Like the "Gymnopédies", the "Gnossiennes" also allude to ancient Greek traditions. Perhaps inspired by the World Exhibition in Paris in 1889, Satie made use of oriental ornamentation. With his subtle intuition for musical tendencies that were "en vogue", he combined exotic elements with influences from cabaret music and, of course, his own ideas to create something very new. Several of the "Gnossiennes" take one by surprise on account of puzzling fragments of text between the lines of music. According to Satie they were not supposed to be read aloud but to create a secret link between composer and player - a creative challenge, which we are passing on to present-day musicians in our Urtext edition.
- 難易度 (解説)
The six Gnossiennes for piano by Erik Satie (1866–1925) were written over seven-and-a-half years, between July 1889 and January 1897. This is clear both from the dates in the composer’s own hand in the extant manuscripts and from the dates of the preprint publications in the journals Le Cœur and Le Figaro musical. As in the case of his Gymnopédies of 1888, Satie here too … 続き
Avant-garde composer in Paris around 1900 with an extremely unique oeuvre.
|1866||Born in Honfleur on May 17.|
|1874||Organ lessons and introduction to Gregorian chant, which will have a marked effect on his creative work: “Quatre Ogives” for piano (1886) and “Messe des Pauvres” for organ (1895).|
|1879–87||Studies at the Conservatoire de Paris.|
|from 1887||In Montmartre he makes his living variously as musical director of the shadow theater at the Chat Noir and as a pianist at the Auberge du Clou. He adopts the musical language of the music hall and the cabaret: e.g. “Trois morceaux en forme de poire” (“Three Pieces in the Shape of a Pear”) for piano, four-hands (1903).|
|1891–92||He joins the eccentric circle of the “Ordre de la Rose-Croix Catholique du Temple et du Graal” around Sâr Péladan and composes avant-garde music for it: “Le Fils des étoiles” (incidental music) with stacks of fourths, “Trois Sonneries de la Rose + Croix.”|
|1893||“Vexations” for piano, which is to be repeated 840 times.|
|1905–08||Studies at the Schola Cantorum in Paris to improve his compositional technique.|
|1911||Ravel’s performances of his compositions bring Satie recognition as a composer.|
|from 1912||New compositional phase: piano pieces whose underlaid texts are to be read aloud to further thwart the musical process (alienation of patterns): “Véritables préludes flasques (pour un chien)” (“True Flabby Preludes for a Dog,” 1912), “Descriptions automatiques” (1913), “Sports & Divertissements” (1914), “Sonatine bureaucratique” (1917).|
|1916/17||Ballet “Parade” with Cocteau and Picasso.|
|1917/18||“Socrate (drame symphonique)”, one of the primary works of neoclassicism.|
|1925||Death in Paris on July 1.|