0:00 Manière de Commencement 2:38 Prolongation du même 3:30 Morceau I : Lentement 4:45 Morceau II : Enlevé 7:15 Morceau III : Brutal 9:09 En Plus 11:52 Redite
Morcaeu I: Lentement sounds as if a tightrope walker is going carefully but quickly on a rope inside a circus. "Let me first try, Here we go, faster, now slowly realizing the situation, a bit faster, Almost falling! In a good position with a good pace, almost a sudden fall, feeling safe, Almost falling! Let me try again, stopping slowly at the spot faster, going at a steady pace, I can see the end with grace almost falling at the end! and then we start again at the end . . ."
I have been trying to find this song for days now. I heard it in the movie Hugo and I was losing my mind trying to find it, because it wasn't featured more than five seconds in the movie and most sights didn't even mention it in the soundtrack. Finally!
@@lateamdutiret8985 it's the scene with the pirates and dancing skeletons, during the flashback to george making movies, i believe. i love the movie too :)
I recognized that it was Satie's music playing while Kit and Holly were parked beneath the train tracks ("Badlands") but had to wait for the credits to learn the name of the composition. I originally thought it was one of his gnosiennes. I also enjoyed hearing Nat King Cole "A Blossom Fell" on the soundtrack - a favorite from him.
I would like to know, where did you come across this anecdote of Satie writing to a friend about Claude Debussy's "Pelléas et Mélisande" that you talk about in the description? I have heard or read it nowhere else. Who is this friend he was writing to? Could you please give me some more information about it? I am certain that this sentence is not all casual, since Satie seems to be depicting in it what all his music is really up to. Thank you so much for your fantastic work, btw.
Thanks for your comment! I got it from Jean-Pierre Armengaud's biography of Satie: « "Tu me demandes des nouvelles de Pelléas et Mélisande ? Je te dirai simplement ceci : très chic ! absolument époilant", écrit Satie à son frère [le 27 juin 1902], tandis qu'il écrit à un ami (selon Jean Cocteau) : "Plus rien à faire de ce côté-là ; il faut chercher autre chose ou je suis perdu." » The last quote's reference is from Debussy's "Écrits", page 68, but I don't have this book. It's not clear if it's reported by Jean Cocteau from an oral conversation or from a letter to a friend we'd still have.
The young Satie had been walking round Paris, soaking up the medieval architecture, which he then described in music. Debussy, who was also soaked in medievalism at that time (see La cathédrale engloutie), loved it. He gave Satie a gift (can't remember what it was without diving into my notes) which he dedicated to the "gentle, medieval musician wandered into this century for the joy of his friend". It was after this that he composed "Pelléas et Mélisande".
@@eriksatieofficiel So strange because Satie only wrote 3 Gnossiennes and after his death in 1925, people decided to name 3 of his untitled pieces Gnoissiennes... 1 to 3 sound connected and even this 7th one to an extent... But 4 to 6 are definitely not Gnossiennes.
@@Ziad3195 The dates and names of the gnossienne are a bit confusing. I already wrote a comment about it, here is the gist of it, chronogically by date of composition: 1889, July: Gnossienne n°5 (named "Gnossienne" by Satie, numbered posth.) 1891, January: Gnossienne n°4 (untitled piece) 1891, December: Gnossienne n°7 (referred by Satie himself as his "Gnossienne from Le Fils des Étoiles" in his correspondance) 1890-1893: Gnossiennes N°1-2-3 (most likely 1893, Satie wasn't sure about the year when it was re-published in 1913) 1897, January: Gnossienne n°6 (named "Gnossienne" by Satie, numbered posth.) So, yes, 5 and 6 are definitely Gnossiennes, named as such by Satie himself, as well as 7. Only 4 wasn't clearly named as such by Satie.
Parce qu'elle a été composée dès 1891 pour le Fils des étoiles. Satie a noté en marge du premier volet des "Trois morceaux ..." (Manière de commencement) : "Gnossienne extraite du 'Fils des Étoiles'. Fut composée en 1891." C'est chronologiquement la quatrième gnossienne qu'il a composée.
@@eriksatieofficiel merci beaucoup pour toute vos connaissances, j'aurais aussi une autre question un peu plus complexe et longue...puis-je vous la poser ? Je ne voudrais pas vous encombré avec mes questions.
I hate contemporary classical, if it could even be truly called classical. Atonal, and so on, BLAH. Don't get me wrong, as I love everything from Bach to Chopin to Rachmaninoff, and all of the increasing dissonance. It's when all rhyme and reason is thrown out of the window in an attempt to be musically "creative", yet completely devoid of any pleasing aesthetic qualities. This wasn't what I was expecting at all. This isn't Phillip Glass or the Second Russian School of atonality... this was actually pleasing and with purpose. Nice.
@@tonyscully4550 Why are you using a phone to watch content? If you are listening to this on a phone wouldn't it be better to use some kind of streaming platform?
0:00 Manière de Commencement
2:38 Prolongation du même
3:30 Morceau I : Lentement
4:45 Morceau II : Enlevé
7:15 Morceau III : Brutal
9:09 En Plus
11:52 Redite
Manière de commencement is a dark sequence of a master
@@vincefilth8654 Pourquoi ?
He put 4 more pieces in there just in case you've played the three pieces and crave for more. Lol
Yet it all makes me smile.
This is a rebuttal to Debussy who has told Saty to “better define the form of his compositions” Therefore, “in form of a pear” (lol)
He never explained it Himself thou, it might be a joke about the same coment made by a critic to both him and Debussy haha
That's Interesting. I LOVE Satie and Debussy is my #1 Favorite classical composer
Nice spelling bro, S a t y
It's not true..Debussy is sometimes caparated at Satie but Erik was own artist and poète..i don't remember of Debussy anymore..
Debussy: "Oh, for fuck sake!"
I recently discovered Satie music...and I am completely amazed by his unique and brilliant. Thanks algorithm!!!
Morcaeu I: Lentement sounds as if a tightrope walker is going carefully but quickly on a rope inside a circus.
"Let me first try,
Here we go, faster, now slowly realizing the situation, a bit faster, Almost falling!
In a good position with a good pace, almost a sudden fall, feeling safe, Almost falling!
Let me try again, stopping slowly at the spot
faster, going at a steady pace, I can see the end with grace
almost falling at the end! and then we start again at the end . . ."
Me voici, Monsieur Satie: pour vous, un nouveau "follower"!
Je vous aime. Toujours!
Pour moi, et pour mon piano, vous êtes ma vie et mon bonheur!!!
The premise of this piece is really funny. Goes to show Satie had a good sense of humor!
Exactly! Humor a cause of vanity of Mr. Debussy.
He was quite satirical
@@ivanflorespoveda9229 Wait a minute: they were close friends from the start to the end. He was best man at Debussy's wedding.
@@anne-louiseluccarini4530he also refused to attend his funeral
I have been trying to find this song for days now. I heard it in the movie Hugo and I was losing my mind trying to find it, because it wasn't featured more than five seconds in the movie and most sights didn't even mention it in the soundtrack. Finally!
Glad you found it!
In which scene can we hear this piece ? I love this movie.
@@lateamdutiret8985 it's the scene with the pirates and dancing skeletons, during the flashback to george making movies, i believe. i love the movie too :)
You could find it in the end credits :)
Je dois les écouter pour mon devoir de musique pour vendredi mais c'est très beau ! 👍
Bon courage
Did Satie literally write in fact seven pieces and called them "three pieces"?
Yes he did.
@@eriksatieofficiel what a chad
That's Dadaism for you.
well of the 7 pieces aren't only 3 of them numbered as pieces? he was Kinda right to say there were three of them. I suppose.
@@erykszadkowski1687 the absolute Chad
2:38 this makes me instantly happy, such a good energy to it
Satie painted with notes and created atmosphere, it's all a reflection of his soul
🍐❤️🍐❤️🍐
Excellent performance!!! Not too fast, not too heavy!!! (Most common mistakes interpreting Satie).
Couldn't agree more... always liked Frank Glazer's interpretations...VOX BOX Set.
Chef d'oeuvre...
Meraviglioso.. Fantastico.. my soul is happy! Plus: played so well! Thanks for the post.
Grazie Andrea!
En plus is played Beautiful 💓
I played that one at my first college year with a very dear friend...great memories
@@davidsosa538 so it's in your heart..🎶🎶💓👍🏻
Putain le mec a meme mis le minutage des différentes parties.. on ne le dira jamais assez : Cimer chef putain :’( t’es un clé en or
C'est le minimum !
Who else came here from having seen Orson Welles' "The Immortal Story" and/or Terrence Malick's "Badlands"?
Me
I recognized that it was Satie's music playing while Kit and Holly were parked beneath the train tracks ("Badlands") but had to wait for the credits to learn the name of the composition. I originally thought it was one of his gnosiennes.
I also enjoyed hearing Nat King Cole "A Blossom Fell" on the soundtrack - a favorite from him.
Endless imagination and fun are my best descriptions for Satie :3
Masterful playing. My goodness. What would Satie say?
I love satie
My fav compser ❤️
Has his unpublished piece ever been revealed? I just learned about him in class and have been searching for 45 minutes now
It depends which ones, few have been recorded only once, but some haven't been revealed/published yet.
always deeply moving
❤
I listened intently in my highschool era.
I would like to know, where did you come across this anecdote of Satie writing to a friend about Claude Debussy's "Pelléas et Mélisande" that you talk about in the description? I have heard or read it nowhere else. Who is this friend he was writing to? Could you please give me some more information about it? I am certain that this sentence is not all casual, since Satie seems to be depicting in it what all his music is really up to. Thank you so much for your fantastic work, btw.
Thanks for your comment!
I got it from Jean-Pierre Armengaud's biography of Satie:
« "Tu me demandes des nouvelles de Pelléas et Mélisande ? Je te dirai simplement ceci : très chic ! absolument époilant", écrit Satie à son frère [le 27 juin 1902], tandis qu'il écrit à un ami (selon Jean Cocteau) : "Plus rien à faire de ce côté-là ; il faut chercher autre chose ou je suis perdu." »
The last quote's reference is from Debussy's "Écrits", page 68, but I don't have this book. It's not clear if it's reported by Jean Cocteau from an oral conversation or from a letter to a friend we'd still have.
I read this separately in the book "French Music" by Martin Cooper, though it is only briefly mentioned
More simply, I red it in the Wikipedia, I think!
The young Satie had been walking round Paris, soaking up the medieval architecture, which he then described in music. Debussy, who was also soaked in medievalism at that time (see La cathédrale engloutie), loved it. He gave Satie a gift (can't remember what it was without diving into my notes) which he dedicated to the "gentle, medieval musician wandered into this century for the joy of his friend". It was after this that he composed "Pelléas et Mélisande".
i knew i have heard "Manière de Commencement" (first song) somewhere....the movie "Hugo" -_-
Really? Pretty cool
@@eriksatieofficiel yes somewhere the part about one of Georges Méliès' movies , used the song on it....
@@saintgarluth that's how I know it too
Apparently it's in Badlands by Terrence Malick too
ME TOOOO, AT FIRST I THOUGHT IT WAS GNOSSIENE 1 BUT YESTERDAY I HEARD MANIERE DE COMMENCEMENT AND I JUMPED OF.HAPPINESS
En anglais vous avez "shape" et "form" : intéressant.
the Beginning sounds as if I'm laughing in-between points of sorrow
C'est la septième Gnossienne!
Je les ai toujours aimés et je ne les écoute guère.
Genius
Could someone tell me who's the pianist?
It's a piano duet, Alexandre Tharaud and Eric Le Sage.
Le début ressemble à un ytp musicale des Gnossiennes
C'est considéré comme la septième gnossienne
@@eriksatieofficiel So strange because Satie only wrote 3 Gnossiennes and after his death in 1925, people decided to name 3 of his untitled pieces Gnoissiennes... 1 to 3 sound connected and even this 7th one to an extent... But 4 to 6 are definitely not Gnossiennes.
@@Ziad3195 The dates and names of the gnossienne are a bit confusing. I already wrote a comment about it, here is the gist of it, chronogically by date of composition:
1889, July: Gnossienne n°5 (named "Gnossienne" by Satie, numbered posth.)
1891, January: Gnossienne n°4 (untitled piece)
1891, December: Gnossienne n°7 (referred by Satie himself as his "Gnossienne from Le Fils des Étoiles" in his correspondance)
1890-1893: Gnossiennes N°1-2-3 (most likely 1893, Satie wasn't sure about the year when it was re-published in 1913)
1897, January: Gnossienne n°6 (named "Gnossienne" by Satie, numbered posth.)
So, yes, 5 and 6 are definitely Gnossiennes, named as such by Satie himself, as well as 7. Only 4 wasn't clearly named as such by Satie.
Resumindo......🍐
Pourquoi on dit qu'il a une 7ème Gnossienne si elle s'intègre au 3 morceau en forme de poire ?
Parce qu'elle a été composée dès 1891 pour le Fils des étoiles. Satie a noté en marge du premier volet des "Trois morceaux ..." (Manière de commencement) : "Gnossienne extraite du 'Fils des Étoiles'. Fut composée en 1891."
C'est chronologiquement la quatrième gnossienne qu'il a composée.
ruclips.net/video/KllFycxEB3g/видео.html
@@eriksatieofficiel merci beaucoup pour toute vos connaissances, j'aurais aussi une autre question un peu plus complexe et longue...puis-je vous la poser ? Je ne voudrais pas vous encombré avec mes questions.
@@speed2040 Vous pouvez toujours poser !
@@eriksatieofficiel connaissez-vous l'ordre chronologique des ballet et musique pour scène ? Partout où je cherche rien ne semble bien montrer.
I hate contemporary classical, if it could even be truly called classical. Atonal, and so on, BLAH. Don't get me wrong, as I love everything from Bach to Chopin to Rachmaninoff, and all of the increasing dissonance. It's when all rhyme and reason is thrown out of the window in an attempt to be musically "creative", yet completely devoid of any pleasing aesthetic qualities.
This wasn't what I was expecting at all. This isn't Phillip Glass or the Second Russian School of atonality... this was actually pleasing and with purpose. Nice.
you could just say that you like Satie, you don't have to be this extra
@@GreenTea4 Lmaooo.
This sounds perfect.
And he was a great influence on that old romantic John Cage!
🔥
Armut biciminde üç parça 🍐
10:00
Hey i was exactly looking for the part played at the end of Badlands, Thanks a lot !
imagine putting an ad in a piece cringe
Imagining not using an ad blocker in 2021.
I'm not the one putting ads in my videos, by the way.
@@eriksatieofficiel Most people use youtube on their phones or tablets.
Adblocker doesn't support mobile platforms...so....
@@tonyscully4550 Why are you using a phone to watch content? If you are listening to this on a phone wouldn't it be better to use some kind of streaming platform?
@@marshallemmet1366 money
it sounds similar to gnossiene no.1
Yes because the first piece was considered as a gnossienne by Satie himself, and composed as early as 1897.
0:14
It was created as an anti-impressionistic variation rather.
bury all
Beg your pardon?
Hugo anyone 😂
.
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