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Claude Debussy. La cathédrale engloutie, prelude for piano, L. /10 (/10). Composition Information ↓; Description ↓; Appears On ↓. Share on. facebook. Debussy, Claude La Cathedrale Engloutie (Preludes Book 1 no) midi file for Piano (midi) – La cathédrale engloutie. (). by Claude A Debussy, Colin Matthews. Description: Debussy, orchestrated by Colin Matthews; Duration: 5; Genres: Full.

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It can be noted that it took cxthedrale time for Impressionist music to be appreciated, but the critics and the listening public eventually warmed up to this experiment in harmonic freedom.

The ancient Breton legend of Ys. Isabella Stewart Gardner Museum. 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. Retrieved from ” http: The Fantastic Leopold Stokowski: Water Music of the Impressionists.

Javascript is required for this feature. This page was last edited on 21 Decemberat Music for Brass Septet, Vol. You may ask me for a manually cleaned version.

His daughter, Dahut, on the other hand is usually described as a sinful, deceitful princess. Unsourced material may be challenged and removed. It is characteristic of Debussy in its form, harmony, and content. 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.


I provide the original scanned version and the filtered, because the filter does some changes smoothening, debussg borders and some portions of the scan get lost sometimes when they are too small e.

Creative Commons Attribution-NonCommercial 3. This shows Debussy at his closest manifestation of musical impressionism.

There are two methods of parallelism in music; exact and inexact. In this piece, Debussy composes the music using motivic development, rather than thematic development. Debussy effects a striking musical depiction of the mythical submerged Cathedral of Ys with “archaicisms” ddebussy modality and parallel harmonies.

The form of the piece can be traced through the progression of tonal centers and pitch collections. All versions agree that Dahut does not escape her fate. Stokowski Conducts Holst, Debussy and Gould.

After three bars, it modulates to Eb pentatonic, continuing the same thematic idea, again for three bars. Debussy masterfully saturates the entire structure of the piece with these motifs in large- and small-scale ways.

The Story of Debussy’s “The Sunken Cathedral” | Parker Symphony Orchestra

Echo Bridge Home Entertainment. Ys becomes submerged in the sea.

The Complete Solo Studio Recordings. 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.

There are many different versions of the legend.

Préludes, Livre 1 (Debussy, Claude)

To begin the piece, Debussy engloutue parallel fifths. Performer Pages Stefano Ligoratti Piano. Jane Mortier, piano First Pub lication.


The work makes active use of three themes, all in the same key, demanding the utmost sensitivity and imagination from the pianist.

Debussy – La Cathedrale Engloutie (Preludes Book 1 no) midi file for Piano (midi) –

Creative Commons Attribution Non-commercial 3. Romantic Evening Sex All Themes. Streams Videos All Posts. Shin-Itchiro’s Sheet Music Library. Grand Piano and Nature.

The next section, B, engloutjeis a composite of earlier themes. The Gift of Music. This is a slow, hypnotic, stately sarabande that utilizes multiple layers of parallel chords in unusual five-bar groupings. The Complete Studio Recordings. The piano writing is particularly colorful englotie brilliantly effective. Editor Pierre Gouin – Contact.

La cathédrale engloutie, prelude for piano, L. 125/10 (117/10)

Pictures of the Floating World. Crisp rhythms and “popular” harmonies punctuated by sharp dissonance anticipate elements in the catherdale of Stravinsky and Poulenc. These chords bring to mind two things: 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 oa the music’s allusion.