People associate music with an ongoing sound. There always has to be something playing in order for it to qualify as music. However, the is a power in silence and resonant tones that can make all the difference in your experience. This minimalistic technique is often viewed as inferior to other music; but has the adaptability and power to evoke certain emotions that may be considered difficult to achieve. This form of ambience music, is unique and memorable, such as Erik Satie’s “Gymnopédie No. 1”.
Written in 1888, “Gymnopédie No.1” is only the first of three Gymnopédies, piano compositions written by French pianist and composer Erik Satie (1866-1925). There are many uncertainties and ongoing debates when it comes to the pieces and its roots. From the composition’s title, to its source of inspiration. According to Satie, his source of inspiration was a novel called “Salammbô”, a historical novel set in Carthage during the events of the Mercenary Revolt, written by Gustave Flaubert. However, in the summer of 1888, the first Gymnopédie was published in La Musicque des familles magazine along with an excerpt the poem Les Antiques, written by J. P. Contamine de Latour; this forms the assumption that it was the inspiration of the composition.
Erik Satie was known to be a bit of an eccentric person, which complimented his experimental approach to composition, much like his friend Claude Debussy. The Gymnopédies were the first compositions that Satie composed to separate himself from the conventional music at the time. Rather than grand symphonies and pieces by composers of the late 19th century, he wanted to purposely compose music that would sit in the background, which is how the Gymnopédies were born. They were not meant for people to pay attention to, and yet, “Gymnopédie No.1” became one of his most famous and well-known pieces of all time.
Erik Satie’s music has become a sort of foundation for what we know as lofi music today. Originally intended as background music, the piece has gained so much attention due to its soothing and calming effect. Its minimalist nature allows for adaptable use, and can hold light or heavy emotion; this is due to its slow tempo and dissonant tone. While it may be minimal, it is absolutely gorgeous in a melancholy way. When used in the visual media industry, we often find the song during a moment of uncertainty, sadness, reminiscence, or peace. It can be a great opening song setting the tone for the film, such as in Love and Pop (1998), directed by Hideaki Anno. Or a great way to end in an uncertain or satisfyingly soft way, such as in My Dinner With Andre (1981), directed by Louis Malle.
One film that truly embodied the feeling that this piece evokes is on the documentary film, Man on Wire (2008), directed by James Marsh. Here, the piece is heard as we watch the man walking on the wire between the two buildings. There is a feeling of serenity and uncertainty that the scene offers, while the man talks about his thoughts and emotions on the rope. The piece also offers a necessary sense of calming for the audience watching, terrified of the possibility of danger.
Some other notable uses:
- The All-American Woman (1976) – directed by Mark Haggard
- Diva (1981) – directed by Jean-Jaques Beineix
- Another Woman (1988) – directed by Woody Allen
- The Royal Tenenbaums (2001) – directed by Wes Anderson
- The Disappearance of Haruhi Suzumiya (2010) – directed by Tatsuya Ishihara
- Mississippi Grind (2015) – directed by Ryan Fleck and Anna Boden
- The Macaluso Sisters (2020) – directed by Emma Dante
- The Queen’s Gambit “Exchanges” (S1, E2) – directed by Scott Frank
- Murdoch Mysteries “Troublemakers” (S13, E1) – directed by Harvey Crossland
Classic or Cliché?
While this piece has been used a countless amount of times, it is quite indispensable. It is used purely intentional when used along with a visual medium, much to Satie’s dislike. Although it has more of an atmospheric/ambient nature, it is capable of holding heavy emotions. A classic piece used well in the industry.
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