Gnossienne

The ''Gnossiennes'' () are several piano compositions by the French composer Erik Satie in the late 19th century. The works are for the most part in free time (lacking time signatures or bar divisions) and highly experimental with form, rhythm and chordal structure. The form as well as the term was invented by Satie.

Etymology

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 used many novel names for his compositions (''vexations'', '' croquis et agaceries'' and so on). ''Ogive'', for example, is the name of an architectural element which was used by Satie 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 derive 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"; this interpretation supports the theory linking the ''Gnossiennes'' to the myth of Theseus, Ariadne and the Minotaur. Several archeological sites relating to that theme were famously excavated around the time that Satie composed the ''Gnossiennes''.

Characteristics

The ''Gnossiennes'' were composed by Satie in the decade following the composition of the '' Sarabandes'' (1887) and the (1888). Like these 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'' and the ''Sarabandes'') later leading to more harmonic experimentation in compositions like the '' Danses gothiques'' (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 ('' Je te veux''), and his post- Schola Cantorum piano solo compositions, starting with the ''Préludes flasques (pour un chien)'' in 1912.

A year after the Gnosticism had been re-established in 1890, Satie was introduced to the Rosicrucian sect by his friend Joséphin Péladan. The work is influenced by occultism and esotericism, which spread in France at the end of the 19th century.

'' Gnossiennes''

These ''Three Gnossiennes'' were composed around 1890 and first published in 1893. 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 versions of the first three ''Gnossiennes'' are without time signatures or bar lines, which is known as free time.

These ''Gnossiennes'' were first published in ''Le Figaro musical'' No. 24 of September 1893 (''Gnossiennes'' Nos. 1 and 3, the last one of these then still "No. 2") and in No. 6–7 of September–October 1893 (''Gnossienne'' No. 2 printed as facsimile, then numbered "No. 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 Alexis 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 (French for Lento/slow), ("with astonishment"), and again .

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

The first and third Gnossiennes share a similar chordal structures, rhythm and share reference to each other's thematic material.

''Gnossiennes'' Nos. 4–7

The ''Gnossiennes'' 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 ''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'' No. 4

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

A facsimile of the four manuscript pages of this composition can be see
on this page of Nicolas Fogwall's website

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, E, G, C, E, C, G, E, C, G, C. Section B, usually considered a very inspired section, uses semiquavers to contrast the minor melody of Section A.

''Gnossienne'' No. 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). 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.

''Gnossienne'' No. 6

("with conviction and with a rigorous sadness"). Composed nearly eight years after the first, in January 1897.

–

The ("The son of the stars") 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 music was re-used as ("A way to begin"), the first of the seven movements of the ''Trois morceaux en forme de poire'' ("Three pieces in the shape of a pear").

References

Notes

Sources

* 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)
* G. Hengeveld edition of ''Gnossiennes'' published by Broekmans & Van Poppel No. 1227 includes the minotaur etymology
* Todd Niquette of , , Vol. 8, No. 23, 1987) – the "Gnossiennes" chapter of this publication contains the facsimile of the 2nd ''Gnossienne'' as first published in 1893.

External links

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{{Authority control

Compositions by Erik Satie
Compositions for solo piano
1890 compositions
1891 compositions
1893 compositions