' (1890) is a set of dance-like pieces of analogous character, like the beforehand cool, calm and collected 'trois Sarabandes' (1887) and 'trois Gymnopédies' (1888). The 'trois Gnossiennes' were first available by Satie as a set all the way through Rouart, Lerolle & Cie. in 1913.

The Gnossiennes go on in the minimalist style of the Gymnopédies but add knick-knacks that give the pieces a destinctly oriental feel. Though the pieces are evidently poised in a 4/4 time signature, Satie did not denote it in the score. He also absent barlines, leave-taking one big "bar" for the complete piece. This gives the consciousness of great autonomy for the pianist. The explanation printed above the score, like 'Du bout de la pensée' (from the tip of the thought) and 'Postulez en vous même' (wonder about yourself) also give much room for interpretation. This has proven to be true since there are few pieces in piano journalism that have been interpretated in such diverse ways as the Gnossiennes.

The name 'Gnossiennes' can be explained in manifold ways. The antediluvian Greek word for 'knowledge' is 'gnosis'. Gnosticism was the name of a religious-philosophical belief which has its origins in Greek thinking as well as early Christian and Jewish Apocalyptic thoughts. In this belief 'Gnosis' stands for 'True knowledge', which is believed to lead man to true emancipation. Gnosticism also played a great role in the beliefs of Joséphin Péladan's (1859-1918) 'Rose et croix' sect. Satie's collaboration with Péladan led him to take an advantage in partly-heretical views. It is likely that the title of these works is an hommage to gnosticism.

The most communal clarification in spite of this is that the title refers to the ritual dances performed by the inhabitants of the island of Crete, with its capitol city Knossos, eminent in Greek mythology for the story of its labyrinth, Theseus and the minotaur. In 1890 Crete was in the news for the reason that of archeological excavations. Other works by Satie from the same cycle were named after dances as well. I. e. the 'Sarabande', a dance which was first introduced in Portugal in 1586 and the 'Gymnopédie' which has its origins in antediluvian Sparta. Even so, it is very doubtful that Satie, a affiliate of the 'Rose et croix' from 1891 to 1892, was ignorant of the gnosticism relative when the agree with Gnossienne was first openly performed in 1893.

In 1967 french composer Robert Caby (1905-1992) exposed many of Satie's posthumous and often untitled works, taken from sketchbooks and manuscripts. He named three of these pieces Gnossienne. These became Gnossienne 4, 5 and 6 respectively. The piece known as the fourth Gnossienne was calm in 1891, the fifth in 1889 and the sixth in 1897. These pieces were first in print in 1968 by ed. Salabert.

Joffrey Wallaart ongoing the Piano Association website to give the broadcast easy approach to classical piano music.

http://www. pianosociety. com


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