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.

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 b...