[var.fbMeta;htmlconv=no]

[var.lang_video_categories]

    [var.popular_categories;htmlconv=no]
[var.message;htmlconv=no]
Erik Satie - Gymnopédie No1  Orchestra
Erik Satie - Gymnopédie No1 Orchestra Title: Erik Satie - Gymnopédie No.1 ( Orchestra ) From Wikipedia, The Gymnopédies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist, Erik Satie. These short, atmospheric pieces are written in 3/4 time, with each sharing a common theme and structure. Collectively, the Gymnopédies are regarded as the precursors to modern ambient music[citation needed] - gentle yet somewhat eccentric pieces which, when composed, defied the classical tradition. For instance, the first few bars feature a disjunct chordal theme in the bass - first, a G-major 7th in the bass, and then a B-minor chord, also in the lower register. Then comes the one-note theme in D major. Although the collection of chords at first seems too complex to be harmonious, the melody soon imbues the work with a soothing atmospheric quality. Satie himself used the term "furniture music" to refer to some of his pieces, implying they could be used as mood-setting background music. However, Satie used this term to refer to only some of his later, 20th century compositions, without specific reference to the Gymnopédies as background music. From the second half of the 20th century on, the Gymnopédies were often erroneously described as part of Satie's body of furniture music, perhaps due to John Cage's interpretation of them.
Je te veux ~ Eric Alfred Leslie Satie ~ Philippe Entremont
Je te veux ~ Eric Alfred Leslie Satie ~ Philippe Entremont Je te veux Philippe Entremont Eric Alfred Leslie Satie フィリップ・アントルモン(ピアノ) ジュ・トゥ・ヴーエリック・アルフレッド・レスリ・サティ
Erik Satie - Gymnopédie No.1
Erik Satie - Gymnopédie No.1 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. The Gymnopédies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist, Erik Satie. These short, atmospheric pieces are written in 3/4 time, with each sharing a common theme and structure. Collectively, the Gymnopedies ...
Erik Satie - Gymnopédie No.1 ( Orchestra )
Erik Satie - Gymnopédie No.1 ( Orchestra ) Title: Erik Satie - Gymnopédie No.1 ( Orchestra ) From Wikipedia, The Gymnopédies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist, Erik Satie. These short, atmospheric pieces are written in 3/4 time, with each sharing a common theme and structure. Collectively, the Gymnopédies are regarded as the precursors to modern ambient music[citation needed] - gentle yet somewhat eccentric pieces which, when composed, defied the classical tradition. For instance, the first few bars feature a disjunct chordal theme in the bass - first, a G-major 7th in the bass, and then a B-minor chord, also in the lower register. Then comes the one-note theme in D major. Although the collection of chords at first seems too complex to be harmonious, the melody soon imbues the work with a soothing atmospheric quality. Satie himself used the term "furniture music" to refer to some of his pieces, implying they could be used as mood-setting background music. However, Satie used this term to refer to only some of his later, 20th century compositions, without specific reference to the Gymnopédies as background music. From the second half of the 20th century on, the Gymnopédies were often erroneously described as part of Satie's body of furniture music, perhaps due to John Cage's interpretation of them.
Erik Satie Gymnopédie No. 1 - Tzvi Erez, piano
Erik Satie Gymnopédie No. 1 - Tzvi Erez, piano iTunes link itunes.apple.com This is a recording of Satie's First Gymnopédie, performed on a Bosendorfer piano. Unlike other pianists, I play this composition with full chords in the left hand, not using the right hand to take over notes. From my analysis of Satie's original manuscript, he did not indicate to break chords between the hands. Part of "Intimate Recital". 2010 Niv Classical. www.nivmusic.com
Erik Satie - Gymnopédie No.2
Erik Satie - Gymnopédie No.2 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. The Gymnopédies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist, Erik Satie. These short, atmospheric pieces are written in 3/4 time, with each sharing a common theme and structure. Collectively, the Gymnopedies ...
Erik Satie: Gymnopédie No. 1
Erik Satie: Gymnopédie No. 1 Erik Satie: Gymnopédie No. 1 (from "Trois Gymnopédies") Piano: Lars Roos
Erik Satie - Gymnopédie No. 1 - Visual Score
Erik Satie - Gymnopédie No. 1 - Visual Score Visual Score of Satie's Gymnopedie. Audio performed by George Nascimento.
Erik Satie Gnossienne No. 1 by Tzvi Erez, piano
Erik Satie Gnossienne No. 1 by Tzvi Erez, piano Tzvi Erez performs Satie's First Gnossienne in F minor. Satie composed this Gnossienne in 1890, and dedicated it to Roland Manuel. An eccentric, Satie composed this Gnossienne with no time signature and no bar markings. Tempo marked Lent (slow). Performed and recorded on a Bosendorfer. This composition was featured in the movie The Painted Veil. Part of the new upcoming release "Intimate Recital". 2010 Niv Classical. id417.van.ca.securedata.net
Trois Gymnopedies -Erik Satie
Trois Gymnopedies -Erik Satie The Gymnopedies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist, Erik Satie. These short, atmospheric pieces are written in 3/4 time, with each sharing a common theme and structure. Collectively, the Gymnopedies are regarded as the precursors to modern ambient music - gentle yet somewhat eccentric pieces which, when composed, defied the classical tradition. For instance, the first few bars feature a disjunct chordal theme in the bass - first, a G-major 7th in the bass, and then a B-minor chord, also in the lower register. Then comes the one-note theme in D major. Although the collection of chords at first seems too complex to be harmonious, the melody soon imbues the work with a soothing atmospheric quality. Satie himself used the term "furniture music" to refer to some of his pieces, implying they could be used as mood-setting background music. However, Satie used this term to refer to only some of his later, 20th century compositions, without specific reference to the Gymnopedies as background music. From the second half of the 20th century on, the Gymnopedies were often erroneously described as part of Satie's body of furniture music, perhaps due to John Cage's interpretation of them.
YesNo