Best of Warren Haynes by Warren Haynes

By Warren Haynes

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Satie’s attraction to all these alternative expressive outlets was no doubt stimulated by infighting in the Rose+Croix sect that ended in Péladan’s ‘excommunication’ of his primary financial backer, Comte Antoine de La Rochefoucauld. Satie sided with La Rochefoucauld in the rift and began to associate with the artists and mystics in his circle. No doubt emboldened by these new affiliations, Satie formally broke ties with Péladan in an open letter published in the widely read satirical journal Gil Blas on 14 August.

20 Nonetheless, for Satie, the audience with Betrand represented a significant victory, and perhaps to commemorate the occasion he published a deluxe edition of the work in 1893. Uspud’s printed edition included the libretto (unconventionally written entirely in lower-case letters) along with score excerpts, and featured a cover depicting Latour and Satie in profile, in the mode of a medallion. The image reflected a major development in Satie’s personal life: it was created by the artist Susanne Valadon, with whom the composer had begun an affair in January that year.

The six Gnossiennes form an untidy group. Composed over the better part of a decade, the series begins with a piece sketched when Satie was visiting the pavilions at the 1889 Exposition Universelle and includes a core collection of three works probably composed in 1890 (and known today as Trois Gnossiennes), as well as a single piece from 1891, and the final work from 1897. Brief dances for piano, they suggest the Eastern influences of the Romanian ensembles Satie heard at the Exposition through their melodic use of whole-tone and other exotic scales.

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