La Cathedral Engloutie Analysis

La Cathedral Engloutie Analysis

“La Cathedral Engloutie”, or “The Engulfed Cathedral”, was a piece written by the French composer, Claude Debussy, incorporated in his first book of preludes in 1910. Debussy was well known for his vivid imagery through music compared to such composers as Bach and Chopin. Debussy’s music represented a divergence from the German School of Music Composition, which was heavily influenced by form, structure and diatonic harmony. Debussy, being a French composer, relied heavily on the color, texture, mood, and the atmosphere of the music. In pieces such as this, Debussy utilizes this way of composition in ways that not only embellish the piece but also paint for the audience.

One element of this piece that Debussy uses throughout is his switching of modes to better create the backdrop of the Engulfed Cathedral. Throughout several parts in the piece, Debussy goes through modes such as Aeolian, Lydian, Mixolydian, Phrygian and, one of Debussy’s trademark scales, Pentatonic. Debussy uses some of these modes together and in succession. An example of this can be seen here: Here Debussy is using a pentatonic scale in fifths movement in the right hand over step bass motion in the left hand. In this instance, m1 is equal to a G pentatonic scale and m3 with the F in the bass is equal to a F Lydian scale. Debussy has 4 more examples of this later in the piece. It is also noteworthy to say that these instances of descending bass motion almost symbolize the cathedral actually sinking into the sea as they progress deeper into the lower frequencies of the piano.

This, furthermore, explains how Debussy’s main emphasis on music shoots away from the Germanic School as it gives the audience more color and texture rather than form. Though the form could be said to have been an AB (or abab) his main focus was to use the notes in such a way that almost give the audience