Horn 1: f#1 - a2
Horn 2: a - a1
Horn 3: d1- a2
Horn 4: A - c#1
Horn 5: b -a2
Horn 6: d - a1
Horn 7: a - g1
Horn 8: D - b
Similar to his arrangement of Gymnopedies no.3, Lynsdale-Nock's Gymnopedies no.1 is transposed into the written key (D major is the original key, and D major horn pitch is the key of the arrangement). This makes the two a performance pair, just like Debussy's orchestration of the two pieces out of the three.
Again the source material for the arrangement is the Debussy version, with colour changes through octave doubling, and a greater variety of dynamics than found in the piano score (however still limited to a few bars of forte, and everything else quieter). Needless to say there are a few stopped notes (Lynsdale-Nock trademark), but other than that the piece consists of a bass note on beat one, changing chords on beat two, and a slightly varying melodic line on top of that.
Being the companion piece to Gymnopedies no.3, Gymnopedies no.1 has a similar difficulty in regards to matching ensemble articulation and tuning. With only a slightly different melodic line and accompaniment figures, the two works can either be seen as substitutes or complements, depending on the length of Satie desired for the concert.
Provision of review score: John Lynsdale-Nock (Corniworld)