Label: Connoisseur Society - CS 1866 • Format: Vinyl LP, Stereo • Country: US • Genre: Classical • Style: Modern, Impressionist
It is characteristic of Debussy in its form, harmony, and content. This prelude is an example of Debussy's musical impressionism in that it is a musical depiction of, or allusion to, an image or idea. Debussy quite often named his pieces with the exact image that he was composing about, like La MerDes pas sur la neigeor Jardins sous la pluie. In the case of the two volumes of preludes, he places the title of the piece at the end of the piece, either to allow the pianist to respond intuitively and individually to the music before finding out what Debussy intended the music to sound like, or to apply more ambiguity to the music's allusion.
This piece is based on an ancient Breton myth in which a cathedral, submerged underwater off the coast of the Island of Ysrises up Purimuy - Inti - Sueños Del Inca the sea on clear mornings when the water is transparent. Sounds can be heard of priests chanting, bells chiming, and the organ playing, from across the sea.
To begin the piece, Debussy uses parallel fifths. The first chord of the piece is made up of sonorous Gs and Ds open fifths. The use of stark, open fifths here allude to the idea of church bells that sound from the distance, across the ocean.
These chords bring to mind two things: 1 the Eastern pentatonic scalewhich Debussy heard during a performance of Javanese gamelan music at the Universal Exhibition in Paris,  and 2 medieval chant music, similar to the organa in parallel fifths from the Musica enchiriadisa 9th-century treatise on music.
This shows Debussy at his closest manifestation of musical impressionism. Following the grand entrance and exit of the organ, the cathedral sinks back down into the ocean measures and the organ is heard once more, but from underwater.
To attain these effects that reflect images of the castle, most performers use specific techniques with regards to pedaling and articulation to affect tone color. For example, some performers use their full body weight to depress keys to create a rich sound. Also performers create a ringing bell sound by instantly releasing pedaled notes. Finally, the cathedral is gone from sight, and only the bells are heard, at a distant pianissimo. The overall form of this piece can be loosely attributed to a ternary ABA form, which splits nicely into sections at the written key change so that A encompasses the beginning to measure 46, B encompasses measuresand A I encompasses measure 72 to the end.
Each larger section can be further divided into smaller sections and themes, which are arranged to give the piece a roughly symmetrical structure. The A section can itself be divided into three Debussy* - Ivan Moravec - Feux Dartifice / La Cathedrale Engloutie / Les Collines DAnacapri / Les sections: a 1 m.
The introduction of the piece a 1 features the G major pentatonic collection in ascending block chords evocative of organum chant with lots of parallel fifths. This motif repeats itself twice, but each time the bass moves down a single step, so that the first repeat of the motif takes place over an F in the bass and the second repeat over an E. This changes the collectional center of the Plaisir - Plaisir De France - Plaisir De France Revisite to the relative E minor pentatonic.
The top note of this motif, an E, is held in octaves and repeated, evoking the sound of church bells. This Debussy* - Ivan Moravec - Feux Dartifice / La Cathedrale Engloutie / Les Collines DAnacapri / Les the first hint of the true tonic of the A section and the piece overall.
The a 2 section begins at m. This stands in stark contrast to the slow, open quarter and half note lines of the a 1 section, though the right hands still features similar ascending quarter note chords. The melodic material in both the B major and E-flat major sections utilize the respective pentatonic modes of those keys. This section builds to the arrival at the a 3 section. The beginning part of a 3 m. This builds up to the climax of the piece at m.
The thick block chords played with both hands evoke the sound of an organ. While the majority of this theme is presented in the C major diatonic mode, the addition of a B-flat in m. The ending measures of a 3, serve as a transition into the B section of the piece. This material is expanded and builds up to a climax within the B section at measure As the music recedes down from this climax, one of the most interesting sonorities of the piece is presented in m.
The Sign - Richard Les Crees - Movin On roots of these planing chords follow the key signature but the quality of each chord remains dominant. This gives way to a 4-measure transition m.
The A I section is something of a mirror image of the original A section. The C major theme that was originally presented in the final a 3 section of A returns at the beginning of A Ithis time pianissimo, not scored quite as thickly, and in a lower register over an oscillating 8th note figure in the bass.
This gives way to the final small section of the piece m. The rising pentatonic figuration seen at the beginning appears here, this time in the tonic C major. The piece ends on a C major chord with an added scale degree 2. The nearly symmetrical ABA form helps illustrate the legend that Debussy is alluding to in the work, and his markings help point toward both the form and the legend.
In this piece, Debussy composes the music using motivic development, rather than thematic development. Debussy masterfully saturates the entire structure of the piece with these motifs in large- and small-scale ways.
For example, motif 1 appears in the bottom of the right-hand chords on the 2nd, 3rd, and 4th quarter notes of measure 14 Discussion A Batons Rompus - Oso El Roto - Batman 2and again in the next three quarter note beats D-E-B.
Not by coincidence, motif 1b is heard in the 4th, 5th, and 6th quarter note beats of measure 14 B-D-E. 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 16 G-C-B. Also within measures 1 through 15 are two occurrences of motif 2 G in measure 1, E in measure 5; E in measure 5, C in measure Motif 1 is also heard in a soprano voice from measure 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 Throughout all of this motivic repetition, transposition, and inversion, the themes longer phrases made up of the smaller motifs stay very much static, with only occasional elongation or shortening throughout the piece: 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 A second theme theme 2appearing for the first time in measuresrepeats in measures This prelude is typical of Debussy's compositional characteristics.
It is a complete exploration of chordal sound that encompasses the entire range of the piano, and that includes one of Debussy's signature chords a major tonic triad with added 2nd and 6th scale degrees. This is quite different from simple melodic doubling, like the 3rds in Voilesor the 5ths in La Merwhich are not usually heard alone without a significant accompanimental figure.
Parallel harmony forces the chords to be understood less with functional roots, and more as coloristic expansions of the melodic line. There are two methods of parallelism in music; exact and inexact.
Inexact parallelism allows the quality of the harmonic intervals to vary throughout the line, even if the interval sizes are identical, while exact parallelism the sizes and qualities remain the same as the Debussy* - Ivan Moravec - Feux Dartifice / La Cathedrale Engloutie / Les Collines DAnacapri / Les progresses.
Inexact parallelism can give a sense of tonality, while exact parallelism can dispel the sense of tonality as pitch content cannot be analyzed diatonically in a single key. 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.
Through application, tonal Praeambulum In F Major, BWV 927 - Glenn Gould Plays Bach* - Glenn Gould Plays Bach (The Collectors E is created that is often seen in Impressionist music. It can be noted that it took some time for Impressionist music to be appreciated, but the critics and the listening public eventually warmed up to this experiment in harmonic freedom.
Various arrangements and transcriptions of the piece exist. It was arranged for orchestra by Leopold Stokowski as The Engulfed Cathedral and released in a recording in Sections of Debussy's piece are also used in the introduction and final of Renaissance 's song At the Delight - Kitaro - Towards The Westfrom their album Ashes Debussy* - Ivan Moravec - Feux Dartifice / La Cathedrale Engloutie / Les Collines DAnacapri / Les Burning.
Isao Tomita arranged the piece for electronic synthesizer as part of his Snowflakes Are Dancing recording of — John Carpenter used it as sound track in his scifi movie Escape from New Cone Dance - Simon Reuben White - Tone Flakes. From Wikipedia, the free encyclopedia.
Redirected from La Cathedrale Engloutie. La Cathedrale engloutie Recorded by pianist Ivan Ilic in AprilParis. This section does not cite any sources. Please help improve this Thailand - Jeff Beck & Jed Leiber - Frankies House (Music From The Original Soundtrack) by adding citations to reliable sources.
Unsourced material may be challenged and removed. Simon Trezise. Cambridge: Cambridge University Press, The Thematic Process in Music. New York: Macmillan, Debussy: His Life and Mindvolume 2. MacMillin, Claude Debussy, : Accessed March 17, Faber Music.
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