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This article or section 'is not written in the formal tone expected of an encyclopedia article'.
Please improve it or discuss changes on the talk page. See Wikipedia's for suggestions.
:''For the Ancient Greek festival and dance, see Gymnopaedia.''
The 'Gymnopédies' are three piano compositions by Erik Satie, which were published in Paris starting in 1888.
Satie's ''Gymnopédies'' are gentle yet somewhat irregular pieces of music which deliberately flouted many common practices in classical and even contemporary music. Its cheekiness in avoiding musical conventions however is barely noticeable since the music is strongly guided by its poignant emotional load, and the listener comes away remembering them for their narrative beauty and elegance, rather than their unconventionality.
The pieces are written in 3/4 time and in a similar structure with a similar theme. The ''Gymnopédies'' are ethereal, atmospheric pieces regarded as precursors to modern ambient music; in fact, Brian Eno, the pioneering figure of ambient music, has cited Satie as a prime influence. Satie himself used the term "furniture music" to refer to some of his pieces, implying that they could be used as mood-setting background music. However, Satie himself only started to use the term furniture music for some of his 20th century compositions: Satie would never designate the ''Gymnopédies'' as furniture music. From the second half of the 20th century on, the ''Gymnopédies'' were often erroneously described as part of Satie's body of ''furniture music'', probably due to John Cage's interpretation of Satie's music.
By the end of 1896 Satie's popularity and financial situation was at an all time low. Claude Debussy, whose popularity was rising at the time, decided on an effort to draw more public attention to the work of his friend.
According to Debussy, the ''2nd gymnopédie'' did not lend itself to orchestration, so he only orchestrated the 3rd and the 1st, reversing the numbering:
:'First gymnopédie' (original piano setting by Satie) → '3rd gymnopédie' (orchestration by Debussy)
:'Third gymnopédie' (original piano setting by Satie) → '1st gymnopédie' (orchestration by Debussy)
The première of the two Debussy orchestrations took place in February 1897, followed by a publication of the score in 1898.
Orchestrations of the ''second gymnopédie'' were only realised many decades later, by other composers, and without being frequently performed.
In the late 1880s Patrice Contamine (1867–1926), at that time better known as 'J.P. Contamine de Latour' (one of his many pseudonyms) wrote ''Les Antiques'' ("The Ancient"), a poem containing these lines:
Which connotations ''exactly'' were intended by Contamine in using the word ''gymnopédie'' / ''gymnopaedia'' remains uncertain:
★ ''dance'' - probably, as he mentions it alongside another dance, the saraband(e);
★ ''antiquity'' - supposedly, given the title of the poem. This however does not yet give a clear picture of how ''antiquity'' was perceived in late 19th-century France (see below);
★ ''nudity'' - maybe, although words like "gymnastique" (gymnastics) and "gymnase" (gymnasium) based on the same Greek word for nudity (γυμνός - "gymnos") were common in those days, but had lost any reference to nudity;
★ ''warfare'' (as in Ancient Greece the word indicated a war dance) - probably not; little war-like intent is apparent in the poem;
★ ''religious ceremony/festivity'' (which was the context of the Ancient ''gymnopaedia'') - probably neither; there seems to be no allusion made to them in the poem.
Regarding Greek Antiquity Otfried Müller was esteemed as one of the major authorities for many decades continuing after his accidental death in 1840. Otfried Müller wrote most of his works in German, which was held in low esteem in late 19th century France, and hardly understood by anyone in Paris. Surely not by Satie, who was a notable Sauerkraut adversary, where 'Sauerkraut' meant ''anything German''. Fortunately there were translations and divulgations of what Müller and other researchers of Ancient Greece had uncovered since the late 18th century, when the Enlightenment had triggered an amplified interest in Antiquity.
George Cornewall Lewis was the English translator of Müller's ''Dorians'', one of the most influential introductions into the culture of Ancient Greece. But then, for the English translation, Lewis had been successful in convincing Müller that all references to "pederasty" (as it was still called then) had to be left out, as correspondence from Lewis to Müller shows.
The prudishness of the Victorian age more or less barred topics like nudity when the insights about Ancient Greek culture were further divulged outside the context of scholarly research: when the William Smith ''Dictionary of Greek and Roman Antiquities'' - an academic publication - describes ★ class=wikiexternal target=_blank>/Nudus.html nudity, one gets a story depicting nudity to mean "light dress" for the Romans and "without arms" for the Ancient Greeks. Smith sees no contradiction in printing a small woodcut in the article on ★ class=wikiexternal target=_blank>/Saltatio.html dance ("saltatio") showing some Greek dancers wearing "only" armor, without any other dress. But then this entry, which effectively mentions the ''gymnopaedia'', does not go into the topic of nudity in Ancient Greece, although being complete in all other sorts of references.
Even if France, in general, was probably less prim in those days, F. Fertiault, when publishing a "picturesque and anecdotic" dance history book in Paris in 1854, succeeded in describing the history of Ancient Greek dance, including the "gymnopédie", without mentioning or illustrating nudity, let alone homosexuality, once. For that matter, neither the martial aspects, nor the context of religious ceremony of the Ancient Greeks, concerning gymnopaedia were mentioned.
Page 21 of Fertiault's book gives the following definition of the ''Gymnopédie'', which the author designates as a ''tragic'' (i.e. ''worthy'' and ''elegant'') scenic dance from Greek Antiquity:
:''performed by two groups, one composed of boys, the other of older men, dancing and singing hymns by Thalétès''
The historical validity of such books, although giving a separate definition of the ''gymnopédie/gymnopaedia'' and mentioning the ''saraband'' as a dance "probably" coming from Spain, remains questionable however. Even the fact that Fertiault gives an early 17th century (Latin and Greek) publication by Johannes Meursius as a source for his "simplified" description of Ancient Greek dance does not make this description more convincingly comprehensive... Another "popularising" publication of the time has been tracked down, this time a music dictionary proclaiming that the gymnopaedia was danced by "girls", and yes, "naked", but then in the "unarmed" sense. Nevertheless, it might be that since neither Satie nor Contamine could read or understand Ancient Greek (Latin, German,...) neither had access to more "revealing", or direct, sources.
''Gymnopédie'' also appears as an infrequently used word in 19th century France, to the point it might have been perceived as a neologism by many. Further, in the Contamine poem ''gymnopédie'' is used in the ''singular'', while the original Greek word (γυμνοπαιδία - "gumnopaidia") is always ''plural''.
All this might indicate that Satie and Contamine chose the word ''gymnopédie'' perhaps rather for its intangible exotism, than for connotations of which they were probably hardly aware themselves.
Contamine's poetry inspired Erik Satie to the first compositions with which he tried to cut himself loose from the conventional 19th century "salon music" environment of his father and stepmother. E.g. in September 1887 Satie composed three "sarabands" (''Trois Sarabandes''), taking a quote from Contamine's ''La Perdition'' by way of introduction. By this time, Satie knew Contamine personally.
Satie, apparently, used the word "gymnopédiste" (gymnopedist), before having written a note of his later so famous ''gymnopédies''.
The anecdote of Satie introducing himself as a "gymnopedist" in December 1887 runs as follows: the first time Satie visited the ''Chat Noir'' cabaret, he was introduced to its director, Rodolphe Salis, famous for serving sharp comments. Being coerced to mention his profession, Satie, lacking any recognisable professional occupation, presented himself as a "gymnopedist", supposedly in an attempt to outwit the director.
The composition of the three ''gymnopedies'' started only two months later, and was completed in April of 1888.
In August of 1888 followed the publication of the ''first gymnopédie'', accompanied by the verse of Contamine quoted above. Note that it remains uncertain whether the poem was composed before the music, or whether Contamine intended the verse as a tribute to his friend, who had now completed both a set of "sarabands" and "gymnopédies".
Later the same year the ''third gymnopédie'' was also published. There was however no publication of the ''second gymnopédie'' until 7 years later, several announcements of an impending publication of this ''gymnopédie'' being made in the ''Chat Noir'' and ''Auberge du Clou'' periodicals in the mean while.
In popular music the ''Gymnopédies'' music has been used by:
★ the jazz-rock band Blood, Sweat & Tears (two tracks named "Variations on a Theme by Erik Satie" on ''Blood, Sweat & Tears'', their second album);
★ the brothers John and Steve Hackett, the former guitarist for Genesis (''Sketches of Satie'')
★ the British New Wave and industrial musician Gary Numan, in a version for synthesizer and piano originally released as the B-side to the 1980 single "We Are Glass"
★ jazz flautist Hubert Laws on his 1974 album ''In the Beginning''
★ interpolated (in 4/4 time) by Janet Jackson in "Someone to Call My Lover"
★ Jacques Loussier trio recorded three jazz interpretations of the ''Gymnopédies'' in 1998
★ Toots Thielemans recorded Gymnopédie No.1 in his album "Footprints".
★ the English electronic duo Isan recorded versions of the three ''Gymnopédies'' for a 2006 7-inch single, "Trois Gymnopedies" on the Morr Music record label
★ Deconstruction, a post Jane's Addiction group formed by bass player Eric Avery and guitarist Dave Navarro, incorporate Gymnopédie #1 during an interlude in the song "Wait for History" on their self-entitled album
★ Japan's "Nightporter" was a re-invent of Gymnopedie #1 , by David Sylvian
★ the Australian ambient electronic artist, Endorphin, in two tracks titled "Satie 1" and "Satie 2" from the album ''Embrace''
★ Japanese band Dragon Ash covered Gymnopedie #1 for their album ''Harvest''
The ''Gymnopédies'' are often used as background music in film and television.
★ Gymnopédie no. 1 can be heard in Ken Russell's film ''Salome's Last Dance''.
★ It can be heard in an episode of ''Love Hina''.
★ Gymnopédie no. 1 can be heard towards the end of the '' episode "Where Silence Has Lease", during the scene where Picard contemplates his own death.
★ Gymnopédie no. 1 also provides background music for the final scene of ''My Dinner with Andre''.
★ Gymnopédie no. 1 is used in the Jaws section of ''Riding Giants''.
★ Gymnopédie no. 1 can also be heard in the second episode of the Japanese TV drama ''Long Vacation''.
★ Rintaro's section of the anime triptych film ''Neo Tokyo'' (''Labyrinth'') uses Gymnopédie no. 1.
★ It is played in the Korean movies ''Windstruck'' and ''Samaria''.
★ It can be heard in the anime series ''R.O.D the TV''.
★ It was used in a Japan-only videogame for the Gameboy Advance called ''Mother 3'', the last game in the Mother trilogy. It can be heard in the sound player as #222.
★ It is played in the Australian film ''.
★ In the 1994 film ''Corrina, Corrina'', Corrina (Whoopi Goldberg) and Manny (Ray Liotta), her widowed employer, discuss Satie's Gymnopédie at the dinner table, where Corrina discloses her dream to write liner notes for music albums, a long shot in a time (1950s) when neither women nor Blacks were afforded equal opportunities. Of the composer, Corrina says, "Can you imagine being so poised and having such boldness in a composition when you're only 22?"
★ The Gymnopédies can also he heard in the film ''The Royal Tenenbaums'' (2001).
★ It was used in the film ''The Pallbearer''.
★ Gymnopedie is one of the themes of the Velvet Room in Persona 2, and RPG for the Playstation One.
★ The Third Gymnopedie is played by one of the main caracters in Igor Bauersima's Drama "future de luxe".
★ Gymnopédie no. 1 can be heard in the film ''Address Unknown''.
★ Michelle Kwan skated to part of Gymnopedie no. 3 for her 1998 Olympic Long Program.
★ The Naomi Watts character in the 2006 movie, ''The Painted Veil'', plays Gymnopédie no. 1 on a broken-down piano.
★
# See The Letters of Sir George Cornewall Lewis to Karl Otfried Müller, reviewed by Wilfried Nippel
William M Calder III, R. Scott Smith, John Vaio, Teaching the English Wissenschaft. The Letters of Sir George Cornewall Lewis to Karl Otfried Müller (1828-1839). Spudasmata, 85, , Wilfried, Nippel, Bryn Mawr Classical Review 2003.01.05, 2003
# See for example Succès de scandale — Belle Epoque (Oscar Wilde and his Salomé play)
# Histoire anecdotique et pittoresque de la danse chez les peuples anciens et modernes, Fertiault, F, , , Auguste Aubry, 1854,
# See Olof Höjer, ''Le gymnopédiste'' - An on-line article describing Satie's piano compositions up to 1890.
# See for example ''Cage’s Place In the Reception of Satie'' by Matthew Shlomowitz (1999) on Niclas Fogwall's ''Erik Satie'' website.
★ Public Domain Sheet Music of the Gymnopedies at IMSLP
★ Public Domain Sheet Music of the Gymnopedies at the Mutopia Project
Please improve it or discuss changes on the talk page. See Wikipedia's for suggestions.
:''For the Ancient Greek festival and dance, see Gymnopaedia.''
The 'Gymnopédies' are three piano compositions by Erik Satie, which were published in Paris starting in 1888.
The music
Satie's ''Gymnopédies'' are gentle yet somewhat irregular pieces of music which deliberately flouted many common practices in classical and even contemporary music. Its cheekiness in avoiding musical conventions however is barely noticeable since the music is strongly guided by its poignant emotional load, and the listener comes away remembering them for their narrative beauty and elegance, rather than their unconventionality.
The pieces are written in 3/4 time and in a similar structure with a similar theme. The ''Gymnopédies'' are ethereal, atmospheric pieces regarded as precursors to modern ambient music; in fact, Brian Eno, the pioneering figure of ambient music, has cited Satie as a prime influence. Satie himself used the term "furniture music" to refer to some of his pieces, implying that they could be used as mood-setting background music. However, Satie himself only started to use the term furniture music for some of his 20th century compositions: Satie would never designate the ''Gymnopédies'' as furniture music. From the second half of the 20th century on, the ''Gymnopédies'' were often erroneously described as part of Satie's body of ''furniture music'', probably due to John Cage's interpretation of Satie's music.
Debussy orchestrations
By the end of 1896 Satie's popularity and financial situation was at an all time low. Claude Debussy, whose popularity was rising at the time, decided on an effort to draw more public attention to the work of his friend.
According to Debussy, the ''2nd gymnopédie'' did not lend itself to orchestration, so he only orchestrated the 3rd and the 1st, reversing the numbering:
:'First gymnopédie' (original piano setting by Satie) → '3rd gymnopédie' (orchestration by Debussy)
:'Third gymnopédie' (original piano setting by Satie) → '1st gymnopédie' (orchestration by Debussy)
The première of the two Debussy orchestrations took place in February 1897, followed by a publication of the score in 1898.
Orchestrations of the ''second gymnopédie'' were only realised many decades later, by other composers, and without being frequently performed.
Contamine de Latour poetry
In the late 1880s Patrice Contamine (1867–1926), at that time better known as 'J.P. Contamine de Latour' (one of his many pseudonyms) wrote ''Les Antiques'' ("The Ancient"), a poem containing these lines:
| French version | English translation |
|---|---|
| :''Oblique et coupant l'ombre un torrent éclatant'':''Ruisselait en flots d'or sur la dalle polie'':''Où les atomes d'ambre au feu se miroitant'':''Mêlaient leur sarabande à la gymnopédie'' | :''Slanting and shadow-cutting a flickering eddy'':''Trickled in gusts of gold to the shiny flagstone'':''Where the ambre atoms in the fire mirroring themselves'':''Mingled their saraband to the gymnopaedia'' |
Which connotations ''exactly'' were intended by Contamine in using the word ''gymnopédie'' / ''gymnopaedia'' remains uncertain:
★ ''dance'' - probably, as he mentions it alongside another dance, the saraband(e);
★ ''antiquity'' - supposedly, given the title of the poem. This however does not yet give a clear picture of how ''antiquity'' was perceived in late 19th-century France (see below);
★ ''nudity'' - maybe, although words like "gymnastique" (gymnastics) and "gymnase" (gymnasium) based on the same Greek word for nudity (γυμνός - "gymnos") were common in those days, but had lost any reference to nudity;
★ ''warfare'' (as in Ancient Greece the word indicated a war dance) - probably not; little war-like intent is apparent in the poem;
★ ''religious ceremony/festivity'' (which was the context of the Ancient ''gymnopaedia'') - probably neither; there seems to be no allusion made to them in the poem.
Perceptions of Antiquity in the 19th century
Regarding Greek Antiquity Otfried Müller was esteemed as one of the major authorities for many decades continuing after his accidental death in 1840. Otfried Müller wrote most of his works in German, which was held in low esteem in late 19th century France, and hardly understood by anyone in Paris. Surely not by Satie, who was a notable Sauerkraut adversary, where 'Sauerkraut' meant ''anything German''. Fortunately there were translations and divulgations of what Müller and other researchers of Ancient Greece had uncovered since the late 18th century, when the Enlightenment had triggered an amplified interest in Antiquity.
George Cornewall Lewis was the English translator of Müller's ''Dorians'', one of the most influential introductions into the culture of Ancient Greece. But then, for the English translation, Lewis had been successful in convincing Müller that all references to "pederasty" (as it was still called then) had to be left out, as correspondence from Lewis to Müller shows.
The prudishness of the Victorian age more or less barred topics like nudity when the insights about Ancient Greek culture were further divulged outside the context of scholarly research: when the William Smith ''Dictionary of Greek and Roman Antiquities'' - an academic publication - describes ★ class=wikiexternal target=_blank>/Nudus.html nudity, one gets a story depicting nudity to mean "light dress" for the Romans and "without arms" for the Ancient Greeks. Smith sees no contradiction in printing a small woodcut in the article on ★ class=wikiexternal target=_blank>/Saltatio.html dance ("saltatio") showing some Greek dancers wearing "only" armor, without any other dress. But then this entry, which effectively mentions the ''gymnopaedia'', does not go into the topic of nudity in Ancient Greece, although being complete in all other sorts of references.
Even if France, in general, was probably less prim in those days, F. Fertiault, when publishing a "picturesque and anecdotic" dance history book in Paris in 1854, succeeded in describing the history of Ancient Greek dance, including the "gymnopédie", without mentioning or illustrating nudity, let alone homosexuality, once. For that matter, neither the martial aspects, nor the context of religious ceremony of the Ancient Greeks, concerning gymnopaedia were mentioned.
Page 21 of Fertiault's book gives the following definition of the ''Gymnopédie'', which the author designates as a ''tragic'' (i.e. ''worthy'' and ''elegant'') scenic dance from Greek Antiquity:
:''performed by two groups, one composed of boys, the other of older men, dancing and singing hymns by Thalétès''
The historical validity of such books, although giving a separate definition of the ''gymnopédie/gymnopaedia'' and mentioning the ''saraband'' as a dance "probably" coming from Spain, remains questionable however. Even the fact that Fertiault gives an early 17th century (Latin and Greek) publication by Johannes Meursius as a source for his "simplified" description of Ancient Greek dance does not make this description more convincingly comprehensive... Another "popularising" publication of the time has been tracked down, this time a music dictionary proclaiming that the gymnopaedia was danced by "girls", and yes, "naked", but then in the "unarmed" sense. Nevertheless, it might be that since neither Satie nor Contamine could read or understand Ancient Greek (Latin, German,...) neither had access to more "revealing", or direct, sources.
''Gymnopédie'' also appears as an infrequently used word in 19th century France, to the point it might have been perceived as a neologism by many. Further, in the Contamine poem ''gymnopédie'' is used in the ''singular'', while the original Greek word (γυμνοπαιδία - "gumnopaidia") is always ''plural''.
All this might indicate that Satie and Contamine chose the word ''gymnopédie'' perhaps rather for its intangible exotism, than for connotations of which they were probably hardly aware themselves.
Satie gymnopedist
Contamine's poetry inspired Erik Satie to the first compositions with which he tried to cut himself loose from the conventional 19th century "salon music" environment of his father and stepmother. E.g. in September 1887 Satie composed three "sarabands" (''Trois Sarabandes''), taking a quote from Contamine's ''La Perdition'' by way of introduction. By this time, Satie knew Contamine personally.
Satie, apparently, used the word "gymnopédiste" (gymnopedist), before having written a note of his later so famous ''gymnopédies''.
The anecdote of Satie introducing himself as a "gymnopedist" in December 1887 runs as follows: the first time Satie visited the ''Chat Noir'' cabaret, he was introduced to its director, Rodolphe Salis, famous for serving sharp comments. Being coerced to mention his profession, Satie, lacking any recognisable professional occupation, presented himself as a "gymnopedist", supposedly in an attempt to outwit the director.
The composition of the three ''gymnopedies'' started only two months later, and was completed in April of 1888.
In August of 1888 followed the publication of the ''first gymnopédie'', accompanied by the verse of Contamine quoted above. Note that it remains uncertain whether the poem was composed before the music, or whether Contamine intended the verse as a tribute to his friend, who had now completed both a set of "sarabands" and "gymnopédies".
Later the same year the ''third gymnopédie'' was also published. There was however no publication of the ''second gymnopédie'' until 7 years later, several announcements of an impending publication of this ''gymnopédie'' being made in the ''Chat Noir'' and ''Auberge du Clou'' periodicals in the mean while.
Modern versions
In popular music the ''Gymnopédies'' music has been used by:
★ the jazz-rock band Blood, Sweat & Tears (two tracks named "Variations on a Theme by Erik Satie" on ''Blood, Sweat & Tears'', their second album);
★ the brothers John and Steve Hackett, the former guitarist for Genesis (''Sketches of Satie'')
★ the British New Wave and industrial musician Gary Numan, in a version for synthesizer and piano originally released as the B-side to the 1980 single "We Are Glass"
★ jazz flautist Hubert Laws on his 1974 album ''In the Beginning''
★ interpolated (in 4/4 time) by Janet Jackson in "Someone to Call My Lover"
★ Jacques Loussier trio recorded three jazz interpretations of the ''Gymnopédies'' in 1998
★ Toots Thielemans recorded Gymnopédie No.1 in his album "Footprints".
★ the English electronic duo Isan recorded versions of the three ''Gymnopédies'' for a 2006 7-inch single, "Trois Gymnopedies" on the Morr Music record label
★ Deconstruction, a post Jane's Addiction group formed by bass player Eric Avery and guitarist Dave Navarro, incorporate Gymnopédie #1 during an interlude in the song "Wait for History" on their self-entitled album
★ Japan's "Nightporter" was a re-invent of Gymnopedie #1 , by David Sylvian
★ the Australian ambient electronic artist, Endorphin, in two tracks titled "Satie 1" and "Satie 2" from the album ''Embrace''
★ Japanese band Dragon Ash covered Gymnopedie #1 for their album ''Harvest''
Gymnopédies in film, television and other media
The ''Gymnopédies'' are often used as background music in film and television.
★ Gymnopédie no. 1 can be heard in Ken Russell's film ''Salome's Last Dance''.
★ It can be heard in an episode of ''Love Hina''.
★ Gymnopédie no. 1 can be heard towards the end of the '' episode "Where Silence Has Lease", during the scene where Picard contemplates his own death.
★ Gymnopédie no. 1 also provides background music for the final scene of ''My Dinner with Andre''.
★ Gymnopédie no. 1 is used in the Jaws section of ''Riding Giants''.
★ Gymnopédie no. 1 can also be heard in the second episode of the Japanese TV drama ''Long Vacation''.
★ Rintaro's section of the anime triptych film ''Neo Tokyo'' (''Labyrinth'') uses Gymnopédie no. 1.
★ It is played in the Korean movies ''Windstruck'' and ''Samaria''.
★ It can be heard in the anime series ''R.O.D the TV''.
★ It was used in a Japan-only videogame for the Gameboy Advance called ''Mother 3'', the last game in the Mother trilogy. It can be heard in the sound player as #222.
★ It is played in the Australian film ''.
★ In the 1994 film ''Corrina, Corrina'', Corrina (Whoopi Goldberg) and Manny (Ray Liotta), her widowed employer, discuss Satie's Gymnopédie at the dinner table, where Corrina discloses her dream to write liner notes for music albums, a long shot in a time (1950s) when neither women nor Blacks were afforded equal opportunities. Of the composer, Corrina says, "Can you imagine being so poised and having such boldness in a composition when you're only 22?"
★ The Gymnopédies can also he heard in the film ''The Royal Tenenbaums'' (2001).
★ It was used in the film ''The Pallbearer''.
★ Gymnopedie is one of the themes of the Velvet Room in Persona 2, and RPG for the Playstation One.
★ The Third Gymnopedie is played by one of the main caracters in Igor Bauersima's Drama "future de luxe".
★ Gymnopédie no. 1 can be heard in the film ''Address Unknown''.
★ Michelle Kwan skated to part of Gymnopedie no. 3 for her 1998 Olympic Long Program.
★ The Naomi Watts character in the 2006 movie, ''The Painted Veil'', plays Gymnopédie no. 1 on a broken-down piano.
See also
★
Notes and references
# See The Letters of Sir George Cornewall Lewis to Karl Otfried Müller, reviewed by Wilfried Nippel
William M Calder III, R. Scott Smith, John Vaio, Teaching the English Wissenschaft. The Letters of Sir George Cornewall Lewis to Karl Otfried Müller (1828-1839). Spudasmata, 85, , Wilfried, Nippel, Bryn Mawr Classical Review 2003.01.05, 2003
# See for example Succès de scandale — Belle Epoque (Oscar Wilde and his Salomé play)
# Histoire anecdotique et pittoresque de la danse chez les peuples anciens et modernes, Fertiault, F, , , Auguste Aubry, 1854,
# See Olof Höjer, ''Le gymnopédiste'' - An on-line article describing Satie's piano compositions up to 1890.
# See for example ''Cage’s Place In the Reception of Satie'' by Matthew Shlomowitz (1999) on Niclas Fogwall's ''Erik Satie'' website.
External links
★ Public Domain Sheet Music of the Gymnopedies at IMSLP
★ Public Domain Sheet Music of the Gymnopedies at the Mutopia Project
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psst.. try this: add to faves
