Satie’s progressive incidental music of 1891-92, though explicitly aimed against French “Wagnérisme”, is not intended as a parody. Commissioned by the Rosicrucian master and ardent Wagnerian Joséphin Péladan, this plain, purely instrumental music proceeds independently from the dramatic action.<br>
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For the first time, this pioneering Urtext edition on Satie‘s incidental music evaluates a previously neglected autograph on the “Préludes”. In addition, the three popular “Préludes” are presented in both their versions. Notes on interpretation and a detailed Foreword introduce this exciting, moderately difficult work, which formed the basis of Satie’s early reputation as a composer and which he considered one of his most important compositions.<br>