[1 Hour Loop] Erik Satie - Gnossienne 5 (LoFi Remix)

🎹 [1 Hour Loop] Erik Satie - Gnossienne 5 (Lo-Fi Remix)
Welcome to our Erik Satie Gnossienne 5 (Piano Version) Lo-Fi mix, the perfect relaxing classical music and chill lofi mix for studying, sleeping, or simply unwinding. If you're looking for something that will soothe your soul or help you focus, this is the perfect piece for you.
About Erik Satie:
Erik Satie was a renowned French composer and pianist, who made a significant impact on the world of music. He was a pioneer in his time, and his work influenced later artistic movements such as minimalism, repetitive music, and the Theatre of the Absurd. He signed his name as Erik Satie in 1884 and introduced himself as a "gymnopedist" in 1887, shortly before creating some of his most famous compositions, the Gymnopédies. Later on, he referred to himself as a "phonometrograph" or "phonometrician," meaning "someone who measures (and writes down) sounds." This title was preferred over "musician," after being called "a clumsy but subtle technician" in a book on contemporary French composers published in 1911.
Aside from his music, Satie was also a writer, leaving behind an exceptional set of writings, contributing to a range of publications, from the dadaist 391 to the American Vanity Fair. Satie was a colorful figure in the early 20th century Parisian avant-garde.
The word "Gnossienne" was coined by Satie himself to indicate a new "type" of composition. This term is the name given to several piano pieces he created in the late 19th century. Satie used several novel names for his compositions, such as "ogive," "vexations," "croquis et agaceries," and so on. However, "gnossienne" was a word that did not exist before Satie used it. Some published versions claim that the word derives from Cretan "knossos" or "gnossus" and link the Gnossiennes to Theseus, Ariadne, and the Minotaur myth.
The Gnossiennes were composed by Satie in the decade following the composition of the Trois Sarabandes (1887) and the Trois Gymnopédies (1888). 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, featuring more harmonic experimentation in compositions such as the Danses Gothiques. These series of compositions are at the core of Satie's characteristic 19th-century style, and in this sense, they differ from his early salon compositions, turn-of-the-century cabaret compositions, and post-Schola Cantorum piano solo compositions.
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