La Cathédrale Engloutie by Claude Debussy Essay

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In the impressionism era, any exoteric about impression such as paintings or music would like to show people that picture in color with a completely abstract and beyond reality. The French composer,Claude Debussy (1862-1918) is a leader of the impressionism in field of music.Debussy likes to place the title of a work at the end of the peice,that allows pianists to feel and imagine the music intuitively before they find out what Debbusy intended to compost about. La Cathédrale engloutie (The Sunken Cathedral,1910), is the tenth prelude from Debussy's first of the two volumes book, Préludes.This solo piano peice illustrates the characteristics of the form, harmony, and content developed by Debussy.The piece is based on an ancient Breton…show more content…
68 - 71) into Section IV, which uses the parallel triadic chords once more in C major. The piece ends with a codatta from m. 84 - m.89, it reminds and restated the sound at the very begining of the peice. Again, the codetta reaffirms the rising parallel chords and the same general pentatonic grouping. The begining of the peice could very well represent the morning view of the cathedral, convered in mist. The second section could be the appearance and presence of the cathedral. The final section can show the ocean overwhelming the cathedral as punishment from God. Moreover, there are four main elements in the peice: water, air, stone and the bells. Each of them is represented by a specific basic timber. The insistent E from subsection ii of introduction seems like the first shuddering of the submerged bells. In section I, the right hand part represents the first rays of the sun break through and glittering on the arches. The left hand draws in mountains and valleys like a rolling wave, until the cathedral has fully appeared, triumphant and magical like which rises from the water of the lake. In section III gives a feeling of religious penitence. The last few bars give an image of the final rays of light. At the end, in a transparent tone color, the whole mood and atmosphere returns to a begining. Debussy takes the material and, by limiting himself to mostly parallel

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