Look For Erik Satie Piano Works at Amazon
|
The ‘trois Gnossiennes’ (1890) is a set of dance-like pieces of similar character, like the earlier composed ‘trois Sarabandes’ (1887) and ‘trois Gymnopédies’ (1888). The ‘trois Gnossiennes’ were basi published by Satie as a set through Rouart, Lerolle & Cie. in 1913. The Gnossiennes carry on in the minimalist style of the Gymnopédies but add embellishments that give the pieces a destinctly oriental feel. Although the pieces are evidently composed in a 4/4 time signature, Satie did not indicate it in the score. He also omitted barlines, leaving one big “bar” for the entire piece. This gives the impression of outstanding freedom for the pianist. The remarks written above the score, like ‘Du bout de la pensée’ (from the tip of the thought) and ‘Postulez en vous même’ (wonder in regards to yourself) also give much room for interpretation. This has proven to be unfeigned since there are few pieces in piano creative writing of recognized artisti value that have been interpretated in such diverse ways as the Gnossiennes. The name ‘Gnossiennes’ may be explained in multiple ways. The ancient Greek word for ‘knowledge’ is ‘gnosis’. Gnosticism was the name of a religious-philosophical faith which has it is origins in Greek doctrine as well as early Christian and Jewish Apocalyptic thoughts. In this faith ‘Gnosis’ stands for ‘True knowledge’, which is supposed 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 interest in partly-heretical views. It is possible that the title of these works is an hommage to gnosticism. The most mutual comprehensible statement nonetheless is that the title refers to the ritual dances performed by the inhabitants of the island of Crete, with it is capitol city Knossos, famous in Greek mythology for the story of it is labyrinth, Theseus and the minotaur. In 1890 Crete was in the news because of archeological excavations. Other works by Satie from the same amount of time were named after dances as well. Namely the ‘Sarabande’, a dance which was introductory introduced in Portugal in 1586 and the ‘Gymnopédie’ which has it is origins in ancient Sparta. Even so, it is very improbable that Satie, a fellow member of the ‘Rose et croix’ from 1891 to 1892, was incognizant of the gnosticism relation when the second Gnossienne was initial publicly performed in 1893. In 1967 french composer Robert Caby (1905-1992) revealed a good deal of of Satie’s posthumous and often times 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 composed in 1891, the fifth in 1889 and the sixth in 1897. These pieces were initial published in 1968 by ed. Salabert. Most helpful customer reviews 47 of 49 people found the following review helpful. 11 of 11 people found the following review helpful. 4 of 4 people found the following review helpful. |
Gymnopedies, Gnossiennes and Other Works for Piano
Content high, binding low