SATIE/CELLIER Gnossienne N°1 - Clarinet Bb and harp or piano - STRADIVARIUS Editions скачать в хорошем качестве

SATIE/CELLIER Gnossienne N°1 - Clarinet Bb and harp or piano - STRADIVARIUS Editions

Erik SATIE Gnossienne N°1 - Arranged for Clarinet Bb and harp or piano by Frédéric Cellier © STRADIVARIUS Editions, 2002. Frédéric CELLIER clarinet Selmer Récital" and Elizabeth FONTAN-BINOCHE harp. Recorded at the Chapelle des Pénitents Gris in Villeneuve-lès-Avignon, France, by Jean-Louis LARCEBEAU - ISTS, 2002. STRADIVARIUS Editions https://stradivarius-editions.com/bun... https://stradivarius-editions.com/bun... https://stradivarius-editions.com/cla... https://stradivarius-editions.com/cla... The Gymnopédies have rightly been described as very slow waltzes whose suspension in time borders on its dissolution. It's worth noting that Satie, after having been a pianist at the cabaret Le chat noir, was a "tapper for hire" at L'auberge du clou, where he met Debussy, and although he didn't "commit" his own waltzes Je te veux, Poudre d'or and Tendrement until 1900, he knew the throbbing vertigo of the three-beat rhythm like the back of his hand, to the point of nausea. That the Gymnopédies may have been born under the slowed-down fingers of the exhausted pianist one particularly long, boring evening has always seemed to me the most likely hypothesis for their nostalgic slowness. More exotic, the Gnossiennes may have been inspired by some of the music at the 1889 Exposition Universelle. While Debussy's attention to the Javanese kampong was noted there, the influence of the musicians in the Romanian pavilion on the composer of the Gnossiennes is too little known. Like him and before him, they "enjoy these slow movements, which lend themselves so well to the expression of the contemplative, dreamy feelings they seem to carry within them. Often, the song of the violin or flute, sustained by prolonged minor chords, sometimes for a very long time without changing, has the character of a very free and barely drawn improvisation: the result is a vague and monotonous impression, with a lullaby-like and captivating charm. [...] The tonality is almost always minor, or at least belongs to the different varieties of the minor world; the influence of oriental scales, with their very characteristic augmented intervals, can be felt; or there are bizarre cadences, like that of such a major melody concluding in the relative minor. [Whatever the case, it is delicate and full of charm". And then there are the titles, so deliberately precious and rare that they could be mistaken for neologisms. Satie didn't invent them, however, borrowing them from his erudite reading of Greek authors and other archaeological works that attest to their existence in ancient Greece. "The gymnopédies were an annual festival celebrated by the Spartans in the month of Hecatombaion (2nd half of July and 1st of August) in honor of the warriors who died at Thyréa. They consisted of dances performed by two troops of naked men and children." As for the Gnossiennes, they refer to the inhabitants of Knossos, but probably also evoke, for Satie's penchant for "spiritual" wordplay, gnosis (from the Greek gnôsis, knowledge, but also a religious philosophy close to Platonism and Manichaeism). A spiritual evocation, then, a journey in time beyond even his beloved Middle Ages, but also a disorientation in space towards the birthplace of humanity, that ancient Greece which, in his sometimes pagan, sometimes Christian mind, joins Chaldea in the East of his dreams, the artistic materialization of the original paradise where "all is order and beauty, luxury, calm and pleasure". Gymnopédies and Gnossiennes are in the form of epures in which naked thought is captured and revealed by the piano, the most objective of instruments, which, by its very unsuitability to their writing of melodies with long, impossible holds, steps aside before them. In this way, untouched by any color, the composer seems to achieve his ideal of purity, of aesthetic innocence (combining extreme economy of means and modesty of expression favored by a certain neutrality of execution): a "white music". This first, essential version of these pages was to be accompanied by a "colorized" version of the 3rd and 1st Gymnopédies, which Debussy presented to his friend in 1897. Pale Greco-Antique colors that Debussy restores with tact and orchestral artistry in the service of a profound understanding of the work, like an archaeologist's brush on a long-buried fresco. Our version follows in this historical footsteps, offering a contemporary equivalent to the aulos and zither duet of the Spartan gymnopedias. Frédéric Cellier "I must tell you that I really like your transcriptions and that I think the tone of the instruments you have chosen suits perfectly our beloved composer." Ornella VOLTA - Musicologist, president of the Erik Satie’s Foundation SCORE + PART + BACKING TRACK available at: stradivarius-editions.com #clarinet #clarinete #clarinetto #clarinette #klarinette #harp #selmer #selmerparis #satie #gnossienne #gymnopedie