The Gnossiennes are several piano compositions written by the French composer Erik Satie in the late 19th century. The works are for the most part in free time and highly experimental with form, rhythm and chordal structure. The form as well as the term was invented by Satie.
Etymology
Satie's coining of the wordgnossienne was one of the rare occasions when a composer used a new term to indicate a new "type" of composition. Satie used many novel names for his compositions. Ogive, for example, is the name of an architectural element which was used by Satie as the name for a composition, the Ogives. Gnossienne, however, was a word that did not exist before Satie used it as a title for a composition. The word appears to derive from 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"; this interpretation supports the theory linking the Gnossiennes to the myth of Theseus, Ariadne and the Minotaur. Several archeological sites relating to that theme were famously excavated around the time that Satie composed the Gnossiennes. It is possible that Satie may have drawn inspiration for the title of these compositions from a passage in John Dryden's 1697 translation of the Aeneid, in which it is thought the word first appeared:
Let us the land which Heav'n appoints, explore; Appease the winds, and seek the Gnossian shore.
Characteristics
The Gnossiennes were composed by Satie in the decade following the composition of the Sarabandes and the Gymnopédies. 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 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 late 19th century style, and in this sense differ from his early salon compositions, his turn-of-the-century cabaret songs, and his post-Schola Cantorum piano solo compositions, starting with the Préludes flasques in 1912.
'' Gnossiennes''
These Three Gnossiennes were composed around 1890 and first published in 1893. A revision prior to publication in 1893 is not unlikely; the 2ndGnossienne may even have been composed in that year. 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 and in Le Cœur No. 6–7 of September–October 1893. The first grouped publication, numbered as known henceforth, followed in 1913. By this time Satie had indicated 1890 as composition date for all three. The first Gnossienne was dedicated to Alexis Roland-Manuel in the 1913 reprint. The 1893 facsimile print of the 2nd Gnossienne contained a dedication to Antoine de La Rochefoucauld, not repeated in the 1913 print. This de La Rochefoucauld had been a co-founder of Joséphin Péladan's Ordre de la Rose-Croix Catholique et Esthetique du Temple et du Graal in 1891. By the second publication of the first set of three Gnossiennes, Satie had broken already for a long time with all Rosicrucian type of endeavours. Also with respect to the tempo these Gnossiennes follow the Gymnopédies line: slow tempos, respectively Lent, avec étonnement, and again Lent. A sketch containing only two incomplete bars, dated around 1890, shows Satie beginning to orchestrate the 3rd Gnossienne. The first and third Gnossiennes share a similar chordal structures, rhythm and share reference to each other's thematic material.
''Gnossiennes'' Nos. 4–7
The Gnossiennes Nos. 4–6 were published only in 1968, long after Satie's death. None of these appear to have been numbered, not even titled as "Gnossienne" by Satie himself. The sequence of these three Gnossiennes in the 1968 publication by Robert Caby does not correspond with the chronological order of composition. It is extremely unlikely that Satie would have seen these compositions as three members of a single set.
''Gnossienne'' No. 4
Lent. Composition date on the manuscript: 22 January 1891. A facsimile of the four manuscript pages of this composition can be seen . Composed tonally in D minor even though its key signature is empty, the piece features a bass line centred on its minor key, sounding D, A, D, F, A, D, F, D, A, F, D, A, D. The bass part then transposes into a C minor chord I ostinato, following the pattern C, G, C, E, G, C, E, C, G, E, C, G, C. Section B, usually considered a very inspired section, uses semiquavers to contrast the minor melody of Section A.
''Gnossienne'' No. 5
Modéré. Dated 8 July 1889, this was probably Satie's first composition after the 1888 Gymnopédies: in any case it predates all other known Gnossiennes. The work is somewhat uncharacteristic of the other Gnossiennes not only in its upbeat style, rhythms and less exotic chordal structures but also in its use of time signatures and bar divisions.
''Gnossienne'' No. 6
Avec conviction et avec une tristesse rigoureuse. Composed nearly 8 years after the first, in January 1897.
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The Le Fils des étoilesincidental music contains a Gnossienne in the first act. For this one the naming as "Gnossienne" is definitely by Satie. As a result of that, this music is sometimes known as the 7th Gnossienne. That part of the Le Fils des étoiles music was re-used as Manière de commencement, the first of the seven movements of the Trois morceaux en forme de poire.
