ok, this took me a little time to do this along with the other assignments but here it goes
I believe this piece to be binary with intro and coda sections.
The intro spans mm. 1-6;
A mm. 7-27;
B mm 28-46;
A’ mm 47-71;
B’ mm 72-83;
and finally coda mm 84-89.
The piece as a whole could be looked at as a tone poem, as with many other Debussy pieces. The first section (intro and A) could very well represent the morning view of the cathedral, shrouded in mist. The second section (B) could be the presence and appearance of the cathedral, and the final section (A’-coda) can show the ocean overwhelming the cathedral as punishment from God for its sins.
Intro/A - mm 1- 27 = section 1, the morning
B - mm 28-46 = section 2, the cathedral
A'/B'/coda - mm 47-89 = section 3, the downfall
Monday, November 19, 2007
Sunday, November 18, 2007
Debussy La Cathedrale Engloutie
Sorry that I am posting so late...but this is what I got out of the piece.
I just read Mister's analysis and I think I agree with it, but I'm going to write what I thought it was before I read the other one. I wasn't able to see the picture the piece was based on and I'm sure that it would also explain a lot more.
I got that the overall form was A B A' C D C' A'', which kind of reminded me of a poem structure.
The A section is from mm. 1-15, with subsections a, a' and a''. a is mm. 1-5 in G ; a' is mm. 6-12 in C#; and a'' is mm. 13-16 in C.
The B section is mm. 16-21, with two subsections b and b'. b is mm. 16-19 in B; b' from mm. 20-21 in Eb.
Section A' is from mm. 22-27, it is in G. It seems to me as a transition into the C section, which is from mm. 28-46 and is in C. This ties back to the A section. mm. 42-46 are a transition in the key change at mm. 47.
Section D would be the key change from mm. 47 to mm. 69 with a pedal G# throughout. At mm. 70 we are back in the C section and back in C. Section C last until mm. 83.
mm. 84-89 are a restatement of the A section, but this time in C, which seems to be the pedal this whole piece was mainly built around.
Again I think I like Mister's analysis, making the key change the pivot of the piece and not as complex, but I thought I would be true to the actual work that I did....
I just read Mister's analysis and I think I agree with it, but I'm going to write what I thought it was before I read the other one. I wasn't able to see the picture the piece was based on and I'm sure that it would also explain a lot more.
I got that the overall form was A B A' C D C' A'', which kind of reminded me of a poem structure.
The A section is from mm. 1-15, with subsections a, a' and a''. a is mm. 1-5 in G ; a' is mm. 6-12 in C#; and a'' is mm. 13-16 in C.
The B section is mm. 16-21, with two subsections b and b'. b is mm. 16-19 in B; b' from mm. 20-21 in Eb.
Section A' is from mm. 22-27, it is in G. It seems to me as a transition into the C section, which is from mm. 28-46 and is in C. This ties back to the A section. mm. 42-46 are a transition in the key change at mm. 47.
Section D would be the key change from mm. 47 to mm. 69 with a pedal G# throughout. At mm. 70 we are back in the C section and back in C. Section C last until mm. 83.
mm. 84-89 are a restatement of the A section, but this time in C, which seems to be the pedal this whole piece was mainly built around.
Again I think I like Mister's analysis, making the key change the pivot of the piece and not as complex, but I thought I would be true to the actual work that I did....
La Cathedrale Engloutie
Debussy was inspired to write this piece by an ancient legend of the Cathedral of Ys, told by the people of the Brittany section of France. When analyzing this piece it can be helpful to look at the famus painting of the Cathedral itself. In it you can see the very outline of the song written by Debussy.
I found that the over all for of the piece is ABCBA. In the painting there is almost a mirror efect. In the middle of the paining is a horizontal line which devides the sky, and the ocean. on the line is the Cathedral. It is a pictur of the songs for. The form is known as an arch form. reflection. The piece is devided at measure 28, 47, 72, and 84. there are transitions from theme to theme. The first is from m26-28. The C section starts at m47 with the key change. Then, just like a reflection, it returns back to its origonal key in measure 72.
Also... He paints a pictur in the begining of church bells ringing which make the listener think of the church, on the quiet shore with bells ringing.
I found that the over all for of the piece is ABCBA. In the painting there is almost a mirror efect. In the middle of the paining is a horizontal line which devides the sky, and the ocean. on the line is the Cathedral. It is a pictur of the songs for. The form is known as an arch form. reflection. The piece is devided at measure 28, 47, 72, and 84. there are transitions from theme to theme. The first is from m26-28. The C section starts at m47 with the key change. Then, just like a reflection, it returns back to its origonal key in measure 72.
Also... He paints a pictur in the begining of church bells ringing which make the listener think of the church, on the quiet shore with bells ringing.
Sunday, November 4, 2007
Tristan und Isolde Prelude to Act I
First of all this was a very intense, passionate piece. I very much enjoyed listening to it as well as the rest of the opera. I read a lot about this and wanted to share a quote from Wagner's program notes. "There is henceforth no end to the yearning, longing, rapture, and misery of love: world, power, fame, honor, chivalry, loyalty, and friendship, scattered like an insubstantial dream; one thing alone left living: longing, longing unquenchable, desire forever renewing itself, craving and languishing; one sole redemption: death, surcease of being, the sleep that knows no waking!” In essence he is saying that everything else in life may fade but love will thrive until death.
The anthology's introduction to this piece describes the opening motive as the "motive of suffering" and the second part of that motive (oboe response) as "desire". These two motives are the beggining and ending of this piece. I believe from my reading and from my listening that this piece was Wagners depiction of love, perhaps one relationship or perhaps love enduring through many relationships in one life. It has a beggining of longing, desiring to be with that person. Towards the middle of the piece it communicates all the "happy memories" if you will, the good times, the passion, pleasures of being in love with another person. It is a love song with no words. It ends once more with the beggining motives of suffering, I'm assuming from this that the love was lost, and he is once more left alone.
Considering it is a prelude and allready an itroduction to the opera to begin with; as far as form I see an introduction from mm. 1-18 with the more commonly used melodic motive starting mid bar 18 forming a section 1 mm. 18-35. There is a possible transition from mm 36-44 with a section two mm 45-66, another transition 66-73. Section 3 mm 74-85 ending with a coda which includes the introductory material.
intro 1-18
section I 18-35
transition 36-44
section 2 45-66
transition 66-73
section 3 74-85
coda 86-111
The anthology's introduction to this piece describes the opening motive as the "motive of suffering" and the second part of that motive (oboe response) as "desire". These two motives are the beggining and ending of this piece. I believe from my reading and from my listening that this piece was Wagners depiction of love, perhaps one relationship or perhaps love enduring through many relationships in one life. It has a beggining of longing, desiring to be with that person. Towards the middle of the piece it communicates all the "happy memories" if you will, the good times, the passion, pleasures of being in love with another person. It is a love song with no words. It ends once more with the beggining motives of suffering, I'm assuming from this that the love was lost, and he is once more left alone.
Considering it is a prelude and allready an itroduction to the opera to begin with; as far as form I see an introduction from mm. 1-18 with the more commonly used melodic motive starting mid bar 18 forming a section 1 mm. 18-35. There is a possible transition from mm 36-44 with a section two mm 45-66, another transition 66-73. Section 3 mm 74-85 ending with a coda which includes the introductory material.
intro 1-18
section I 18-35
transition 36-44
section 2 45-66
transition 66-73
section 3 74-85
coda 86-111
Tristan und Isolde Analysis
OK...
The Motive at the begining repeats 3 times. m.1, then goes up a whole stepand does it again in m. 5 (pick up to). It happends a second time in measure 8, but is prolonged on the third note. I think just to give more of the "tension" feel to go along with his Tristen Chord. The third is followed by an echo in m. 12. After that there is a small transition from m. 14 to m.15.
After the first 16 measures, the main idea of the songs comes in in the middle of m. 17 (a-b-c) It is There that the main theme of the song apears. whole step- whole step- half step. This is the little three note pattern that keeps re occurring. The same three notes also have the same three rhythmic pattern. Eighth note- dotted eighth note- sixteenth note. This SAME PAttern occures COUNTLESS times through out the piece.
m. 37 - m. 41. is a transion into the key change from Am to c#m.
Also through out the song there is a motive that keep reoccuring. they are found in measures 35, 61, 62, 94, and a few more.
Im not exactly sure of the form, but i know where the sections are.Section 1: m.1 - m. 16. Section 2: m. 17-m. 43. Section 3: m. 45-m. 62. Section 4: m.63-m.85. Last section: m.86-END.
This piece is a WONDERFUL piece. I listend to it again and again, and was blessed evertime. I really like the first chord in m. 17. :)
Please give comment !!! this is just what i can see... there is so much more going on the the piece, I wish i had more time to really dive into it....
The Motive at the begining repeats 3 times. m.1, then goes up a whole stepand does it again in m. 5 (pick up to). It happends a second time in measure 8, but is prolonged on the third note. I think just to give more of the "tension" feel to go along with his Tristen Chord. The third is followed by an echo in m. 12. After that there is a small transition from m. 14 to m.15.
After the first 16 measures, the main idea of the songs comes in in the middle of m. 17 (a-b-c) It is There that the main theme of the song apears. whole step- whole step- half step. This is the little three note pattern that keeps re occurring. The same three notes also have the same three rhythmic pattern. Eighth note- dotted eighth note- sixteenth note. This SAME PAttern occures COUNTLESS times through out the piece.
m. 37 - m. 41. is a transion into the key change from Am to c#m.
Also through out the song there is a motive that keep reoccuring. they are found in measures 35, 61, 62, 94, and a few more.
Im not exactly sure of the form, but i know where the sections are.Section 1: m.1 - m. 16. Section 2: m. 17-m. 43. Section 3: m. 45-m. 62. Section 4: m.63-m.85. Last section: m.86-END.
This piece is a WONDERFUL piece. I listend to it again and again, and was blessed evertime. I really like the first chord in m. 17. :)
Please give comment !!! this is just what i can see... there is so much more going on the the piece, I wish i had more time to really dive into it....
Saturday, November 3, 2007
Wagner - Tristan & Isolde Analysis
The Prelude to Tristan and Isolde is one that became extremely popular for one main reason: the invention of what has become known as the Tristan Chord. The Tristan Chord was born out of Wagner's desire to prolong the feeling of grief, the feeling of sorrow.
The Tristan Chord is found in m. 2 - f, b, d#, g # this becomes a significant chord for most of the prelude.
The prelude I believe has three main motives. The first begins in measure 1. For purpose sake it is in the alto voice through until m. 3. The second motive begins in the soprano voice til m. 3. Motive c can be be found in m. 16 & 17. It is evolved from b. The difference lies in that in c - the third note has been lengthened.
The piece is primarily in a minor. Again we have the initial motives from m. 1 - 3 - followed by the same motive but up a m. 3 in 4 -7. This occurs later in mm. 8 - 11 and then follows in 12 - 13 but an octave higher.
The Tristan Chords that I found are as follows: m. 2 / 40 / 102 - 103 / 106 - 111. (the 106 - 111 is a Tristan Chord broken up in the cellos)
The hard thing about this piece is the tension - there are not a lot of perfect authentic cadences. We have a V - VI cadence in mm. 16 - 17. An imperfect cadence in mm. 44 & 74. At m. 42 we have a key change to what I believe is F# minor. Then at m. 71 back to a minor.
Measures 74 - 80 serves as an extension / development of the material from 63 - 74.
I am not sure what else to say - what was everyone else's findings? I was a little confused to what actual form / key this is in? does anyone have any ideas?
Jonathan Schorr
The Tristan Chord is found in m. 2 - f, b, d#, g # this becomes a significant chord for most of the prelude.
The prelude I believe has three main motives. The first begins in measure 1. For purpose sake it is in the alto voice through until m. 3. The second motive begins in the soprano voice til m. 3. Motive c can be be found in m. 16 & 17. It is evolved from b. The difference lies in that in c - the third note has been lengthened.
The piece is primarily in a minor. Again we have the initial motives from m. 1 - 3 - followed by the same motive but up a m. 3 in 4 -7. This occurs later in mm. 8 - 11 and then follows in 12 - 13 but an octave higher.
The Tristan Chords that I found are as follows: m. 2 / 40 / 102 - 103 / 106 - 111. (the 106 - 111 is a Tristan Chord broken up in the cellos)
The hard thing about this piece is the tension - there are not a lot of perfect authentic cadences. We have a V - VI cadence in mm. 16 - 17. An imperfect cadence in mm. 44 & 74. At m. 42 we have a key change to what I believe is F# minor. Then at m. 71 back to a minor.
Measures 74 - 80 serves as an extension / development of the material from 63 - 74.
I am not sure what else to say - what was everyone else's findings? I was a little confused to what actual form / key this is in? does anyone have any ideas?
Jonathan Schorr
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