^ Mark Prendergast, The Ambient Century: From Mahler to Moby – The Evolution of Sound in the Electronic Age, London: Bloomsbury, 2000, p.^ Shlomowitz, Matthew (1999), Cage's Place in the Reception of Satie, archived from the original on.Satie the Bohemian: From Cabaret to Concert Hall. ^ Erik Satie, Ornella Volta (2000), Correspondance presque complète, Paris: Fayard/Imec, p. 936, ISBN 978-4-3.^ Robert Orledge, Satie the Composer, Cambridge: Cambridge University Press, 1990, p.In 2021, violinist Fenella Humphreys released an arrangement of Gymnopedie No.1 for violin. In 2018, Fernando Perdomo included a portion of Gymnopedie No. Jack DeJohnette included a tribute to Gymnopédies in his 2016 album Return. In 2007, Wilhelm Kaiser-Lindemann arranged the first and the third Gymnopédie for The 12 Cellists of the Berlin Philharmonic. 1 in its soundtrack as Leder's Gymnopedie. The 2010 Japanese animated drama film The Disappearance of Haruhi Suzumiya prominently features all three Gymnopédies, and they are included in the film's soundtrack release as a bonus disc, including Satie's Gnossiennes and his composition ' Je te veux'. Examples include the documentary Man on Wire, Wes Anderson's The Royal Tenenbaums, and Woody Allen's Another Woman, all of which use Gymnopédie No. Gymnopédies have been heard in numerous movies and television shows. 1 is featured in the 2001 Janet Jackson single ' Someone to Call My Lover', peaking at number 3 on the Billboard Hot 100.

In 1980, Gary Numan produced a track called ' Trois Gymnopedies (First Movement)', which appeared on the B-side of the single ' We Are Glass'. The recording received a Grammy Award the following year for Best Contemporary Instrumental Performance. The first and second Gymnopédies were arranged by Dick Halligan for the group Blood, Sweat & Tears under the title 'Variations on a Theme by Erik Satie' on the group's eponymous album, released in 1968. Collectively, the Gymnopédies are regarded as an important precursor to modern ambient music. Legacyįrom the second half of the 20th century on, the Gymnopédies were often erroneously described as part of Satie's body of furniture music, perhaps because of John Cage's interpretation of them. In February 1897, Debussy orchestrated the third and first Gymnopédies. Claude Debussy, a friend of Satie's whose popularity was on the rise, helped draw public attention to Satie’s work. Receptionīy the end of 1896, Satie's popularity was waning and financial situation deteriorating. MusicĪudio playback is not supported in your browser. Pierre Puvis de Chavannes' symbolist paintings may have been an inspiration for the atmosphere Satie wanted to evoke with his Gymnopédies. As a whole, the three pieces were published in 1898. The second Gymnopédie did not appear until 1895, and its impending publication was announced in several editions of the Chat Noir and Auberge du Clou magazines. In November 1888, the third Gymnopédie was published. Satie may have picked up the term from a dictionary such as Dominique Mondo's Dictionnaire de Musique, where gymnopédie is defined as a 'nude dance, accompanied by song, which youthful Spartan maidens danced on specific occasions', following a similar definition from Jean-Jacques Rousseau's Dictionnaire de Musique. However, it remains uncertain whether the poem was composed before the music.

Mingled their sarabande with the gymnopaedia. Where the amber atoms in the fire gleaming Trickled in gusts of gold on the shiny flagstone Slanting and shadow-cutting a bursting stream

Composer satie