[BIS] La cathédrale engloutie 가라앉은 사원 - Debussy 드뷔시 - Pascal Gallet 파스칼 갈레

[BIS] La cathédrale engloutie 가라앉은 사원 - Claude Debussy 끌로드 드뷔시 (1862 - 1918)
- Piano, Pascal Gallet (French) 프랑스 피아니스트 파스칼 갈레
- Direction, Iván López Reynoso 지휘 이반 로페즈 레이노조
- Orchestre philharmonique de l'Université nationale autonome du Mexique
"Orquesta Filarmónica de la UNAM (OFUNAM)"
- 23 Février 2020 à 12h du Mexique (Mexico City)
- LIVE STREAMING **Source par TV UNAM
[HISTOIRES]
La Cathédrale engloutie (The Submerged Cathedral) is a prelude written by the French composer Claude Debussy for solo piano. It was published in 1910 as the tenth prelude in Debussy’s first of two volumes of twelve piano preludes each. 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 Mer, Des pas sur la neige, or 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. Because this piece is based on a legend, it can be considered program music.
This piece is based on an ancient Breton myth in which a cathedral, submerged underwater off the coast of the Island of Ys, rises up from 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. Accordingly, Debussy uses certain harmonies to allude to the plot of the legend, in the style of musical symbolism.
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. The opening measures, marked pianissimo, introduce us to the first series of rising parallel fifth chords, outlining a G major pentatonic scale. These chords bring to mind two things: the Eastern pentatonic scale, which Debussy heard during a performance of Javanese gamelan music at the 1889 Universal Exhibition in Paris, and medieval chant music, similar to the organa in parallel fifths from the Musica enchiriadis, a 9th-century treatise on music.The shape of the ascending phrase is perhaps a representation of the cathedral's slow emergence from the water.
After the beginning section, Debussy gently brings the cathedral out of the water by modulating to B major, shaping the melody in a wave-like fashion, and including important narrative instructions in measure 16: Peu à peu sortant de la brume (Emerging from the fog little by little). This shows Debussy at his closest manifestation of musical impressionism. Then, after a section marked Augmentez progressivement (Slowly growing), the cathedral has emerged and the grand organ is heard at a dynamic level of fortissimo (measures 28-41). This is the loudest and most profound part of the piece, and is described in the score as Sonore sans dureté. Following the grand entrance and exit of the organ, the cathedral sinks back down into the ocean (measures 62-66) 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.
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