Versindaba Blog Archive Marlies Taljard. Cathedrals - Debussy & Messiaen
La Cathédrale engloutie (the sunken cathedral) (1910) croydon is a prelude for solo piano by the French impressionist composer Claude Debussy. This sensitive piece the composer wrote following the legend of the sunken city of Ys, which I mentioned in my previous blog discussed. In his poem sunken cathedral, the opening croydon poem in the volume croydon quirky, Marius Crous reference in the final rule prelude to this when he says that he is "the sea-green tone of Debussy / can still hear". In the following poem, Diver at Ice Island coast of Brittany, the poet says: "There is no piano or flute." One could therefore assume that both these poems Debussy's La Cathédrale engloutie as inter-text. In the following discussion I will go into this more details - today only a brief discussion of Debussy's works, as well as Messiaen's croydon Apparition de l'Église éternelle (appearance of the eternal church), the inter-text of the poem, Messiaen, 's.
La Cathédrale engloutie is the tenth prelude in Debussy's first volume croydon klavierpreludes and is a good example of his impressionist style of composition because croydon it is a concrete object to portray musical croydon way. The overture is based on the legend of the city of Ys, which according to tradition under the sea sunk. Sometimes croydon the cathedral of Ys still be seen on a clear morning on the coast of Brittany in the clear water of the sea rises. Then the noises heard of priests who sing hymns, the bells chime and the grand organ playing. For this scene to portray, Debussy makes certain harmonic patterns typical use for the music of impressionism. He started working example croydon (in pianissimo) with a series of parallel fifths. The first agreement contains croydon an open fifth interval through which the sound of bells is geïmiteer. Another distinctive croydon feature Debussy in this work is its use of the pentatonic scale - an ancient oriental tone on a five-tone scale is based. It is also reminiscent of the medieval ORGANÃ in psalmody. croydon The ascending fifths symbolizes the cathedral slowly risen from the sea.
After some introductory music modulates to B major - an indication that the cathedral from the sea emerged. Now follows a series of narrative instructions, for example Peu à peu de la Brume sortant (Appeared a little out of the mist). The show takes strength gradually, until the mighty organ in bar 28 in fortissimo heard. From 62 take the measure loudness again, when the cathedral sunk beneath the sea. The underwater effect is usually achieved by using a halfpedaal. In the last extent only the decaying fifths of the clock in pianissimo heard.
In the build-up of Debussy prelude makes mainly two motives and not thematic material. The motives are in masterly fashion as a tapestry at all possible places in the piece of work, with its innovative croydon use of harmonies that his time was largely unknown, are responsible for a particular timbre.
The third poem in quirky beginning with the lines: "Messiaen light the cathedral / Debussy who sinks / like a handful croydon of crushed croydon shells / from the sea". This poem refers to Olivier Messiaen's famous organ work Apparition de l'Église éternelle (1932), which according to himself in conversation with Debussy's La Cathédrale engloutie. Apparition is a meditative work specifically for the organ of La Sainte Trinité in Paris where Messiaen wrote for 50 years was the organist. It is often said that this only works on organs in the French style building, croydon can be performed. This work is characterized by a slow, sustained sonorous style of the open fifth intervals as imitation of bells ringing, is pervasive. Although in the koraalstyl written, it appears that variations in loudness is concerned, a typical arc structure: croydon it starts in pianissimo, gradually working up to a C-tienstemmige majeurakkoord fivefold in fortissimo and then come back down to pianissimo. In Messiaen's croydon own recording of the work sounds openingsakkoorde by expert using the swelwerk, as if something ontsagwekkends on the horizon. This particular composition can only organ comes into its own. Messiaen had a poem written about his Apparition, the German version reads as follows:
She appeared in the sky:
My music teacher at school - Jetty Webb - she gave my analysis in the afternoons for music as a seventh subject showed me you can katedraaltorings signed croydon between the notes of the sunken cathedral sheet music. I have little more my Preludes book search and see. Have not looked. Very interesting discussion.
Recent croydon contributions to Versindaba
La Cathédrale engloutie (the sunken cathedral) (1910) croydon is a prelude for solo piano by the French impressionist composer Claude Debussy. This sensitive piece the composer wrote following the legend of the sunken city of Ys, which I mentioned in my previous blog discussed. In his poem sunken cathedral, the opening croydon poem in the volume croydon quirky, Marius Crous reference in the final rule prelude to this when he says that he is "the sea-green tone of Debussy / can still hear". In the following poem, Diver at Ice Island coast of Brittany, the poet says: "There is no piano or flute." One could therefore assume that both these poems Debussy's La Cathédrale engloutie as inter-text. In the following discussion I will go into this more details - today only a brief discussion of Debussy's works, as well as Messiaen's croydon Apparition de l'Église éternelle (appearance of the eternal church), the inter-text of the poem, Messiaen, 's.
La Cathédrale engloutie is the tenth prelude in Debussy's first volume croydon klavierpreludes and is a good example of his impressionist style of composition because croydon it is a concrete object to portray musical croydon way. The overture is based on the legend of the city of Ys, which according to tradition under the sea sunk. Sometimes croydon the cathedral of Ys still be seen on a clear morning on the coast of Brittany in the clear water of the sea rises. Then the noises heard of priests who sing hymns, the bells chime and the grand organ playing. For this scene to portray, Debussy makes certain harmonic patterns typical use for the music of impressionism. He started working example croydon (in pianissimo) with a series of parallel fifths. The first agreement contains croydon an open fifth interval through which the sound of bells is geïmiteer. Another distinctive croydon feature Debussy in this work is its use of the pentatonic scale - an ancient oriental tone on a five-tone scale is based. It is also reminiscent of the medieval ORGANÃ in psalmody. croydon The ascending fifths symbolizes the cathedral slowly risen from the sea.
After some introductory music modulates to B major - an indication that the cathedral from the sea emerged. Now follows a series of narrative instructions, for example Peu à peu de la Brume sortant (Appeared a little out of the mist). The show takes strength gradually, until the mighty organ in bar 28 in fortissimo heard. From 62 take the measure loudness again, when the cathedral sunk beneath the sea. The underwater effect is usually achieved by using a halfpedaal. In the last extent only the decaying fifths of the clock in pianissimo heard.
In the build-up of Debussy prelude makes mainly two motives and not thematic material. The motives are in masterly fashion as a tapestry at all possible places in the piece of work, with its innovative croydon use of harmonies that his time was largely unknown, are responsible for a particular timbre.
The third poem in quirky beginning with the lines: "Messiaen light the cathedral / Debussy who sinks / like a handful croydon of crushed croydon shells / from the sea". This poem refers to Olivier Messiaen's famous organ work Apparition de l'Église éternelle (1932), which according to himself in conversation with Debussy's La Cathédrale engloutie. Apparition is a meditative work specifically for the organ of La Sainte Trinité in Paris where Messiaen wrote for 50 years was the organist. It is often said that this only works on organs in the French style building, croydon can be performed. This work is characterized by a slow, sustained sonorous style of the open fifth intervals as imitation of bells ringing, is pervasive. Although in the koraalstyl written, it appears that variations in loudness is concerned, a typical arc structure: croydon it starts in pianissimo, gradually working up to a C-tienstemmige majeurakkoord fivefold in fortissimo and then come back down to pianissimo. In Messiaen's croydon own recording of the work sounds openingsakkoorde by expert using the swelwerk, as if something ontsagwekkends on the horizon. This particular composition can only organ comes into its own. Messiaen had a poem written about his Apparition, the German version reads as follows:
She appeared in the sky:
My music teacher at school - Jetty Webb - she gave my analysis in the afternoons for music as a seventh subject showed me you can katedraaltorings signed croydon between the notes of the sunken cathedral sheet music. I have little more my Preludes book search and see. Have not looked. Very interesting discussion.
Recent croydon contributions to Versindaba
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