Satie's progressive incidental music of 1891-92, though explicitly aimed against French Wagnerisme, is not intended as a parody.
Commissioned by the Rosicrucian master and ardent Wagnerian Josephin Peladan, this plain, purely instrumental music proceeds independently from the dramatic action.
For the first time, this pioneering Urtext edition on Satie's incidental music evaluates a previously neglected autograph on the Preludes. In addition, the three popular Preludes 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.
