Gnossienne

"Gnossienne" is the name given to several piano pieces by French composer Erik Satie in the late 19th century.

Characteristics

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 ("vexations", "croquis et agaceries" and so on). "Ogive," for example, had been the name of an architectural element until Satie used it as the name for a composition, the "Ogives". "Gnossienne," however, was a word that did not exist before Satie used it as a title for a composition. The word appears to be derived from "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.

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 published 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.

"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".

"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.

"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 [http://www.af.lu.se/~fogwall/gnoss4.html 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.

"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).

"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.

"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".

Media

References

* Coppens, Claude, program notes to the integral execution of Satie's Piano work (Ghent, De Rode Pomp, 1-2 December 1995).
* Gillmor, Alan M., "Erik Satie" (Twayne Pub., 1988, reissued 1992; 387pp) ISBN 0-393-30810-3
* G. Hengeveld edition of Gnossiennes published by Broekmans & van Poppel No. 1227 includes the minotaur etymology
* 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.
* Volta, Ornella, [http://www.af.lu.se/~fogwall/articl10.html "Give a dog a bone: Some investigations into Erik Satie"] , (English translation by

External links

* [http://pianosociety.com/new/phpBB2/viewtopic.php?p=211#211 "Trois Gnossiennes" on the Piano Society website] (contains MP3 recordings of the first three "Gnossiennes", requires registration)
*Various media files relating to the 4th, 5th, 6th and 7th "Gnossiennes" can be found on the [http://www.af.lu.se/~fogwall/samples.html "Music samples" page of Niclas Fogwall's Satie website]
*Music for all 7 Gnosssiennes can be dowloaded from [http://www.howardharrisonmusic.com/page13.htm Howard Harrison Music]