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| Gymnopedie No. 1 - Erik Satie - Khiem Tran - Gnossienne No.1 |
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One of my favorite classical songs, sorry I
don't own a nice classical guitar, so i just
play it on here. The clips of Planet Earth
works really well, so i put them in. I hope
you like the video!
this song was written for piano. I am not
playing this song to match the beauty of
satie's piano. it's simply too perfect.
Guitarra acústica música
Guitare acoustique musique
Akoestische gitaar muziek
Akustische Gitarrenmusik
Akustisk guitarmusik
ακουστικη κιθαρα
μουσικη
Chitarra acustica musica
Violão música
акустической гитаре
アコースティックギターの音楽
어쿠스틱 기타 음악
原聲吉他音樂
Tags : gymnopedie gymnopédie gymnopédies gymnopaedia classical guitar acoustic erik satie piano planet earth |
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Affichage : 1097
Durée : 159 s |
| Erik Satie - Gnossienne No.5 |
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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.
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.
Artwork:Remedios Varo
Played by:Pascal Rogé
Tags : Erik Satie Gnossienne no5 |
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Affichage : 11548
Durée : 247 s |
| Erik Satie - Gnossienne No.4 |
 |
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.
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.
Artwork:Remedios Varo
Played by:Pascal Rogé
Tags : Erik Satie Gnossienne no4 |
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Affichage : 12113
Durée : 216 s |
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