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is technically demanding because it has a continuous movement of eighth notes in the left hand that contrast the activity of the right hand, in turn providing unique rhythmic transitions and configurations in a relatively compact musical space. These technical demands contrast other pieces such as
1197:
588:
Composed tonally in D minor even though its key signature is empty, the piece features a bass line centred on its minor key, sounding D, A, D, F, A, D, F, D, A, F, D, A, D. The bass part then transposes into a C minor chord I ostinato, following the pattern C, G, C,
173:(1893). These series of compositions are all at the core of Satie's characteristic late 19th century style, and in this sense differ from his early salon compositions (like the 1885 "Waltz" compositions published in 1887), his turn-of-the-century cabaret songs (
633:(including the three published in 1893). The work is somewhat uncharacteristic of the other Gnossiennes not only in its upbeat style, rhythms and less exotic chordal structures but also in its use of time signatures and bar divisions.
55:(lacking time signatures or bar divisions) and highly experimental with form, rhythm and chordal structure. The form was invented by Satie but the term itself existed in French literature before Satie's usage.
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in the first act. For this one the naming as "Gnossienne" is definitely by Satie (as apparent from the correspondence with his publisher). As a result of that, this music is sometimes known as the
556:
Nos. 4–6 were published only in 1968, long after Satie's death. None of these appear to have been numbered, nor even titled as "Gnossienne" by Satie himself. The sequence of these three
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is contentious, but the word existed in French literature before Satie's usage, and is in the 1865 Larousse
Dictionary, referring to the ritual labyrinth dance created by
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does not correspond with the chronological order of composition. It is extremely unlikely that Satie would have seen these compositions as three members of a single set.
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The first grouped publication, numbered as known henceforth, followed in 1913. By this time Satie had indicated 1890 as composition date for all three. The first
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Le premier vestige du chœur remonte jusqu'à Thésée, vainqueur du
Minotaure, lequel, diton, institua plusieurs rites commémoratifs, entre autres la danse
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382:'s Ordre de la Rose-Croix Catholique et Esthetique du Temple et du Graal in 1891. By the time of the second publication of the first set of three
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1836, p29; Maury, L-F Histoire des religions de la Grèce antique, 1857 vII p184; Becq de Fouquières, L. Les jeux des anciens, 1869 p 76
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may even have been composed in that year (it has "April 1893" as date on the manuscript). The piano solo versions of the first three
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607:, C, G, C. Section B, usually considered a very inspired section, uses semiquavers to contrast the minor melody of Section A.
740:. Vol. IV. Paris: Administration du Grande Dictionnaire Universel. p. 170. Archived from the original on 2023-12-07
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were composed around 1890 and first published in 1893. A revision prior to publication in 1893 is not unlikely; the 2nd
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A sketch containing only two incomplete bars, dated around 1890, shows Satie beginning to orchestrate the 3rd
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916:, Vol. 8, No. 23, 1987) – the "Gnossiennes" chapter of this publication contains the facsimile of the 2nd
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The first and third
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Fête donnée par des
Chevaliers Normands en l'honneur d'une jeune demoiselle (XIe siecle)
829:"Some Aspects of Rhythm and Expression in Performances of Erik Satie's Gnossienne No. 5"
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378:, not repeated in the 1913 print. This de La Rochefoucauld had been a co-founder of
625:). Dated 8 July 1889, this was probably Satie's first composition after the 1888
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140:. It is not certain that this qualification comes from Satie himself – the
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A facsimile of the four manuscript pages of this composition can be seen
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were composed by Satie in the decade following the composition of the
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684:("The son of the stars") incidental music (composed 1891) contains a
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872:, program notes to the integral execution of Satie's Piano work (
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Nos. 1 and 3, the last one of these then still "No. 2") and in
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had been re-established in 1890, Satie was introduced to the
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sects and movements at the time that he began to compose the
51:
in the late 19th century. The works are for the most part in
704:("A way to begin"), the first of the seven movements of the
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are without time signatures or bar lines, which is known as
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82:
Another explanation is that the word appears to derive from
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Erike Satie's Trois
Gnossiennes in the French fin de siècle
386:, Satie had for some time disassociated himself from the
370:
in the 1913 reprint. The 1893 facsimile print of the 2nd
212:, which spread in France at the end of the 19th century.
47:) are several piano compositions by the French composer
578:. Composition date on the manuscript: 22 January 1891.
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1468:Sonnerie pour réveiller le bon gros Roi des Singes
1505:Metropolitan Church of Art of Jesus the Conductor
1384:Choses vues Ă droite et Ă gauche (sans lunettes)
1240:Les trois valses distinguées du précieux dégoûté
764:: CS1 maint: bot: original URL status unknown (
655:Avec conviction et avec une tristesse rigoureuse
1163:Croquis et agaceries d'un gros bonhomme en bois
159:(a development that had started with the 1886
1454:Petit prélude de 'La Mort de Monsieur Mouche'
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8:
1391:Cinq grimaces pour Le songe d'une nuit d'été
1345:Veritables Preludes flasques (pour un chien)
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801:. University of Birmingham. pp. 64, 2.
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148:were at least historically known as dances.
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75:, first described in the "Hymn to Delos" by
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738:Grand dictionnaire universel du XIXe siècle
183:piano solo compositions, starting with the
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883:(Twayne Pub., 1988, reissued 1992; 387pp)
629:: in any case it predates all other known
937:International Music Score Library Project
710:("Three pieces in the shape of a pear").
583:on this page of Nicolas Fogwall's website
901:No. 1227 includes the minotaur etymology
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1289:Prélude de la porte héroïque du ciel
792:Simmons, Alexat (November 1, 2012).
1366:Vieux sequins et vieilles cuirasses
876:, De Rode Pomp, 1–2 December 1995).
351:No. 6–7 of September–October 1893 (
543:Problems playing these files? See
305:Problems playing these files? See
71:to celebrate his victory over the
14:
1296:Préludes flasques (pour un chien)
1219:Heures séculaires et instantanées
417:("with astonishment"), and again
186:Préludes flasques (pour un chien)
155:is a continuation of that of the
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707:Trois morceaux en forme de poire
670:Trois morceaux en forme de poire
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405:line: slow tempos, respectively
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16:Piano compositions by Erik Satie
1156:Chapitres tournés en tous sens
827:Clarke, Eric F. (1985-04-01).
732:Larousse, Pierre, ed. (1869).
151:The musical vocabulary of the
1:
780:Les origins du théâtre modern
1511:The Minimalism of Erik Satie
1057:Trois petites pièces montées
204:. The work is influenced by
1623:Compositions for solo piano
920:as first published in 1893.
907:Le rideau se leve sur un os
560:in the 1968 publication by
376:Antoine de La Rochefoucauld
1654:
1618:Compositions by Erik Satie
1525:Musée-Placard d'Erik Satie
1352:Verset laĂŻque et somptueux
1324:Sonneries de la Rose+Croix
899:Broekmans & Van Poppel
535:Performed 16 November 2010
514:Performed 16 November 2010
493:Performed 16 November 2010
472:Performed 16 November 2010
374:contained a dedication to
359:, then numbered "No. 6").
341:No. 24 of September 1893 (
297:Performed 16 November 2010
276:Performed 16 November 2010
255:Performed 16 November 2010
63:The etymology of the word
1551:
1331:Sports et divertissements
1261:Petite ouverture Ă danser
1177:Descriptions automatiques
979:
411:(French for Lento/slow),
393:Also with respect to the
893:G. Hengeveld edition of
337:were first published in
88:. Satie was involved in
1317:Sonatine bureaucratique
1149:Avant-dernières pensées
1096:Quatre petites mélodies
1075:Bonjour Biqui, Bonjour!
701:Manière de commencement
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25:Erik Satie (1891), by
698:music was re-used as
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136:are often considered
40:French pronunciation:
24:
1405:Geneviève de Brabant
1142:Aperçus désagréables
1117:Trois poèmes d'amour
1050:La belle excentrique
982:List of compositions
368:Alexis Roland-Manuel
1447:Les Pantins dansent
1433:Le Fils des Ă©toiles
1426:La statue retrouvée
1419:La Diva de l'Empire
695:Le Fils des Ă©toiles
692:. That part of the
680:Le Fils des Ă©toiles
664:Le Fils des Ă©toiles
122:(1888). Like these
1440:Le piège de Méduse
1398:En habit de cheval
1376:Other compositions
1282:Prélude d'Eginhard
1184:Embryons desséchés
879:Gillmor, Alan M.,
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1628:1890 compositions
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1233:Le poisson rĂŞveur
1089:Messe des pauvres
904:Todd Niquette of
760:cite encyclopedia
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366:was dedicated to
355:No. 2 printed as
339:Le Figaro musical
316:Three Gnossiennes
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118:Trois Gymnopédies
44:[ɡnosjɛn]
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1539:(1921 sculpture)
1530:Surrealist music
1478:Related articles
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1028:Orchestral works
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935:: Scores at the
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833:Music Perception
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1496:(1924 film)
1275:Poudre d'or
1212:Gymnopédies
1205:Gnossiennes
1127:Piano music
1067:Vocal music
932:Gnossiennes
895:Gnossiennes
631:Gnossiennes
627:Gymnopédies
562:Robert Caby
558:Gnossiennes
554:Gnossiennes
438:Gnossiennes
403:Gymnopédies
401:follow the
399:Gnossiennes
388:Rosicrucian
384:Gnossiennes
343:Gnossiennes
335:Gnossiennes
324:Gnossiennes
222:Gnossiennes
210:esotericism
157:Gymnopédies
153:Gnossiennes
146:gymnopaedia
134:Gnossiennes
130:Gymnopédies
106:Gnossiennes
94:Gnossiennes
77:Callimachus
35:Gnossiennes
27:Ramon Casas
1612:Categories
1412:Je te veux
1310:Sarabandes
1191:Enfantines
973:Erik Satie
918:Gnossienne
881:Erik Satie
751:gnossienne
744:2023-12-07
714:References
686:Gnossienne
647:Gnossienne
612:Gnossienne
569:Gnossienne
545:media help
428:Gnossienne
390:movement.
372:Gnossienne
364:Gnossienne
353:Gnossienne
320:Gnossienne
307:media help
194:Gnosticism
176:Je te veux
165:Sarabandes
125:Sarabandes
111:Sarabandes
65:gnossienne
49:Erik Satie
1518:Monotones
1493:Entr'acte
1486:A Romance
1359:Vexations
1247:Nocturnes
853:0730-7829
807:858000405
601:, C, G, E
595:, G, C, E
357:facsimile
328:free time
206:occultism
189:in 1912.
142:sarabande
59:Etymology
53:free time
1562:Category
1536:The Gift
1521:(ballet)
623:Moderato
604:♭
598:♭
592:♭
440:Nos. 4–7
163:and the
144:and the
73:Minotaur
1135:Allegro
1103:Socrate
1082:Ludions
1018:Relâche
1004:Mercure
989:Ballets
864:Sources
812:May 13,
734:"Chœur"
348:Le CĹ“ur
90:gnostic
69:Theseus
1588:Portal
1254:Ogives
1011:Parade
887:
851:
805:
619:Modéré
397:these
333:These
314:These
161:Ogives
138:dances
132:, the
85:gnosis
1574:Audio
1036:Danse
874:Ghent
799:(PDF)
719:Notes
649:No. 6
614:No. 5
571:No. 4
395:tempo
219:Trois
885:ISBN
849:ISSN
814:2021
803:OCLC
766:link
676:The
576:Lent
552:The
420:Lent
408:Lent
208:and
128:and
104:The
79:.
32:The
841:doi
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910:,
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762:}}
758:{{
747:.
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768:)
589:E
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309:.
38:(
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