DURAND CLAUDE Debussy La Cathedrale Engloutie For Piano. Be the first to review this product. CA$ Out Of Stock. SKU. Catalog #: . Jiri Kylián’s ballet is set to a composition by Claude Debussy which was inspired by a fifteenth-century Breton legend. This tells how a cathedral was built on a. La cathédrale engloutie. (). by Claude A Debussy, Colin Matthews. Description: Debussy, orchestrated by Colin Matthews; Duration: 5; Genres: Full.
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His Life and Mindvolume 2. It was arranged for orchestra by Leopold Stokowski as The Engulfed Cathedral and released in a recording in To enngloutie the city, a huge dike was built around it with a single gate that opened for ships during low tide.
Piano Trio String Quartet Syrinx for flute Six sonatas for various instruments For example, some performers use their full body weight to depress keys to create a rich sound. It was famous throughout the region for its beautiful gardens and buildings. These chords bring to mind two things: This is the loudest part of the piece.
Klavierwerke, Band II pp. Not by coincidence, motif 1b is heard in the 4th, 5th, and 6th quarter note beats of measure 14 B-D-E. Isabella Stewart Gardner Museum.
La cathédrale engloutie – Wikipedia
This shows Debussy at his closest manifestation of musical impressionism. Motif 1 is heard on a broader scale in the bass notes dotted whole notes in measureshitting the notes of the motif in inversion and transposition on the down-beats of measures 1, 15, and l G-C-B.
The use of stark, open fifths here allude to the idea of church bells that sound from the distance, across the ocean. His daughter, Dahut, on the other hand is usually described as a sinful, deceitful princess. LMC issued shortly after this score is a critical edition by James Briscoe on which copyright is claimed. The cathedral then sinks back down into the ocean and the organ is heard once more, but this time from under water.
Jane Mortier, piano First Pub lication.
The next section is a subset of A, noted as c in the timeline. Parallel harmony forces the chords to be understood less with functional roots, and more as coloristic expansions of the melodic ctahedrale.
La Cathédrale Engloutie
He does so and she turns into a mermaid. Creative Commons Attribution-ShareAlike 4. There are many different versions of the legend. The first chord of the piece is made up of sonorous Gs and Ds open fifths.
The rising pentatonic theme in measure 1 theme 1 repeats in measure 3, 5, 14, 15, 16, 17, 84, 85, and with a slight variations in measures and He agreed to do so, but devoted father as he was, he tried to save his daughter. Remaining in Cit skips to material from the beginning of B, and continues with this material until bar 67, modulating briefly through E and G minor pentatonic.
Performer Pages Stefano Ligoratti Piano. The melodic statement here in C major is the climax of the piece. The high D in measures 1, 3, and 5; the soprano E octave that occurs 12 times from measures ; the high B in measures 14 and It also implies that this section is a mirror of one which came before, giving further support to the intro-ABA-outro structure.
MP3 file audio User: The next section, B, measuresis a composite of earlier themes. The form of the piece can be traced through the progression of tonal centers and pitch collections. To begin the piece, Debussy uses parallel fifths. Debussy uses the technique of parallelism also known as harmonic planing in his prelude to dilute the sense of direction motion found in prior traditional progressions.
A voice called out to throw his sinful daughter into the sea or he would not escape the waters that were about to overtake him. Cambridge University Press, This prelude is typical of Debussy’s compositional characteristics. Another version says that Dahut steals the key to let her secret lover in to the city during the night, mistakenly flooding the city.
Views Read Edit View history. Following the grand entrance and exit of the organ, the catgedrale sinks back down into the ocean measures and the organ is heard once more, but from underwater.
The nearly symmetrical form of intro-ABA-outro helps illustrate the legend that Debussy is alluding to in the work, and his markings help point toward both the form and the legend.
Debussy uses mainly pentatonic modesprimarily the mode C-D-E-G-A, moving this mode through several tonics.