| p>The 'trois Gnossiennes' (1890) is a set of | | | | of Joséphin Péladan's (1859-1918) |
| dance-like pieces of similar character, like the | | | | 'Rose et croix' sect. Satie's collaboration with |
| earlier composed 'trois Sarabandes' (1887) and | | | | Péladan led him to take an interest in |
| 'trois Gymnopédies' (1888). The 'trois | | | | partly-heretical views. It is possible that the title of |
| Gnossiennes' were first published by Satie as a | | | | these works is an hommage to gnosticism. |
| set through Rouart, Lerolle & Cie. in 1913. | | | | The most common explanation however is that |
| The Gnossiennes continue in the minimalist style | | | | the title refers to the ritual dances performed by |
| of the Gymnopédies but add ornaments | | | | the inhabitants of the island of Crete, with its |
| that give the pieces a destinctly oriental feel. | | | | capitol city Knossos, famous in Greek mythology |
| Although the pieces are obviously composed in a | | | | for the story of its labyrinth, Theseus and the |
| 4/4 time signature, Satie did not indicate it in the | | | | minotaur. In 1890 Crete was in the news because |
| score. He also omitted barlines, leaving one big | | | | of archeological excavations. Other works by |
| "bar" for the entire piece. This gives the | | | | Satie from the same period were named after |
| impression of great freedom for the pianist. The | | | | dances as well. Namely the 'Sarabande', a dance |
| comments written above the score, like 'Du bout | | | | which was first introduced in Portugal in 1586 and |
| de la pensée' (from the tip of the thought) | | | | the 'Gymnopédie' which has its origins in |
| and 'Postulez en vous même' (wonder about | | | | ancient Sparta. Even so, it is very unlikely that |
| yourself) also give much room for interpretation. | | | | Satie, a member of the 'Rose et croix' from 1891 |
| This has proven to be true since there are few | | | | to 1892, was unaware of the gnosticism relation |
| pieces in piano literature that have been | | | | when the second Gnossienne was first publicly |
| interpretated in such diverse ways as the | | | | performed in 1893. |
| Gnossiennes. | | | | In 1967 french composer Robert Caby |
| The name 'Gnossiennes' can be explained in | | | | (1905-1992) revealed many of Satie's posthumous |
| multiple ways. The ancient Greek word for | | | | and often untitled works, taken from |
| 'knowledge' is 'gnosis'. Gnosticism was the name | | | | sketchbooks and manuscripts. He named three of |
| of a religious-philosophical belief which has its | | | | these pieces Gnossienne. These became |
| origins in Greek philosophy as well as early | | | | Gnossienne 4, 5 and 6 respectively. The piece |
| Christian and Jewish Apocalyptic thoughts. In this | | | | known as the fourth Gnossienne was composed |
| belief 'Gnosis' stands for 'True knowledge', which is | | | | in 1891, the fifth in 1889 and the sixth in 1897. |
| supposed to lead man to true emancipation. | | | | These pieces were first published in 1968 by ed. |
| Gnosticism also played a great role in the beliefs | | | | Salabert. |