Debussy – La cathedrale engloutie (The sunken cathedral)
Analysis
• Debussy leaves the title until the end of the piece, so the listener is not influenced.
• Mysterious and provocative sound world of the music communicates itself immediately on the very
first hearing. Focuses on sonority of sound and nuance of stillness, quiet, slow-moving emergence.
• Typical Debussy feature is Parallel harmony, which forces the chords to be understood less with
functional roots, and more as coloristic expansions of the melodic line.
• The time signature of six crotchet beats per bar, but also notated as three minims per bar in some
sections, gives rise to the question about consistency of the crotchet pulse. Some performers push
the tempo from bar 8 playing at almost double speed in relation to the opening tempo, others
strictly maintain the initial crotchet pulse.
• Two important themes – rising crotchet motif first heard in bar 1 and later developed, and the
minim theme first heard in bar 73.
Structure
Bars 1-7 Bars 7-13 Bars 14-27 Bars 28-46 Bars 47-71 Bars 72-83 Bars 84-88
Theme 1 Theme 2 Theme 1 with Theme 1 Theme 2 Theme 1 Coda –
more movement chorale, major lower pitch Theme 1
Bars 1-7
• Profondement calme (dans une brume doucement sonore) = Deeply calm in a gentle fog sound.
• Widely spaced sustained chords at the extremes of the piano keyboard, emphasis on intervals of
octave, fourth and fifth. Uncertain sound world – could imply church bells from across the sea.
• Chords built vertically around these intervals and moving in parallel are reminiscent of the late
Middle Ages practice of organum. The shaping of these chords also evoke plainsong. These
features strongly portray the idea of an ancient cathedral, implying the sound of heavy church bells
in the resonances of the opening passage.
• Technically C major but contains elements of modal (Phrygian/Aolian – natural minor) and
pentatonic scales.
• Descending bassline from G-F-E gives the sense of ocean depths.
• The calm watery opening later becomes stronger with the tide.
Bars 7-13
• Doux et fluide = soft and fluid
• Second theme in a C#m tonality – something of a leap from preceding Phrygian mode, adding to
mystery
Bars 14-27
• Sans nuances = without shade
• Phrygian Mode returns. First theme of rising chords is extended and developed over a C pedal.
• Peu a peu sortant de la brume = gradually rising from the mist. Cathedral begins to rise from the
water through clear articulation and directions.
• Triplets introduced in accompaniment which provides momentum. Increased movement in the
water through use of shorter notes.
• Augmentez progressivement (sans presser) = gradually increase (without pressing)
• Changes of tonal centre as outlined by the pedals – B major bars 16-18, Bitonal Cm/Eb major in bars
19-20. Passing use of the Dorian Mode in bars 22-27 as music returns to C major in bar 28.
Bars 28-46
• Warm, full chords in both hands over C bass pedal. Chorale-like statement of the first theme.
• Loudest and most profound part of piece.
• Allows us to “see” the cathedral in full view. Could this be the church organ playing?
• Bb included in bars 33-37 briefly changes music to C mixolydian mode.
• From bar 42 – simultaneous high pitched major seconds in octaves. Bell motif
• Descending pedal note from Bb-Ab/G# acts as a transition to next section.
• Very precise performance directions in this section. Debussy demands a lot from the performer in
terms of pedalling and keeping various lines of the texture clear.
Bars 47-71
• Un peu moins lent (dans une expression allant grandissant) = A little less slow (in an increasing
expression)
• Expressif et concentre = expressive and focused
• Second theme is developed within an E/C#m key signature.
• Dynamics and register swell and fade throughout this section.
• Quavers at the end links us to next section.
Bars 72-83
• Au Movt = on the move
• Comme un echo de la phrase entendue precedemment = like an echo of the phrase heard
previously.
• Flottant et sourd = floating and deaf
• Music suggests the cathedral is descending once more beneath the waves. The organ playing
underwater?
• Theme 1 in full chords in C major – not in fourths and fifths.
• Lower pitch, both hands in bass clef, left hand an octave lower than written.
• Shorter note values in left hand signifies the water/waves. Repetitive, swirling.
Bars 84-88
• Dans la sonorite du debut = In the sound of the beginning
• Theme 1 moving from very low to high register. Only bells can be heard?
• Finished with the purity of a full major chord.
