Tag Archives: Erik Satie

Erik Satie: Gymnopedie 1,2,3 Gnossienne 1,2,3,4

Erik Satie: Gymnopedie 1,2,3 Gnossienne 1,2,3,4

3 Gymnopédies, 6 Gnossiennes

3 Gymnopédies, 6 Gnossiennes -AT D SZ


make muisc part of your life series: Erik Satie – Gnossienne, 5. Modéré (08)


Erik Satie – Gnossienne, 5. Modéré (08)

Erik Satie – Gnossienne, 5. Modéré (08)

Daniel Varsano, Philippe Entremont – Erik Satie: Piano Works

today’s birthday: Jean Cocteau (1889)

Jean Cocteau (1889)

Cocteau was a French author and filmmaker who worked in many artistic mediums. In the years when he was addicted to opium, he produced some of his most important works, including the novel Les Enfants Terribles. In addition to the play La Machine Infernale and the film Beauty and the Beast, Cocteau wrote ballet scenarios and librettos for Erik Satie and Igor Stravinsky, and he illustrated numerous books with his vivid drawings. What was his connection to Pablo Picasso? More… Discuss

great compositions/performances: Erik Satie – 3 Gymnopedies (Ciccolini) video from Rene Clair – Entr’acte (1924)

Erik Satie – 3 Gymnopedies

(piano:  Aldo Ciccolini)

Erik Satie – 3 Gymnopedies
piano: Aldo Ciccolini
1. lent et douloureux 0:00
2. lent et triste 3:05
3. lent et grave 5:30

video from Rene Clair – Entr’acte (1924)

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Erik Satie : Je te veux


From Wikipedia, the free encyclopedia  

Je te veux” (French for I want you) is a song composed by Erik Satie to a text by Henry Pacory. A sentimental waltz, it was written for Paulette Darty, whose accompanist Satie had been for a period of time. The text consists of two verses and a repeated chorus.

The song was registered with SACEM on 20 November 1902, but Roland-Manuel argued it had actually been composed in 1897. Satie composed various versions of theJe te veux waltz: for piano and voice, for an orchestra of brass instruments and for full orchestra (including a Trio). The piano and voice version was first published in 1903.[1]

The melody was performed to the public in 1903 at La Scala. In 1925 the song was recorded with Yvonne George as singer. Je te veux was also recorded by Mathé Altéry,Régine CrespinGigliola NegriNicolaï Gedda and Davide Bassino, and later by sopranos Jessye NormanMarie Devellereau and Angela Gheorghiu. Other notable renditions include the ones by Japanese group ALI PROJECT[2] and Japanese chip musician SAITONE.

John Cage instructs the performer to do the piano and voice version as part of his “Sonnekus²”.[1]


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Erik Satie: Gnossienne No. 1, 2, 3

Erik Satie: Gnossienne No. 1, 2, 3
Pianist: Daniel Varsano
For Gnossienne No. 4 and 5, go to: http://www.youtube.com/watch?v=Lq7yGl…


Erik Satie – Gnossienne No.1

Alfred Eric Leslie Satie (Honfleur, 17 May 1866 — Paris, 1 July 1925) was a French composer and pianist. Starting with his first composition in 1884, he signed his name as Erik Satie.

Satie was introduced as a “gymnopedist” in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a “phonometrograph” or “phonometrician” (meaning “someone who measures (and writes down) sounds”) preferring this designation to that of “musician,” after having been called “a clumsy but subtle technician” in a book on contemporary French composers published in 1911.

In addition to his body of music, Satie also left a remarkable set of writings, having contributed work for a range of publications, from the dadaist 391 to the American Vanity Fair. Although in later life he prided himself on always publishing his work under his own name, in the late nineteenth century he appears to have used pseudonyms such as Virginie Lebeau and François de Paule in some of his published writings.

Satie was a colourful figure in the early 20th century Parisian avant-garde. He was a precursor to later artistic movements such as minimalism, repetitive music and the Theatre of the Absurd.

“Gnossienne” is the name given to several piano pieces by French composer Erik Satie in the late 19th century.
Satie’s coining of the word “gnossienne” was one of the rare occasions when a composer used a new term to indicate a new “type” of composition. Satie had and would use many novel names for his compositions; for example, “ogive” had been the name of an architectural element until Satie used it as the name for a composition, the Ogives Similarly with “vexations”, “croquis et agaceries” and so on—but “gnossienne” was a word that did not exist before Satie used it to indicate a composition. “Gnossienne” appears to be derived from the word gnosis; Satie was involved in gnostic sects and movements at the time that he began to compose the Gnossiennes. However, some published versions claim that the word derives from Cretan “knossos” or “gnossus” and link the Gnossiennes to Theseus, Ariadne and the Minotaur myth.

The Gnossiennes were composed by Satie in the decade following the composition of the Trois Sarabandes (1887) and the Trois Gymnopédies (1888). Like these Sarabandes and Gymnopédies, the Gnossiennes are often considered dances. It is not certain that this qualification comes from Satie himself—the sarabande and the Gymnopaedia were at least historically known as dances. Continue reading

Erik Satie: “Tendrement” – Valse chantée (original)

Text: Vincent Hyspa
Sopran: Sigune von Osten
Klavier: Armin Fuchs

3 Gymnopedies, 6 Gnossiennes -D

Erik Satie
Éric Alfred Leslie Satie (pronounced: [eʁik sati]) (17 May 1866 — Paris, 1 July 1925; signed his name Erik Satie after 1884)

Pascal Rogé
Erik Satie – Piano Dreams – 01 – Gymnopedie N°1

Erik Satie – Piano Dreams – 02 – Gymnopedie N°2
Erik Satie – Piano Dreams – 03 – Gymnopedie N°3
Gnossienne No. 1
Gnossienne No. 2
Gnossienne No. 3
Gnossienne No. 4
Gnossienne No. 5
Gnossienne No. 6

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  • Artist
    Charles Gerhardt

A Universe in A Snowflake

Music: “Gymnopédie No.2″ by Erik Satie
Photography by Kenneth G. Libbrecht: http://www.its.caltech.edu/~atomic/sn…