n. a moment of awareness that someone you’ve known for years still has a private and mysterious inner life, and somewhere in the hallways of their personality is a door locked from the inside, a stairway leading to a wing of the house that you’ve never fully explored—an unfinished attic that will remain maddeningly unknowable to you, because ultimately neither of you has a map, or a master key, or any way of knowing exactly where you stand.
avec la liberté d'une chanson populaire/with the freedom of a popular song (claude debussy prelude no. 5, "les collines d'anacapri")
peu à peu sortant de la brume/little by little emerging from the mist (claude debussy prelude no. 10, "la cathédrale engloutie")
de manière à obtenir un creux/so as to obtain a hollowness (erik satie, gnossienne no. 3)
with simple tenderness (edward macdowell, to a wild rose)
velocissimo, con tutta forza/very fast, with all force (modest mussorgsky, pictures at an exhibition 1. gnomus)
si deve suonare tutto questo pezzo delicatissimamente e senza sordino/you must play this whole piece very delicately and without pedal (ludwig van beethoven, piano sonata no. 14, "moonlight")
my offering for this year's Remus Lupin Fest was something I really enjoyed writing and I'm so excited to share it with you now:
Both Sirius and Remus are framed for Peter's murder after Halloween 1981, and are sent to Azkaban to rot in infamy. Only, these two don't take their sentences lying down, and along the way they realise their feelings for each other are more than they bargained for.
read it here
thank you of course to the brilliant mods at @remuslupinfest for yet another fantastic year, I appreciate you endlessly.
I haven’t seen a lot of discourse on it so thought I’d give it a go!
Gnossienne no. 5 is the sweet melody that plays whenever Stede and Ed share a soft moment. I’ve also read other interpretations of it, such as times when Ed feels good about himself because of Stede, or when Ed is being vulnerable with Stede, etc. Point is, the song plays when they have a Moment: when they share breakfast together the morning after being a lighthouse, still in each other’s clothes; the Moonlight “you wear fine things well” scene; a very quiet bit of it when Ed is crying in the bathtub and Stede comforts him; and of course, the “what makes Ed happy is you” kiss. The slow build up, the leitmotif, the incredibly soft and subtle moments, all culminating into canon romantic love between two middle aged men - this is fanfiction. This all reads as fanfiction, and I love it so much, and my heart hurts from that last episode. But I digress.
Gnossienne is a made up term invented by its composer, Erik Satie, to call a new type of composition he created: characterized by “free (lacking time signatures or bar divisions) and highly experimental with form, rhythm and chordal structure” (wikipedia). It is also often regarded as a dance, and no. 5, quite apart from the other Gnossiennes in the series, distinguishes itself with its relatively upbeat style, which to me sounds almost tentative and hopeful. It is soft, new, simple, gentle, with time signatures up for interpretation. And I believe this complements Ed and Stede’s love perfectly.
Stede and Ed’s relationship, to me, is one of first love: neither really certain of the feeling they have, as neither ever really experienced true romantic love before (my interpretation), so they are slow and uncertain - much like how Gnossienne no. 5 balances between hope and joy, with an undercurrent of wistfulness, sadness(?) that suggests it could easily tilt into melancholic territory. They develop slowly from a friendship (the tentativeness), and is something both incredibly new to them, in the show, and to us (the audience), who gets queerbaited all the time. This natural development of a queer couple who are also the two protagonists complete with their own backstories and character arcs and personality is an unfortunately novel phenomenon in media. And it’s just so SOFT. Much like how Gnossienne was new and experimental and free form, so is Ed and Stede’s relationship, and everything is so soft and lovely and believable and is everything queer representation could be.
Oh and one more thing - Erik Satie was reportedly influenced by Gnosticism at the time, which “emphasised personal spiritual knowledge (gnosis) above the orthodox teachings, traditions, and authority of religious institution”. You know. Queerness over heteronormativity, hegemonic oppression, etc.
gnossienne
n. a moment of awareness that someone you’ve known for years still has a private and mysterious inner life, and somewhere in the hallways of their personality is a door locked from the inside, a stairway leading to a wing of the house that you’ve never fully explored—an unfinished attic that will remain maddeningly unknowable to you, because ultimately neither of you has a map, or a master key, or any way of knowing exactly where you stand.
There is something mysterious and even mystical about playing this song on a glass harp, it brings me feelings that no other instruments ever brought to me, just wonderful.
I am now over halfway through The Secret History! Where else could this best be read than my lovely bedroom, complete with Woodwick candle and Jane Eyre blanket!
The song is Gnossienne no. 1, a song that has always intrigued me. I had definitely heard it before this, but I always associate it with the time I heard it in a Mermaid Museum (yes, you read that right) during senior week. The whole experience was deeply strange; it was a sideshow attraction, filled with cute and kitschy "proof" of mermaids, such as artifacts from various cultures depicting them or their "scales." We were the only ones in there. Plus, it was senior week, which makes everything more surreal, I think. I just read that the song was written without time signatures, in something the composer called "free time" (well, he probably didn't call it that since he was French. Who knows? Not me!) I guess that's why this song is so cool and unsettling.
Erik Satie - Gnossienne No.1 makes me feel like I am at a ghost village in Anatolia where all the young people have left for the big cities and only a couple of very old people live in very old houses. I have lost my way and I am wandering around the village and some 80 year old grannies are looking at me from outside their doors. No other piece of classical music gives me as specific a feeling.