Download lagu Gymnopedie no.1: Extended 2 HOUR Loop, by Erik Satie 1866-1925 composed in 1888 Mp3

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Title:	Gymnopedie no.1: Extended 2 HOUR Loop, by Erik Satie 1866-1925 composed in 1888
Contributing Artist:	daigoro789
Album:	Gymnopedie no.1: Extended 2 HOUR Loop, by Erik Satie 1866-1925 composed in 1888 - Single
Date:	21 December 2013
Duration:	2 Jam 0 Menit 0.00 detik
Type of file:	Audio MP3 (.mp3)
Audio Summary:	mp3, 44100 Hz, stereo, s16p, 128 kb/s

To buy this song see my 'The Very Best of Erik Satie' album and other popular recordings of mine on iTunes or to listen on Spotify:

This is a 2 hour looped video of Gymnopedie no. I by the French composer Erik Satie (1866-1925) and was composed in 1888. The piece is dedicated to Mademoiselle Jeanne de Bret and the piece is marked 'Lent et douloureux' - 'Slow and painful'.
To hear me play the complete cycle of 3 Gymnopedies in HD please go here:
To hear me play the complete cycle of Satie's mystical Gnossiennes go here:
This is the first of three Gymnopedies that Satie composed. Remarkably, they were some of his very earliest compositions in what was eventually a reasonably large oeuvre, and yet, they are his most famous pieces by far, especially this first one. It often turns up in movies and adverts and is perhaps one of the most 'famous' pieces of classical music ever - although at the time of composition, it was a really ground breaking composition which defied the classical tradition.
Satie as an individual has got to be one of the most eccentric and interesting people to have ever existed. One such fact which attests to this is that he had the nick-name 'the velvet gentleman' because he had 7 identical velvet get-ups which he alternated the wearing of every day :P
Feel free to check out my Gymnopedie and Gnossienne playlist to hear more of these wonderful pieces :)
"The Gymnopedies refer to ceremonial dances by naked youths in ancient Sparta. Satie's idea consists in combining an element of classical cultural tradition with pot-Romantic irony. The dances composed by him are characterized by the uniformity of rhythm, in the style of a slow waltz. These pieces show the character of Satie's musical language quite clearly: 'A melody has no harmonies of its own, just as a landscape has no colours of its own. The harmonic possibilities for a melody are endless, since the melody is an idiom within an idiom.' (Erik Satie)" Taken from the preface to the Schott edition of the score.