Alfred Éric Leslie Satie (Honfleur, 17 May 1866–Paris, 1 July 1925) was a F… Read Full Bio ↴Alfred Éric Leslie Satie (Honfleur, 17 May 1866–Paris, 1 July 1925) was a French composer, pianist, and writer.
Over the years, Erik Satie was described as a precursor of movements and styles as varied as Impressionism, Neo-Classicism, Dada, Surrealism, Conceptual art, minimalism, and ambient music. As well as taking the first steps towards techniques such as prepared piano and music-to-film synchronisation, Satie became one of the first musicians to perform a cameo appearance in a film, in 1924's Entr'acte by the French filmmaker René Clair.
Satie appears to have been the avant-garde to half of the avant-garde movements of the twentieth century. He was in contact with Tristan Tzara, the initiator of the Dada movement. He got to know the other Dadaists, such as Francis Picabia (later to become a Surrealist), André Derain, Marcel Duchamp and Man Ray. Satie contributed to the Dadaist publication 391. In the first months of 1922, he was surprised to find himself entangled in the argument between Tzara and André Breton. Satie originally sided with Tzara, but managed to maintain friendly relations with most players in both camps.
Satie is today regarded as a key modernist composer. As well as influencing contemporaries such as Claude Debussy, who orchestrated two of Satie's Gymnopédies, Maurice Ravel, and a group of composers known as the Les Six, his tendency towards simplicity and repetition continue to inform modern avant-garde genres.
Over the years, Erik Satie was described as a precursor of movements and styles as varied as Impressionism, Neo-Classicism, Dada, Surrealism, Conceptual art, minimalism, and ambient music. As well as taking the first steps towards techniques such as prepared piano and music-to-film synchronisation, Satie became one of the first musicians to perform a cameo appearance in a film, in 1924's Entr'acte by the French filmmaker René Clair.
Satie appears to have been the avant-garde to half of the avant-garde movements of the twentieth century. He was in contact with Tristan Tzara, the initiator of the Dada movement. He got to know the other Dadaists, such as Francis Picabia (later to become a Surrealist), André Derain, Marcel Duchamp and Man Ray. Satie contributed to the Dadaist publication 391. In the first months of 1922, he was surprised to find himself entangled in the argument between Tzara and André Breton. Satie originally sided with Tzara, but managed to maintain friendly relations with most players in both camps.
Satie is today regarded as a key modernist composer. As well as influencing contemporaries such as Claude Debussy, who orchestrated two of Satie's Gymnopédies, Maurice Ravel, and a group of composers known as the Les Six, his tendency towards simplicity and repetition continue to inform modern avant-garde genres.
Trois morceaux en forme de poire
Erik Satie Lyrics
We have lyrics for these tracks by Erik Satie:
Je te Veux Valse Ik begrijp dat je twijfelt Dit is te mooi Je zei ooit…
Je te Veux: Valse Ik begrijp dat je twijfelt Dit is te mooi Je zei ooit…
Sports et divertissements: 21. Le Tennis Dahulu terasa indah Tak ingin lupakan Bermesraan s′lalu jadi…
Variations on Je Te Veux Ik begrijp dat je twijfelt Dit is te mooi Je zei ooit…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@eriksatieofficiel
@strawberry's-little-transmission-box 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.
@eriksatieofficiel
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
@vincefilth8654
Manière de commencement is a dark sequence of a master
@krematorium333
@Vince Filth Pourquoi ?
@arno_grnfld455
He put 4 more pieces in there just in case you've played the three pieces and crave for more. Lol
@penelopegreene
Yet it all makes me smile.
@mummifiedcr
I recently discovered Satie music...and I am completely amazed by his unique and brilliant. Thanks algorithm!!!
@jamesgoldheart2857
Satie painted with notes and created atmosphere, it's all a reflection of his soul
@mairaleikarte43
🍐❤️🍐❤️🍐
@GreenTea4
2:38 this makes me instantly happy, such a good energy to it
@juliomorenodavila8707
Excellent performance!!! Not too fast, not too heavy!!! (Most common mistakes interpreting Satie).