From today my new album with music by Erik Satie is available on streaming platforms: [ Ссылка ]

00:00 Gymnopédie No. 1
03:20 Gymnopédie No. 2
06:25 Gymnopédie No. 3
09:33 Gnossienne No. 1
13:24 Gnossienne No. 2
16:05 Gnossienne No. 3
19:26 Gnossienne No. 4
22:51 Gnossienne No. 5
26:08 Gnossienne No. 6
28:35 Gnossienne No. 6 (Alternative Version)

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Erik Satie: Gymnopédies & Gnossiennes

1. Trois Gymnopedies, IES 26: No. 1 Lent et douloureux
2. Trois Gymnopedies, IES 26: No. 2 Lent et triste
3. Trois Gymnopedies, IES 26: No. 3 Lent et grave
4. Gnossienne, IES 24: No.1: Lent
5. Gnossienne, IES 24: No.2: Avec étonnement
6. Gnossienne, IES 24: No.3: Lent
7. Gnossienne, IES 24: No.4: Lent
8. Gnossienne, IES 24: No.5: Moderé
9. Gnossienne, IES 24: No.6: Avec conviction et avec une tristesse rigorous
10. Gnossienne, IES 24: No.6: Avec conviction et avec une tristesse rigorous (Alternative Version)



Eric Alfred Leslie Satie (17 May 1866 – 1 July 1925), who signed his name Erik Satie after 1884, was a French composer and pianist. He was the son of a French father and a British mother. He studied at the Paris Conservatoire, but was an undistinguished student and obtained no diploma. In the 1880s he worked as a pianist in café-cabaret in Montmartre, Paris, and began composing works, mostly for solo piano, such as his Gymnopédies. He also wrote music for a Rosicrucian sect to which he was briefly attached.

After a spell in which he composed little, Satie entered Paris's second music academy, the Schola Cantorum, as a mature student. His studies there were more successful than those at the Conservatoire. From about 1910 he became the focus of successive groups of young composers attracted by his unconventionality and originality. Among them were the group known as Les Six. A meeting with Jean Cocteau in 1915 led to the creation of the ballet Parade (1917) for Serge Diaghilev, with music by Satie, sets and costumes by Pablo Picasso, and choreography by Léonide Massine.

Satie's example guided a new generation of French composers away from post-Wagnerian impressionism towards a sparer, terser style. Among those influenced by him during his lifetime were Maurice Ravel and Francis Poulenc, and he is seen as an influence on more recent, minimalist composers such as John Cage and John Adams. His harmony is often characterised by unresolved chords, he sometimes dispensed with bar-lines, as in his Gnossiennes, and his melodies are generally simple and often reflect his love of old church music.

...In the late 1880s Satie styled himself on at least one occasion "Erik Satie – gymnopédiste", and his works from this period include the three Gymnopédies (1888) and the first Gnossiennes (1889 and 1890). He earned a modest living as pianist and conductor at the Chat Noir, before falling out with the proprietor and moving to become second pianist at the nearby Auberge du Clou. There he became a close friend of Claude Debussy, who proved a kindred spirit in his experimental approach to composition. Both were bohemians, enjoying the same café society and struggling to survive financially. At the Auberge du Clou Satie first encountered the flamboyant, self-styled "Sâr" Joséphin Péladan, for whose mystic sect, the Ordre de la Rose-Croix Catholique du Temple et du Graal, he was appointed composer. This gave him scope for experiment, and Péladan's salons at the fashionable Galerie Durand-Ruel gained Satie his first public hearings. Frequently short of money, Satie moved from his lodgings in the 9th arrondissement to a small room in the rue Cortot not far from Sacre-Coeur, so high up the Butte Montmartre that he said he could see from his window all the way to the Belgian border.



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Erik Satie - Gymnopédies & Gnossiennes full album
Once Upon A Time In Paris

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