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Performed 16 November Problems playing these files? See media help. The Gnossiennes Nos. None of these appear to have been numbered, not even titled as "Gnossienne" by Satie himself. The sequence of these three Gnossiennes in the 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. Composition date on the manuscript: 22 January Section B, usually considered a very inspired section, uses semiquavers to contrast the minor melody of Section A.
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. Composed nearly 8 years after the first, in January For this one the naming as "Gnossienne" is definitely by Satie as apparent from the correspondence with his publisher.
As a result of that, this music is sometimes known as the 7th Gnossienne. London: Jacob Tonson, Book III, line Gillmor, Alan M.
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Satie, Erik – Gnossienne No. 1
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Gnossienne No 1
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