Gnossienne

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Gnossienne is the name given to several piano pieces by Erik Satie, composed in the late 19th century.

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[edit] General characteristics

"Gnossienne" is one of a very few occasions where a new word was coined by the composer distinctly intended to indicate a (new) "type" of composition. Satie had used and would use a lot of names for his compositions that never had been used to indicate a piece or type of music before: for example "ogive" had been the name of an architectural element until Satie used it as the name for a composition, the Ogives; similar for "vexations", "croquis et agaceries" and what not, but gnossienne was a word that simply didn't exist before Satie used it to indicate a composition. The word "gnossienne" appears to be derived from the word gnosis, which doesn't appear too surprising since Satie was involved in gnostic sects and movements at the time when starting to compose Gnossiennes. However some published versions claim 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 qualified as "dances". It is however not sure that this qualification comes from Satie – the Saraband and the Gymnopaedia were at least historically known as dances.

The musical vocabulary of the Gnossiennes is a continuation of that of the Gymnopédies (a development that had started with the 1886 Ogives → Sarabandes → Gymnopédies → Gnossiennes) later leading to more harmonic experimentation in compositions like the Danses Gothiques. These series of compositions are all at the core of Satie's characteristic 19th century style, and in this sense differ from his early salon compositions (like the 1885 "Waltz" compositions publised in 1887), his turn-of-the-century cabaret compositions (like the Je te Veux Waltz), and his post-Schola Cantorum piano solo compositions, starting with the Préludes flasques in 1912.

[edit] Trois Gnossiennes (first published 1893)

These Three Gnossiennes were composed around 1890. A revision prior to publication in 1893 is not unlikely, the 2nd Gnossienne may even have been composed in that year (it has "April 1893" as date on the manuscript). The piano solo version of the first three Gnossiennes are without time signatures or bar lines, which is known as "absolute time."

These Gnossiennes were first published in Le Figaro musical Nr. 24 of September 1893 (Gnossiennes Nrs. 1 and 3, the last one of these then still "Nr. 2") and in Le Cœur Nr. 6-7 of September-October 1893 (Gnossienne Nr. 2 printed as facsimile, then numbered "Nr. 6").

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 Gnossienne was dedicated to Roland-Manuel in the 1913 reprint. The 1893 facsimile print of the 2nd Gnossienne contained a dedication to Antoine de La Rochefoucauld, not repeated in the 1913 print. This de La Rochefoucauld had been a co-founder of Joséphin Péladan's Ordre de la Rose-Croix Catholique et Esthetique du Temple et du Graal in 1891. By the second publication of the first set of three Gnossiennes, Satie had broken already for a long time with all Rosicrucian type of endeavours.

Also with respect to the tempo these Gnossiennes follow the Gymnopédies line: slow tempos, respectively "Lent" (French for Lento), "avec étonnement" ("astonished"), and again "Lent".

A sketch containing only two incomplete bars, dated around 1890, shows Satie beginning to orchestrate the 3rd Gnossienne.

[edit] Gnossiennes Nrs. 4-6

The (Trois) Gnossiennes Nrs. 4-6 were only published 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 Gnossiennes in the 1968 publication by Robert Caby 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.

[edit] Gnossienne Nr. 4

Lent. Composition date on the manuscript: 22 January 1891.

A facsimile of the four manuscript pages of this composition can be seen on this page of Niclas Fogwall's Satie website.

The fourth Gnossienne is often considered musically the most interesting one. Composed in A Minor, it features a bass line centred around an A Major Chord VI (F), 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 G, G, C, Eb, G, C, G, C, G, Eb, C, G, C. Section B, usually considered a very inspired section, uses semiquavers to contrast the Minor melody of Section A.

[edit] Gnossienne Nr. 5

Modéré (French for Moderato). Dated 8 July 1889, this was probably Satie's first composition after the 1888 Gymnopédies: in any case it predates all other known Gnossiennes (including the three published in 1893).

[edit] Gnossienne Nr. 6

Avec conviction et avec une tristesse rigoureuse ("with conviction and with a rigorous sadness"). The last Gnossienne in chronological order, composed nearly 8 years after the first, in January 1897.

[edit] Le Fils des étoiles - Trois Morceaux en forme de poire

The Le Fils des étoiles incidental music (composed 1891) contains a Gnossienne 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 7th Gnossienne. That part of the Le Fils des étoiles music was re-used as Manière de commencement ("A way to begin"), the first of the seven movements of the Trois Morceaux en forme de poire.

[edit] Media

[edit] References

  • Coppens, Claude, program notes to the integral execution of Satie's Piano work (Gent, De Rode Pomp, 1-2 December 1995).
  • Gillmor, Alan M., Erik Satie (Twayne Pub., 1988, reissued 1992; 387pp) ISBN 0-393-30810-3
  • Volta, Ornella, Give a dog a bone: Some investigations into Erik Satie, (English translation by Todd Niquette of Le rideau se leve sur un os, Revue International de la Musique Française, Vol. 8, No. 23, 1987) – the "Gnossiennes" chapter of this publication contains the facsimile of the 2nd Gnossienne as first published in 1893.

G. Hengeveld edition of Gnossiennes published by Broekmans & van Poppel No. 1227 includes the minotaur etymology

[edit] External links

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