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Gymnopédie No.1
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Przeglądaj nuty fortepianowe artysty Erik Satie w Zen Virtual Piano. Erik Satie’s Gymnopédies are each about three minutes long, or nine to ten minutes if played in full, and are known for their melancholy mood and slight dissonance. They are among his best-known compositions. Pieces of about three minutes each, with a melancholy mood, make a compact way into a composer’s work. Satie was born in Honfleur, France, on 17 May 1866, studied at the Paris Conservatory, dropped out and later worked as a café pianist. In the 1880s he played in the café-cabarets of Montmartre and began composing, mostly for solo piano, including his Gymnopédies and Gnossiennes. The cabaret keyboard and the piano pieces belong to the same years, which suggests a composer who worked between café tables. His music was the first definite break with 19th-century French Romanticism, that it refused grandiose sentiment and traditional forms, and that it often took the form of parody, with flippant titles such as Three Pieces in the Shape of a Pear (1903) and Desiccated Embryos (1913) and playing directions such as “with much illness” or “light as an egg.” A pear-shaped title and an egg-light direction put a joke in the place where a solemn marking would normally sit. About 1890 he became associated with the Rosicrucian movement and wrote several works under its influence, notably the Messe des pauvres, composed in 1895. Rosicrucian inspiration for one work and typewriters for another place the sacred and the comic within one career. His 1917 ballet Parade, choreographed by Léonide Massine with a scenario by Jean Cocteau and sets and costumes by Pablo Picasso, was scored for typewriters, sirens, airplane propellers, ticker tape and a lottery wheel. Typewriters in the orchestra and sets and costumes by Picasso show how far the work sat from the concert-hall norm. About 1917 the young composers known as Les Six adopted him as their patron saint, and the School of Arcueil, a group including Darius Milhaud, Henri Sauguet and Roger Désormière, was later formed in his honour. He was deeply admired by composers such as Milhaud and Maurice Ravel, and was an intimate friend of Claude Debussy for close to 30 years. From 1898 he lived alone in Arcueil, a Paris suburb, cultivating an eccentric mode of life and permitting no one to enter his apartment, and he died in Paris on 1 July 1925. A man who kept his door closed and whose music attracted whole groups of younger composers makes a quiet contrast of private habit and public influence.
Przeglądaj nuty fortepianowe artysty Erik Satie w Zen Virtual Piano.
Erik Satie’s Gymnopédies are each about three minutes long, or nine to ten minutes if played in full, and are known for their melancholy mood and slight dissonance. They are among his best-known compositions. Pieces of about three minutes each, with a melancholy mood, make a compact way into a composer’s work.
Satie was born in Honfleur, France, on 17 May 1866, studied at the Paris Conservatory, dropped out and later worked as a café pianist. In the 1880s he played in the café-cabarets of Montmartre and began composing, mostly for solo piano, including his Gymnopédies and Gnossiennes. The cabaret keyboard and the piano pieces belong to the same years, which suggests a composer who worked between café tables.
His music was the first definite break with 19th-century French Romanticism, that it refused grandiose sentiment and traditional forms, and that it often took the form of parody, with flippant titles such as Three Pieces in the Shape of a Pear (1903) and Desiccated Embryos (1913) and playing directions such as “with much illness” or “light as an egg.” A pear-shaped title and an egg-light direction put a joke in the place where a solemn marking would normally sit. About 1890 he became associated with the Rosicrucian movement and wrote several works under its influence, notably the Messe des pauvres, composed in 1895. Rosicrucian inspiration for one work and typewriters for another place the sacred and the comic within one career. His 1917 ballet Parade, choreographed by Léonide Massine with a scenario by Jean Cocteau and sets and costumes by Pablo Picasso, was scored for typewriters, sirens, airplane propellers, ticker tape and a lottery wheel. Typewriters in the orchestra and sets and costumes by Picasso show how far the work sat from the concert-hall norm.
About 1917 the young composers known as Les Six adopted him as their patron saint, and the School of Arcueil, a group including Darius Milhaud, Henri Sauguet and Roger Désormière, was later formed in his honour. He was deeply admired by composers such as Milhaud and Maurice Ravel, and was an intimate friend of Claude Debussy for close to 30 years. From 1898 he lived alone in Arcueil, a Paris suburb, cultivating an eccentric mode of life and permitting no one to enter his apartment, and he died in Paris on 1 July 1925. A man who kept his door closed and whose music attracted whole groups of younger composers makes a quiet contrast of private habit and public influence.
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