152:. A layman and self-professed "barbarian", he built churches to expiate his sins and entrusted much of the management of his estates to his wife Emma. In the 12th century an enduring popular myth arose that Emma was a daughter of Charlemagne and had to conduct her early relationship with Eginhard in secret. During one of their trysts a sudden snowfall made it impossible for Eginhard to escape without leaving telltale footprints, so Emma carried him across the snow on the castle grounds. Charlemagne spotted them from a window, however. Rejecting his counselors' advice that the lovers should be punished, the emperor magnanimously consented to their marriage. This legend gradually spread beyond France and Germany and was still fairly well known in Satie's day. In the United States,
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337:
Patrick Gowers and Nigel
Wilkins, "Erik Satie", "The New Grove: Twentieth-Century French Masters", Macmillan Publishers Limited, London, 1986, p. 138. Reprinted from "The New Grove Dictionary of Music and Musicians", 1980
127:
The historical subject of the prelude was certainly germane to Satie's concurrent fascination with the Middle Ages, and contained elements of
Medieval legend and romance he would later treat with irony in such works as
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Satie's affair with
Valadon lasted from January 14 to June 17, 1893. By early March he was having difficulty arranging dates with her, even though they lived in the same building (6 Rue Cortot in Montmartre). See
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214:(1929). Rollo H. Myers, author of the first Satie biography in English (1948), found the piece of little interest, and it remained something of an oddity until the Satie revival of the late 1960s.
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suggests a specific program, though its melodic fragments are more attractive and approachable than the remote, almost alien-sounding material found in Satie's radical scores for
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Although it stands as one of Satie's more obscure pieces, it has been admired for its succinctness and well-balanced musical construction. Composer-musicologist
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88:'s Rose + Croix sect in August 1892, Satie planned several musical projects he ultimately abandoned or never started. It is not known for what purpose the
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provisionally places it at the beginning of 1893, when the composer would have been in the first flush of his brief love affair with the painter
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54:" or "mystic" period. Unpublished during his lifetime, it was issued posthumously in 1929. A typical performance lasts under 3 minutes.
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263:(Circé, 1990), Klára Koermendi (Naxos, 1993), Bojan Gorišek (Audiophile Classics, 1994), Olof Höjer (Swedish Society Discofil, 1996),
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Rollo H. Myers, "Erik Satie", Dover
Publications, Inc., NY, 1968, p. 75. Originally published in 1948 by Denis Dobson Ltd., London.
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for a play, but no evidence pertaining to this has come to light. The score is undated. In his chronology of Satie's compositions
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232:(1966), which raised its profile considerably. The original piano version has since had more than a dozen commercial recordings.
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Frank Moore Colby, Talcott
Williams (ed.), "The New International Encyclopaedia", Volume 7, Dodd, Mead, 1918, pp. 554-555.
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438:. Longfellow knew several languages and his spelling of Eginhard suggests he learned of the tale through French sources.
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Olof Höjer, notes to "Erik Satie: The
Complete Piano Music, Vol. 2", pp. 15-16, Swedish Society Discofil, 1996.
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http://www.soundkiosk.com/pdffiles/Erik%20Satie%20prime%20numbers%2013%20letters%20Robert%20Orledge%202008.pdf
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Emma carrying her lover
Eginhard across the snow. A 1907 color print after a painting by G. L. P. Saint-Ange
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motifs are transposed, inverted and repeated over 24 regular bars. Apart from the title, nothing about the
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of March 1893, in which Satie broke up a continuous piece of music into sections by purely literary means.
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104:. Pianist Olof Höjer also found close stylistic links between the prelude and the earlier piano piece
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was shelved and forgotten until after the composer's death. His close friend and music executor
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460:: prime numbers and the creation of a new language with only half the alphabet," p. 13, at
370:(ed.), "Satie Seen Through His Letters", Marion Boyars Publishers, London, 1989, pp. 45-47.
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Matthew
Naughtin, "Ballet Music: A Handbook", Rowman & Littlefield, 2014, pp. 282-283.
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Fête donnée par des
Chevaliers Normands en l'honneur d'une jeune demoiselle (XIe siecle)
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Fête donnée par des
Chevaliers Normands en l'honneur d'une jeune demoiselle (XIe siecle)
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Robert Orledge, "Satie the Composer", Cambridge University Press, 1990, p. 164.
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was "perhaps the most perfect miniature" in all of Satie's Rose + Croix music.
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Höjer, notes to "Erik Satie: The Complete Piano Music, Vol. 2", pp. 15-16.
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Höjer, notes to "Erik Satie: The Complete Piano Music, Vol. 2", pp. 15-16.
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scholar who was an important courtier and first biographer of
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was written. The title suggests it was intended as a piece of
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392:, available from Fordham University's Medieval Sourcebook at
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https://www.erudit.org/revue/cumr/1998/v18/n2/1014653ar.pdf
271:(MDG, 2002), Cristina Ariagno (Brilliant Classics, 2006),
140:(1914). "Eginhard" is the French spelling for the name of
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http://legacy.fordham.edu/halsall/basis/einhard.asp
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1089:Metropolitan Church of Art of Jesus the Conductor
190:Like much of Satie's Rose + Croix-era music, the
156:retold it in verse in his 1863 poetry collection
968:Choses vues à droite et à gauche (sans lunettes)
824:Les trois valses distinguées du précieux dégoûté
475:, "A New Gloria for Satie's Messe Des Pauvres",
747:Croquis et agaceries d'un gros bonhomme en bois
308:http://imslp.org/4_Pr%C3%A9ludes_(Satie,_Erik)
255:(Harlekijn, 1975, reissued by Philips, 1980),
1038:Petit prélude de 'La Mort de Monsieur Mouche'
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259:(Forlane, 1984), Ulrich Gumpert (ITM, 1989),
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975:Cinq grimaces pour Le songe d'une nuit d'été
929:Veritables Preludes flasques (pour un chien)
80:, from a 15th-century illuminated manuscript
46:) is an 1893 composition for solo piano by
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222:to serve as an overture for choreographer
423:http://www.nndb.com/people/474/000097183/
479:, Vol. 18, No. 2, 1998, p. 40, note 11.
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306:Original edition of the score at IMSLP
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208:Fête donnée par des Chevaliers Normands
356:Orledge, "Satie the Composer", p. 276.
347:Orledge, "Satie the Composer", p. 276.
226:'s ballet set to Satie's early music,
456:Robert Orledge, "Erik Satie's ballet
436:The Student's Tale; Emma and Eginhard
421:NNDB, online biography of Einhard at
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873:Prélude de la porte héroïque du ciel
950:Vieux sequins et vieilles cuirasses
50:. It is a notable example of his "
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880:Préludes flasques (pour un chien)
803:Heures séculaires et instantanées
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922:Trois morceaux en forme de poire
477:Canadian University Music Review
388:From Einhard's "Preface" to his
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243:(twice for EMI, 1968 and 1988),
740:Chapitres tournés en tous sens
84:In the wake of his split from
16:1893 composition by Erik Satie
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210:in the posthumous collection
110:(c. 1892), as opposed to the
1185:19th-century classical music
1095:The Minimalism of Erik Satie
641:Trois petites pièces montées
275:(Brilliant Classics, 2016).
1190:Compositions for solo piano
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1180:Compositions by Erik Satie
1109:Musée-Placard d'Erik Satie
936:Verset laïque et somptueux
908:Sonneries de la Rose+Croix
154:Henry Wadsworth Longfellow
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915:Sports et divertissements
845:Petite ouverture à danser
761:Descriptions automatiques
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901:Sonatine bureaucratique
733:Avant-dernières pensées
680:Quatre petites mélodies
659:Bonjour Biqui, Bonjour!
269:Steffen Schleiermacher
183:(1891) and the ballet
165:Satie's music, played
159:Tales of a Wayside Inn
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261:Jean-Pierre Armengaud
122:
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989:Geneviève de Brabant
726:Aperçus désagréables
701:Trois poèmes d'amour
634:La belle excentrique
566:List of compositions
279:Notes and references
206:(June 1892) and the
204:Préludes du Nazaréen
198:arranged to publish
144:, an 8th-century AD
137:Trois poèmes d'amour
131:Geneviève de Brabant
1031:Les Pantins dansent
1017:Le Fils des étoiles
1010:La statue retrouvée
1003:La Diva de l'Empire
390:Life of Charlemagne
265:Jean-Yves Thibaudet
202:along with the two
180:Le Fils des étoiles
44:Prelude to Eginhard
30:Marcellin Desboutin
1024:Le piège de Méduse
982:En habit de cheval
960:Other compositions
866:Prélude d'Eginhard
768:Embryons desséchés
515:Prélude d'Eginhard
399:2016-02-09 at the
220:Prélude d'Eginhard
192:Prélude d'Eginhard
175:Prélude d'Eginhard
134:(c. 1900) and the
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90:Prélude d'Eginhard
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63:Prélude d'Eginhard
61:ventured that the
39:Prélude d'Eginhard
34:
1195:1893 compositions
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817:Le poisson rêveur
673:Messe des pauvres
253:Reinbert de Leeuw
249:Jean-Joël Barbier
218:orchestrated the
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1114:Surrealist music
1062:Related articles
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1080:(1924 film)
859:Poudre d'or
796:Gymnopédies
789:Gnossiennes
711:Piano music
651:Vocal music
150:Charlemagne
69:Description
52:Rosicrucian
1174:Categories
996:Je te veux
894:Sarabandes
775:Enfantines
557:Erik Satie
236:Recordings
187:(1892).
48:Erik Satie
26:Erik Satie
1102:Monotones
1077:Entr'acte
1070:A Romance
943:Vexations
831:Nocturnes
229:Monotones
171:Gregorian
1146:Category
1120:The Gift
1105:(ballet)
397:Archived
338:edition.
200:Eginhard
146:Frankish
78:Eginhard
719:Allegro
687:Socrate
666:Ludions
602:Relâche
588:Mercure
573:Ballets
521:YouTube
142:Einhard
838:Ogives
595:Parade
32:(1893)
1158:Audio
620:Danse
458:Uspud
185:Uspud
167:Lent
36:The
519:on
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162:.
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42:(
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