Debussy: La Cathédrale Engloutie
Preludes, Book 1, 1910
By: Crystal Peebles
Due: January 23 prior to class
Score in Burkhart: pp. 445-449
Naxos Recording: http://ithaca.naxosmusiclibrary.com/mediaplayer/player.asp?br=64&tl=431508&domain=ithaca.naxosmusiclibrary.com&pl_token=6D8D5198-17D8-4A4B-82B1-89C12E22ED46
“La Cathédrale Engloutie” or “The Sunken Cathedral” a part
of the Preludes, Book I for piano by
Claude Debussy. In this impressionist work, Debussy creates a soft-lighted
picture of a grand cathedral immerged in still waters. As I listened to this
piece, here is an image that came to my mind.
Claude Monet: "The Portal of Rouen Cathedral in
morning light, harmony in blue". 1894.
Before getting into a listening guide for this piece, a
quick note about the time signature. The 6/4=3/2 does not mean that a measure
of 6/4 is the same length as a measure of 3/2; instead, the quarter note in
sections that have quarter notes is equal in length to the half note in
sections that have mainly half notes. The quarters in m. 1 should be about the
same length as the half notes in m. 8.
At this point, take a listen to the composition. Can you
imagine an underwater world?
Now, listen again, while following the score.
As you read this listening guide, follow along with the
recording and score. Since this is a sectional form, with the sections marked by
changes in texture, dynamics, pitch-class collection, and melody, I will
provide an overview of each section.
Section 1:
The composition quietly opens with a pentatonic collection,
but no discernable pitch center. The chords that sound every two measures are
open fourths/fifths and are played in the lower and higher registers of the
piano. In the middle register planing chords (chords that move in parallel
motion) ascend like bubbles rising to the water’s surface. The bass line
descends from G-F-E, and in m. 6 the rising chords repeat pitch-class E,
establishing it as the pitch center of the next phrase.
At m. 7, a melodic idea is played in the higher register of
the piano in the E-Lydian mode (E-F#-G#-A#-B-C#-D#-E). This melody, played over
an E pedal, emphasizes the main melodic gesture of the composition: up a M2, up
a P4. Measure 14 returns to planing quarter notes, but this time they ascend,
then descend. All the pitches belong to the C major pentatonic scale. Measure
15 concludes the first big section of the piece. This entire section featured
soft dynamics, slow rhythms (no note value faster than the beat), and open
harmonies with parallel motion (parallel fifths, fourths, and octaves).
Section 2:
The next section, mm. 16-21, begins with a triplet
accompanimental figure that strongly contrasts with the homorhythmic texture of
the previous section. The two-measure arc from mm. 14-15 is contracted to just
a single measure, increasing the intensity of this section. Contributing to
this increased intensity is gradual increase of dynamics, shifting pentatonic
collections (mm. 16-18 compared to mm. 19-21), and the incorporation of faster
note values.
In measure 22, the M2-P4 motive sings out in octaves as the forte dynamics and slower note values anticipate
the approaching climax, which will initiate Section 3. This section is in
C-Ionian and uses quartal harmonies (stacks of P4s).
Section 3
The climax is reached in m. 28 with a low C1. The
texture reverts to a homorhythmic texture over a C pedal, and the melody begins
with the M2-P4 motive. This grand, full texture evokes images of large
cathedrals stretching to the sky. Again, the planing technique is used
extensively, as all the triads are moving in parallel motion. The first phrase
(mm. 28-32) is in C-Ionian, the second phrase (mm. 33-38) is in C-Mixolydian
(C-D-E-F-G-A-Bb-C), and the third phrase (mm. 39-41) returns to C-Ionian. A
cadential extension of sorts leads into the next section. The bass steps down
from C->Bb->Ab, which is then
respelled as G#. This G# sounds like the dominant in the next section.
Section 4
This section begins with the C#-Dorian collection
(C#-D#-E-F#-G#-A#-B-C#). The mood is subdued, played very softly with a thin,
undoubled melody. As the section continues, the register gradually expands
upward, and the melody is doubled (mm. 51-52), then tripled (mm. 53-54) at the
octave.
With the A-natural in m. 55, the collection shifts to
C#-Aeolian (natural minor), and the music begins to grow in intensity. The
dynamics gradually increase and the register continues to expand upward. The
M2-P4 motive is played in retrograde and inversion as a descending P4 followed
by a descending M2. Planing seventh chords in m. 63 arrests this growth,
initiating the transition to the final section of the piece. The texture thins
as the pitch center shifts to pitch-class C, which is decorated by an upper neighbor
note.
Section 5 (repeats elements of Section 3 and 1)
The composition concludes with a return of previously heard
material. Mm. 72-83 reprise mm. 28-41. There are two differences: first, in
this later section, the bass is playing constant eighth-notes under the
planing, chordal melody; and second, the dynamics are softer, as if you were
slowly moving away from the grand cathedral. The short codetta (mm. 84-89)
repeats the opening, but in C major pentatonic.
Welcome to your first listening guide! Remember to leave a comment that addresses at least one of these points:
ReplyDelete1. Write a few sentences describing the musical parameters the composer emphasizes in the composition.
2. Write a few sentences that highlights a passage that you found particularly interesting and describe why it was interesting to you.
3. In a few sentences respond to the listening guide: some possibilities for a response include agreeing with and expanding the original author's observations, politely disagreeing with the original author, or asking questions for clarification.
4. You can use this post to ask a general question about the composition. This will be a great place to start class discussion.
5. Finally, you can use your post to address any questions posed by other students in the class.
When I grade the comments, I will grade out of five points. Here is the rubric:
5 points: The comment post is turned in on time. In the post, the student demonstrates a careful listening to composition and reading of the guide. The comment is original, insightful, and reflects critical thinking.
4 points: The comment post is turned in on time. In the post, the student responds to the guide and/or musical composition. The comment is original, but doesn’t go beyond surface observations
3 points: The comment post is turned in on time. In the post, the student fails to demonstrate that they read the guide or listened to the composition.
2 points: A 4 or 5-point comment turned in late.
1 point: A 3-point comment turned in late.
I also felt the author's viewing guide was easy to follow as I listened to the piece with the score. It was helpful before reading each section of the music, to read about the meaning of the title and the author's use of art by Monet to depict the image she believes Debussy creates in this piece. It's also great to use an artist like Monet, since Monet's work is also from the French Impressionist Period. Therefore, Debussy’s musical texture and Monet’s textures in his paintings can be compared. One of my favorite passages begins in Section 3 of the listening guide (m.28) because it is the climax of the piece. The author makes a good point, in which she describes how the homorhythmic texture is revisited once again. The author also notes that at this point the imagery that comes to mind is the cathedral rising to clouds. Perhaps at this point, this texture is an indication of the cathedral, and the grand chords that are used, depict largeness and beauty of the cathedral. This grand texture in Section 3 can be referred back to the Monet painting used in the listening guide. One of Monet’s methods was understanding the effects of light on a local color of objects. I believe that these grand chords used by Debussy create colors that are symbolic of the effects the light has on the cathedral as it emerges from the water into the light from the sky.
DeleteInteresting comparison with the grand chords = effects of light on the cathedral.
DeleteOh, and don't forget to include your name somewhere :)
ReplyDeleteI found the author's approach to this piece very easy to follow, especially the theoretical aspects of it. I found as I followed along I was able to quickly relate to the guide and know exactly where she was referencing. I really enjoyed using the imagery of Monet's cathedral painting. It helped me to picture a huge cathedral in my mind. To me, it really fit the mood and style of the piece. Both refreshing but also immovable. I thought the use of the very low, rolling eighth notes in section 5 gave the effect of really heavy stone work giving me that feeling of groundedness. I would like to consider the importance of the grand chords used throughout the piece. With the imagery of a cathedral in mind, could some of these massive chords and pedal tones, like the C pedal in section 3, be meant to evoke the sound of bells tolling? The piece reminds me a lot of the intro to the Disney version of The Hunchback of Notre Dame. The Hunchback of Notre Dame uses a bell instead of massive chords, but they both are followed by a moving line. One may argue that the composers for the Hunchback's intro could have been influenced by this piece. While the Hunchback intro is much darker and heavier, in my mind they are oddly similar.
ReplyDeleteI think that is it definitely possible that the composer(s) for HND may have listened to a variety of French music prior to composing the score. After all, Notre Dame is in France.
DeleteOverall, I found the author's guide to the piece very insightful and easy to follow. As Laura previously stated, I knew exactly what element of the piece was being talked about the moment I heard it. I agree that the image of a cathedral fits this piece extremely well, but a forest came to my mind almost immediately. In section 2, where the homorhythmic theme enters once more and crescendoes all the way to the climax at the beginning of section 3, I pictured a large stag majestically walking to the top of a rock overlooking a forest (similar to scenes from Bambi). The story of Bambi could definitely be told with this piece as the sound track. In my opinion, the overall arc of the piece clearly depicts the storyline from the Disney classic. In the Codetta, the return of the opening theme almost makes the listener assume that piece is on a loop, ready to listen for it again or it may signify that the forest is calm once more. To me, relating a piece to a story or idea that is familiar to you allows you to make a real connection to the piece and discover new elements about it as they coincide with the story you've connected it to. Laura had mentioned grand chords being used throughout and I would agree that they help in making the piece feel grounded and maybe even more stable. Event the softer sections have a feeling of stability. In the essence of my Bambi connection, the grand chords make me think of the stag or "Prince of the forest" while the softer chords make me think of when the stag was young. My idea of this piece almost sounding like it's on a loop could resemble the evolution of the deer, starting young, growing into an adult, and finally passing on. It's amazing what music can make you think of, even when it may not relate to the piece at all.
ReplyDeleteThis piece reminded me of swimming deep underwater, something that I enjoyed doing regularly growing up. I felt this especially in the first section. When the open fourths and fifths were climbing from the bottom to the top of the register it reminded me of laying at the bottom of a pool and watching air bubble raise to the top. Also, the stark contrast in the registers of the right and left hand, such as in mm. 41-46, brought to mind the way water can make you feel suspended between two extremes, gravity wanting to pull you down to the bottom and the buoyancy of the water wanting to push you towards the surface. However, the prominent thought I had while listening to this piece is what inspired Debussy to write this composition. Did a specific church inspire him? Why is the church sunken? So I decided to look into it and according to Oxford music online, this prelude is “based on the legend of the Cathedral of Ys with its tolling bells and chanting under the sea.”
ReplyDeleteI have attached an NPR article that briefly explains the legend that inspired this piece. I still wonder how Debussy became familiar with this legend. Was this a popular legend during the time? And what about this legend inspired him?
http://www.npr.org/2008/02/01/18582805/edouard-lalos-the-king-of-ys
"Cathédrale engloutie, La." The Oxford Companion to Music. Oxford Music Online. Oxford University Press, accessed January 23, 2015,http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e1212.
I was unaware of this connection. I'll definitely have to include it in my post for next year! Thanks!
DeleteThe imagery Debussy was trying to create was always very clear, and I really liked that as a listener. The two main elements I hear include the cathedral and water. Elements of the cathedral are displayed through the use of open 5ths and homophonic texture ( seen in section 3, as outlined in the listening guide). Bass pedals, pentatonic, and modal collections add to the imagery of the sea, or water. There is an element of mystery in the pentatonic and modal scales that add to the water imagery. I personally enjoyed mm. 16-21. The tension between the two meters reminded me of the “push and pull” motion of waves.
ReplyDeleteThere is an element of stillness (as Caitlin said, “stability”) throughout the piece that is created through the use of bass pedals and chordal texture. I noticed that the overall texture of this piece displays a constant flow of swelling and thinning, similar to that of waves. It is comforting and familiar when thinking of images of waves. The stillness and comfort are both achieved during section 5 when there is repeated material. I really enjoy how Debussy wove the similarities between water and a Cathedral together (which for me manifest in the stillness, comfort, and mystery).
I really enjoyed that the listening guide included the imagery aspects of this piece. It’s what makes impressionist pieces what they are. On the other hand, it’s always nice to see the theory behind why things sound like they do, and why certain sounds remind us of certain images.
Not as strict of a question, but I am left wondering, Is the cathedral emerging from the water, or is it still, or locked in time under the sea? When I hear this piece, I envision an Atlantis-like place, except a cathedral.
Well, according to the legend that Haley discusses, it is rising from the water. BUT the great thing about impressionism in general is that the art is open to many different interpretations. I was unaware of the legend, so the image that I have when listening to the piece is on of exploring a sunken cathedral, prehaps one that noone has seen before. To the music depicts the feeling of grandeur and awe. As long as you can use musical "FACTS" to support an interpretive decision, then you are doing fine.
DeleteThe opening to this piece reminds me a lot of a creature from the game, Shadow of the Colossus, called Hydrus. A quick overview of the game is that you're a wanderer who ventures to a vast, foreign, and forbidden land to save your deceased lover by slaying a series of giant creatures called Colossi. This Colossi in particular, Hydrus, is a giant eel-like creature that lives in a lake. Firstly, the opening chord and the similar chords in measure 3 and 5 are very reminiscent of Hydrus. The massive breadth of register suggests something huge, which is actually reminiscent of everything about the game, the land being absolutely enormous, this lake being very large, Hydrus, themselves being 280 feet long. The ascending and descending quartels are similar to how Hydrus ascends and descends in the water, always watching you.
ReplyDeleteIn terms of the original inspiration for the piece, the open fourths in the beginning suggest the sort of enormity that would be expected of a cathedral while the slow, pedaled quartels suggest the lethargy that would be experienced by being underwater. This lethargy is further given to the listener due to the slow tempo and development of the piece as a whole.
This comment has been removed by the author.
ReplyDeleteThis piece reminds me a lot of program music. As in program music, this composition makes use of “tone painting”: a compositional style in which music exceeds its (apparent) limitation to sound and creates a whole new, visual dimension. Even though this piece is not categorized as a standard program piece, I believe that the image of an underwater cathedral is clearly “awakened” by the way the notes and chords are placed in each section. To me, section three is a good example for this compositional style. Introduced by the composers words ”Sonsore sans durete” (sound without hardness), full chords resound in a majestic and almost choral-like manner. As the author has already mentioned above, it is, at this point, easy to imagine the towers of a massive cathedral.
ReplyDeleteWhen I listened to this piece it was this section that stood out to me. Not only because of the drastic change of character that comes along with it (dynamics change from p to ff),but also because of the powerful picture that is created when the cathedral appears for the first time. In this moment, two worlds collide: the world above (cathedral) and the world under water (horizontal motion meets vertical motion). This picture is so powerful that, if you take a closer look at the score, you will be able to see it without even listening to the piece. The slur that connects the chords represents the water surface, the chords represent the cathedral, and the pedal tone in the bass represents the ground that lies beneath it.