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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Performer Pages Heather W. Bouquet Of Piano Music. You may ask me for a manually cleaned version.
The Story of Debussy’s “The Sunken Cathedral” | Parker Symphony Orchestra
First, it brings back material from the middle of the A section, again centered on Cbut now in c minor. Creative Commons Attribution-NonCommercial 3. The Thematic Process in Music. A second theme theme 2appearing for the first time in measuresrepeats in measures A Spaniard wooing his sweetheart with the sounds of his voice and his guitar is thwarted by several noisy interruptions.
Debussy – La Cathedrale Engloutie (Preludes Book 1 no.10) midi file for Piano (midi)
It was arranged for orchestra by Leopold Stokowski as The Engulfed Cathedral and released in a recording in He agreed to do so, but devoted father as he was, he tried to save his daughter.
This mode holds until measure 7, beginning a short section using the same mode now in C. Finally, the cathedral is gone from sight, and only the bells are heard, at a distant pianissimo.
It is characteristic of Debussy in its form, harmony, and content. Creative Commons Attribution-ShareAlike 4. Please help improve this section by adding citations to reliable sources. Retrieved from ” https: This shows Debussy at his closest manifestation of musical impressionism.
The Complete Solo Studio Recordings. Music for Pleasure [Wienerworld]. The Complete Columbia Album Collection. The cathedral then sinks back down into the ocean and the organ is heard once more, but this time from under water.
Reflections on Time and Mortality. Apparently a re-engraving of the Durand score above. Grand Piano and Nature.
Editor Pierre Gouin – Contact. In this piece, Debussy composes the music using motivic development, rather than thematic development.
Inexact parallelism can give a sense of tonality, while exact parallelism can dispel the sense of tonality as pitch content cannot be analyzed diatonically in a single key. Accessed March 17, The rising pentatonic theme in measure 1 theme 1 repeats in measure 3, 5, 14, 15, 16, 17, 84, 85, and with a slight variations in measures and Crisp rhythms and “popular” harmonies punctuated by sharp dissonance anticipate elements in the music of Stravinsky and Poulenc.