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Rating: I find myself reviewing the "Gymnopédies" by Erik Satie as if they were an album, even though, in reality, they are a small collection of stand-alone piano compositions that only the music industry has subsequently published in various recordings alongside other collections of the author's scores.
The "Gymnopédies" are one of the masterpieces of the Norman-Scottish origin composer who can perhaps be considered the father of modern piano minimalism, that is, an advocate of an intimate chamber music that perfected what had already been sown by other great contemporaries.
The first piece is extremely famous, as it is used (often inappropriately) in many situations: soundtracks, advertisements, journalistic segments. Some may remember it performed by Sergio Rubini in Verdone's film "Al lupo al lupo." In fact, the first Gymnopédie is a concentration of emotions and sensations that transcends the boundaries of "genre" and becomes an icon of modern chamber music; today preferably labeled with less retro terms, but essentially similar. The post-romantic touch, the delicacy with which the hand must approach the keyboard, the atmosphere that sublimates between the notes are as moving and evocative as one can imagine. Perhaps this is why the piece is used in all contexts that need to express affection, memory, melancholy.
The other two Gymnopédies are no less, although less immediate. They continue the discourse of the first and do not deviate from it in terms of sound impact. After all, Satie's visual inspiration was uniform when writing these three jewels.
Satie still does not enjoy absolute fame, in itself. His repertoire is very vast and includes a lot of chamber music, but also other polyrhythmic works, which highlight his satirical approach and his bizarre verve much more than works like the "Gymnopédies", indeed. But it is with the latter that he has earned a place of honor among the greats, far from having yet consolidated his important position in the landscape of contemporary music.
His significance goes beyond composition itself, since he wrote ABOUT music, not just music. Certainly, for non-professionals, it is difficult to fully appreciate this part of his work: music is more immediate. In any case, it is right to know that Satie's reach goes beyond the remarkable "Gymnopédies" and that even his own life as a man and artist should be explored to understand a character of great cultural originality.
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