If, however, the movement is analysed by its key signatures, 4 sections are evident:  bars 1-30 (2 sharps) act as an introduction,  bars 31-83 (5 flats) are a first section,  bars 84-121 (2 flats) are a second section,  bars 122 to the end at 141 (5 flats again) are a short final section or coda. L'oeuvre musicale du mois octobre 2009 Principe : Découvrir chaque mois une oeuvre musicale ou un instrument pour : − favoriser l'ouverture culturelle des élèves − soutenir une séquence de travail en éducation musicale − s'approprier des éléments du lexique en musique « La Mer » de Claude Debussy ‘La mer’ takes considerable steps to develop the harmonic innovations of these previous works, with cadences rejected in favour of exotic scales and unprepared tonal juxtapositions. Estampes est une œuvre pour piano composée par Claude Debussy en 1903. Un découpage en quatre parties vous est proposé ci … CD 111 ; L.109 I-Catalogue Number I-Cat. Wagner, said Debussy, “was a beautiful sunset that has been mistaken for a sunrise.” Wagner’s chromaticism is the pinnacle of use of harmonic progression to create tension and resolution in a development of the Western classical tradition. Ragtime syncopation in ‘Golliwog’s Cake-walk’ is combined with chromaticism in imitation rather than to create harmonic ambiguity (chromaticism is found widely in Joplin’s music). Harmonic devices such as triads float in parallel movement, creating touches of colour with any sense of linear progression in the traditional harmonic sense lost. cuivres : 4 cors, 3 trompettes, 2 cornets, 3 trombones, 1 tuba. Trois esquisses symphoniques («De l’aube à midi sur la mer«, «Jeux de vagues «, « Dialogue du vent et de la mer «) de Claude Debussy (1862-1918), composées de 1903 à 1905, et exécutées à Paris en 1905. bar 43 – suggesting a substructure of shorter tableaus within the sections, particularly within the first section. Le Beau Danube bleu de Johann Strauss. With elements from the first movement reappearing in the last, the work is unified, therefore suggesting the influence of the symphony. These tonalities are juxtaposed with a general lack of cadences and changes are sudden rather than prepared in any way, creating a harmonic language where the traditional tension-resolution mechanism of harmonic progression is rejected in favour of an alternative language. Debussy rejects this, using unprepared shifts of tonality. Dialogue du vent et de la mer. In order to examine Debussy’s musical techniques in more detail, let us focus on the first movement of ‘La mer.’ Entitled ‘De l’aube à midi sur la mer’ (‘From dawn to midday on the sea’), like much of the work, it creates a sense of frequently shifting tableaus as new motifs, themes and tonalities enter and exit, almost like a series of ‘waves’. Le 22 août 1862, à Saint-Germain-en-Laye. MER (La). Debussy, Claude: Opus/Catalogue Number Op./Cat. Le Beau Danube bleu de Strauss est la valse la plus célèbre et la plus emblématique, symbole d’une époque où cette danse était reine à Vienne. In the words of Habermas, “Modernity revolts against the normalising functions of tradition.”. In an infamous conversation with a Professor at the Conservatoire, who asked the student Debussy what rule of harmony he was following, Debussy replied, “My pleasure.”. He continued to work on the score, however, while staying in Jersey, and then in Dieppe. De l'aube a midi sur la mer II. A Obra. The second movement is a scherzo, its mood contrasting with the more stately first and last movements. Analyse: La Mer, les Préludes pour Piano, le Prélude à l'Après-Midi d'un Faune: orientations bibliographiques et discographiques: Chimènes Myriam Analyse: Le chef d'orchestre face à la Mer de Debussy: Streletski Gérard Analyse: Le projet du 1er congrès européen d'analyse musicale: AA. Il est donc souhaitable de l’étudier en plusieurs écoutes. Messaien tended to control his structures more tightly, but, like Debussy, explored a range of exotic tonalities to create his own personal harmonic language. A Angie - The rolling stones - contribution de Coralie Armstrong - Claude… Debussy’s ‘La Mer’, written 1903-5, is an important work within the development of Western classical music because of the manner in which it lies outside musical conventions particularly in terms of form and harmony. Use of accidentals to present other tonalities is widespread, but it is notable that Debussy chooses not to use an alternative key signature, for example at bar 72, where a 2-sharp key signature (the implied tonality is B dorian mode) could have been used until the next section begins at bar 84. Most friends of mine encountered the same difficulties. ‘La mer’ encapsulates this philosophy. 5 0 obj Loin de ses pérégrinations exotiques en Orient et en Andalousie, Debussy revient avec Jardins sou… La mer, trois esquisses symphoniques pour orchestre (La mar, tres esbossos simfònics per a orquestra), o simplement La Mer (i.e. percussions : timbales, cymbales, triangle, grosse caisse, tam-tam, glockenspiel. ICD 50 Movements/Sections Mov'ts/Sec's: 3 movements I. La mar), és una composició musical per a orquestra del compositor francès Claude Debussy.Va iniciar-ne la composició l'any 1903 a França i la va concloure l'any 1905 a la costa d'Eastbourne, front al Canal de la Mànega. La Mer, três esboços sinfônicos" ou como é mais conhecida - "La Mer", é uma peça para orquestra composta por Claude Debussy. �ω��z���G9R�?G-zE�K�}PC/6� M�=������,�����_�N����i:=_m����ꗧ�/a����Z����w��,?��-������>e�TT���e����Z�BW+�肜H负���oEg��f�ӭ�H5� �Z�A��Q�w0Ϲ�Wa�F��Q����!����w�M?���?ng���k4.��m��j87l.��S^&�Rx�����8ЇO bois : 1 piccolo, 2 flûtes, 2 hautbois, 1 cor anglais, 2 clarinettes, 3 bassons, 1 contrebasson. En 1870, avant que la guerre franco-prussienne n’agite la capitale, Victorine Debussyemmène ses enfants avec elle et se rend chez sa belle-sœur Clémentine, destination Cannes. 1904-05 Debussy compose un poème symphonique, La Mer, en 3 parties : De l’aube à midi sur la mer, Jeux de vagues, Dialogue du vent et de la mer. There is extensive use of harp which emphasises the delicacy and lightness of much of the orchestral texture. 1903-05, rev. 1908 First Perf ormance. At one moment I felt an absolute despair to finish my thesis! ‘La mer’ should also be considered in the context of later works, for example Messaien’s ‘Turangalîla’ symphony. (a) To what extent can ‘La mer’ be regarded as definitive of Debussy’s style? This adds to the ambiguity: harmony is often implied, but rarely specifically defined. The opening flute motif is of indefinite key, moving chromatically and based around a tritone. In Debussy’s early works, approach to harmony is more conventional. Achille-Claude Debussy. Also The repetition of the theme from bar 9 at bar 112 helps to unify the movement (this is the same theme restated in the third movement). [PDF] + Video - Orchestra - Romantic * License : Public Domain - 3 movements : I. Harmony is diatonic and many phrases progress to resolution through a perfect cadence (e.g. (Dent, London), Lockspeiser, Edward (1966) Debussy: His life and mind Vol I (Cassell, London), Lockspeiser, Edward (1978) Debussy: His life and mind Vol II (revised) (Cambridge University Press, Cambridge), Weston, Richard (1996) Modernism (Phaidon, London). For example, tradition relied on the principles of harmonic progression, preparation and cadences to resolve harmonic tension. Jeux de Vagues III. Jeux de Vagues III. Again there are tonal ambiguities, particularly through chromaticism. Instrumentation. (b) To what extent can ‘La mer be regarded as an exemplar of musical modernism? Par ailleurs on remarque souvent une tendance à présenter deux fois à la suite certaines idées musicales. However, compared with the work of, say, Brahms, considered a master of the symphony, or the similarly-regarded Mahler (who wrote his Fifth, Sixth and Seventh symphonies in the first 5 years of the 20th century), Debussy’s loose structures, lack of precise repetition of themes and rejection of linear harmonic progression present a markedly different approach. Le portrait de Claude Debussy Je m'appelle. The topic of my dissertation seemed easy but only at first glance - I couldn't sleep well any more. At each of these points of section change, tonality, instrumentation and rhythm shift markedly. ;1���OH-����V� Z#YPXWM�&�>Z|��7��׈���shj��][��~��et��ת�W�տ�q�K\�J��7؞�[����+�m�*��%��| �n-s*�w��`�%�X�T���yG+"�2-�,��b�ɶ����ڏM���j�v��/�c��P�W�Q����q?���|:�ɞ#)�;�\�����[Pߠ�f���j�Y^_ص뻋�7GE��*'!xW����r� ���K��lɲ�O�[��+�v:H�4�Ʀ/�Ruj�@uN����(au��i������F=:�>��#�⋇�֘�T��o}ԕ���E RC˪!$M������&&��%>>֩+B�Q�LLH q : La Mer de Debussy) 8) L'évocation d'un sentiment particulier suggéré dans l'oeuvre. La sobriété de la composition et la sévérité des teintes choisies par l'artiste exaltent à merveille l’intensité de l’expression du jeune lauréat : la maturité, la gravité un brin revêche et l’assurance à la fois mélancolique et hautaine qui se dessinent ici étonnent chez un jeune homme de vingt-trois ans. La Mer (Dialogue du vent et de la mer) de Claude Debussy : évocation de la mer par l'orchestre. "La Mer" L.109, (The Sea), is an orchestral composition by Claude Debussy. 1905-10-15 in Paris, Concerts Lamoureux Il s'agit d'un triptyque de trois pièces assez courtes intitulées Pagodes, La soirée dans Grenade et Jardins sous la pluie1,2,3. In conclusion, it is clear that ‘La mer’ is an innovative large-scale work. Thanks to Phdify team I finished my thesis in time! Debussy’s orchestration is marked in its contrast of timbres. So, I never hesitated to ask for a help and I've got a great experience at phdify.com! La Mer.Trois esquisses symphoniques de Debussy.Paris, Durand, 1905. Debussy was unusual for his time in his use of relatively small orchestral forces, but this allows for a particular clarity of instrumentation. Much of the harmony in ‘La mer’ is based on exotic scales such as whole-tone (bar 115) and pentatonicism (bar 31). Quand on y pense, rien ne me prédestine à la musique qui est une activité plutôt pratiquée dans le monde de la bourgeoisie. I wrote some chapters by myself, but another chapters were moving on slowly! É considerada a obra-prima do autor, que com ela revolucionou a maneira de compor e dispor dos elementos da orquestra em uma peça.No plano da harmonia, ela também foi revolucionária, já que ao fugir da tonalidade tradicional o autor criou um … the final return to E major 8 bars before the end). La Mer (Debussy) - Interpretation Interpretation La mer is a masterpiece of suggestion and subtlety in its rich depiction of the ocean, which combines unusual … : 6e symphonie de Beethoven) L'évocation de l'amour (Ex. The form is a simple ABA with a clear recapitulation of the exposition. stream The final key signature and chord of the third movement are D flat major. Subtitled ‘Trois esquisses symphonique’ (Three symphonic sketches), ‘La mer’ occupies an interesting position within the development of orchestral writing. In order to examine Debussy’s musical techniques in more detail, let us focus on the first movement of ‘La mer.’ Entitled ‘De l’aube à midi sur la mer’ (‘From dawn to midday on the sea’), like much of the work, it creates a sense of frequently shifting tableaus as new motifs, themes and tonalities enter and exit, almost like a series of ‘waves’. Le petit Claude (qui s’appelle alors encore Achille-Claude) garde un souvenir saisissant de ce voyage sur la Côte d’Azur. : Requiem allemand de Brahms) Le caractère pastoral (Ex. Analyse Je partage avec vous dans cet article des fiches pour l'écoute musicale en classe. Intitulée par l’auteur La Mer, Trois esquisses symphoniques, l’œuvre se compose de trois mouvements : 1 – De l’aube à midi sur la mer (9 min) 2 – Jeux de vagues (7 min) 3 – Dialogues du vent et de la mer (7 min 30) Le deuxième mouvement Jeux de vagues est l’occasion pour Debussy d’évoquer les The lower clarinet part of the opening phrase moves chromatically, casting doubt on the home key of B minor implied by the key signature and upper clarinet part. : Pelléas et Mélisande de Debussy) La coloration impressionniste (Ex. Mais par la suite, le musicien affiche un goût plus prononcé … (34 x 26,5 cm) BNF, Musique, Rés. Today, however, this is a different story. ‘Jeux’ (1912) uses some of the language of ‘La mer’: it opens with a B pedal note, with wind whole-tone chords creating tonal ambiguity, although much of the work draws on diatonicism and chromaticism. If ‘Prélude’ is modern, then so too is ‘La mer’, as it develops the innovative harmony, form and orchestration of the earlier work, using its principles in a larger form, focusing on freedom from tradition rather than adhering to it. La mer de Debussy est un poème symphonique composé entre 1903 et 1905 qui comprend trois parties : de l'aube à midi sur la mer, jeux de vagues et dialogue du vent et de la mer.. C'est une oeuvre visionaire et originale. Info for Debussy: La Mer, Images. The Bicycle Thieves - Dissertation Sample, The Spirit of the Beehive - Dissertation Sample, The Only Real Motivator is Money - Dissertation Sample, Debussy (1903) Mercure de France : German Influence on French Music reproduced in Debussy on Music (Martin Secker and Warburg, London, 1977, no editor given) p83, Bertens, Hans (1995) The Idea of the Postmodern (Routledge, London), Griffiths, Paul (1994) Modern Music : A Concise History (revised edition) (Thames and Hudson, London), Trezise, Simon (1994) La Mer (Cambridge University Press, Cambridge), Grout, Donald Jay and Palisca, Claude V. (1988) A History of Western Music 4th ed. La vague, de Hokusai, que Debussy voulait sur la couverture de la partition. Le compositeur a toujours été fasciné par la mer que ce soit durant son enfance à Cannes ou après, à la vue de l'Atlantique et de la Manche. The term ‘modernism’ is used to describe a range of approaches across the arts, united in their sense of innovation rather than carrying the mantle of previous tradition. There are also clear changes in key, texture and rhythm at other points – e.g. An ambitious work, modern and original, "La Mer" by Claude Debussy received little recognition during the composer's lifetime. The key signature of much of the first movement is also D flat, although it is used in the context of frequently ambiguous harmonies, often using modes and exotic scales. LA MER (trois esquisses symphoniques) Claude DEBUSSY (1862-1918) Première esquisse : « De l’aube à midi sur la mer » (8’58) Ce morceau est relativement long. Buy dissertation on any other topic at our site. Griffiths, referring the opening flute phrase of ‘Prélude’, says “If modern music may be said to have had a definite beginning, then it started with this flute melody.”. Harmony often uses tension-resolution devices such as the cadence, but also has passages where tonality is made ambiguous through unexpected added notes and chromaticism. In the first of ‘Deux Arabesques’ for piano solo (1888), the opening arpeggio ‘ripples’ culminate in dominant preparation at bar 5 to resolve onto E major at bar 6. ‘La mer’ has three movements which loosely represent an ABA structure. There is some homogeneity between movements 1 and 3, with the recurrence of a theme from the first movement appearing towards the end of the work (introduced by the cor anglais in bar 9 of the first movement, reiterated in variant form by the trumpet in bar 31 of the third movement). Debussy was one of a number of composers who identified themselves strongly as French, and ‘La mer’ echoes Franck’s 3-movement symphonic model. Chromaticism features too – note the motifs in thirds in the winds, violas and cellos in bars 60-63. But the author Jean Barraqué (in “La Mer de Debussy,” Analyse musicale 12/3, June 1988,) describes La Mer as the first work to have an “open” form – a devenir sonore or “sonorous becoming… a developmental process in which the very notions of exposition and development coexist in an uninterrupted burst.” In ‘Nuages’ (the first of the ‘Three Nocturnes’ 1892-9), there is pentatonicism in a theme introduced initially on flute and harp: the instrumentation and tonality create an exotic ‘eastern’ flavour, possibly inspired by the gamelan orchestras that appeared the Paris Exposition of 1889. The exposition-development-recapitulation structure is used in the loosest sense. In the context of modernism, ‘Prélude à l’aprés-midi d’un faune’ was the pioneering work, employing exotic scales, unprepared changes of tonality, and freedom of form 10 years before the completion of ‘La mer’. It demonstrates a number of compositional techniques which are key to Debussy’s very individual style.