Read Gymnopédies, Gnossiennes and Other Works for Piano (Dover Music for Piano) by Erik Satie Free Online
Book Title: Gymnopédies, Gnossiennes and Other Works for Piano (Dover Music for Piano)|
The author of the book: Erik Satie
Edition: Dover Publications
Date of issue: December 31st 2012
Format files: PDF
The size of the: 6.47 MB
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Reader ratings: 5.5
ISBN: No data
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Read full description of the books:
Erik Satie wrote some of my favorite piano music of the 20th century.
Reproduced here in this boook are a selection of a number of his most famous and most beautiful piano pieces.
Some of them seem extremely simple to play - there are a handful here that I, an untrained piano player, can *almost* play, with much practice, at an excruciatingly slow tempo.
Other of the pieces would seem to be next to impossible for a human being to play without assistance of one kind or another.
What's interesting about Satie's scores, however, besides the music, are his little directions to the player, the very vague, evocative, sometimes dadaistic instructions ("Without spite." "In a corner." "Cantabile." "Much." "Light as an egg."). This book is worth reading even if you don't play piano or read music.
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Read information about the authorÉric Alfred Leslie Satie (17 May 1866 – Paris, 1 July 1925; signed his name Erik Satie after 1884) was a French composer and pianist. Satie was a colourful figure in the early 20th century Parisian avant-garde. His work was a precursor to later artistic movements such as minimalism, repetitive music, and the Theatre of the Absurd.
An eccentric, 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 "phonometrician" (meaning "someone who measures sounds") preferring this designation to that of a "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 top culture chronicle 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.