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English: Originally written for the piano, the Gymnopedies are extremely well-suited to the natural idiomatic expression of the guitar. This arrangement of the Three Gymnopedies comprises ALL the notes of the original piano versions: a complex process since all the piano sounds must fit comfortably, or uncomfortably, onto the six strings of the guitar.
It remains uncertain, however, whether the poem was composed before or after the music. Satie could have picked up the term from a dictionary such as Dominique Mondo's Dictionnaire de Musique, where gymnopédie is defined as a "nude dance, accompanied by song, which youthful Spartan maidens danced on specific occasions", following a similar definition from Jean-Jacques Rousseau's Dictionnaire ...
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 Le Cœur No. 6–7 of September–October 1893 ...
English: Originally written for the piano, the Gymnopedies are extremely well-suited to the natural idiomatic expression of the guitar. This arrangement of the Three Gymnopedies comprises ALL the notes of the original piano versions: a complex process since all the piano sounds must fit comfortably, or uncomfortably, onto the six strings of the guitar.
Satie composed the Trois morceaux en forme de poire in Paris between August and November 1903, during a period of creative crisis. He was unhappy earning a meager living writing and performing cabaret music, and had abandoned his recent "serious" musical projects - the piano piece Le poisson rêveur (1901) and the orchestral tone poem Le Bœuf Angora (c. 1901) - as failures. [2]
Erik Satie in army uniform, 1893 painting by Marcellin Desboutin [1]. The Sarabandes are three dances for solo piano composed in 1887 by Erik Satie.Along with the famous Gymnopédies (1888) they are regarded as his first important works, and the ones upon which his reputation as a harmonic innovator and precursor of modern French music, beginning with Debussy, principally rests. [2]
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