The mood is well is well maintained and the slow speed I feel adds volumes to the rubato of the triplets, which I believe is an absolute must for this piece. However, Satie uses the phrase "with wonder" to describe the opening phrase and later "intimately", so I feel going too slowly loses the relationship of the the melody and ostinato. Further the No. 5 I feel completely tramples the dark somberness of No. 4, so there is no reason (I think) to prevent a "jovial expression" from coming out.
@stradavarius1988 This was not a set that I put a lot of academic thought into. Personally I think this set of pieces is a mystery to some degree and that they are emotionally cavernous - I recorded them at about four in the morning in a very strange emotional state and I just played them how I felt them at the time. However I did make a conscious decision to analyse these pieces as a set of three, at least in playing the first three, as they have no official relation to the later Gnossienne.
@stradavarius1988 Personally I'm amongst those that do not believe the other Gnossienne are even Gnossienne. To me it is that lack of joviality and the expansive silence that make the first three Gnossienne though I am not aware of what Satie himself said on the matter, if anything. As I suggested to someone else too, I think Ciccolini really canonised these pieces and now it is up to us to reinvent; perhaps not in the concert halls but certainly here on Youtube.
Hello again. Your touch is lovely, but I do feel it is way too slow. The sustaining minor chords for that lomng is a bit over the top, and I have never heard it done that way. I've played it slowly myself, but it needs a bit more momentum, as all Satie has its places where the tide ebbs and flows. Thanks.
wonderful, thank you for uploading this
lambentye 4 months ago
The mood is well is well maintained and the slow speed I feel adds volumes to the rubato of the triplets, which I believe is an absolute must for this piece. However, Satie uses the phrase "with wonder" to describe the opening phrase and later "intimately", so I feel going too slowly loses the relationship of the the melody and ostinato. Further the No. 5 I feel completely tramples the dark somberness of No. 4, so there is no reason (I think) to prevent a "jovial expression" from coming out.
stradavarius1988 10 months ago
@stradavarius1988 This was not a set that I put a lot of academic thought into. Personally I think this set of pieces is a mystery to some degree and that they are emotionally cavernous - I recorded them at about four in the morning in a very strange emotional state and I just played them how I felt them at the time. However I did make a conscious decision to analyse these pieces as a set of three, at least in playing the first three, as they have no official relation to the later Gnossienne.
KallistiMusic 10 months ago
@stradavarius1988 Personally I'm amongst those that do not believe the other Gnossienne are even Gnossienne. To me it is that lack of joviality and the expansive silence that make the first three Gnossienne though I am not aware of what Satie himself said on the matter, if anything. As I suggested to someone else too, I think Ciccolini really canonised these pieces and now it is up to us to reinvent; perhaps not in the concert halls but certainly here on Youtube.
KallistiMusic 10 months ago
Hello again. Your touch is lovely, but I do feel it is way too slow. The sustaining minor chords for that lomng is a bit over the top, and I have never heard it done that way. I've played it slowly myself, but it needs a bit more momentum, as all Satie has its places where the tide ebbs and flows. Thanks.
jaymusic143 2 years ago
i agree..i much prefer it at the tempo you play it in
waywardhighfive 2 years ago