Solving performance problems in Debussy's: La Cathedrale Engloutie.

Debussy's La Cathedrale Engloutie--from Preludes, Book 1, written in 1910--is typical of the kind of tone poem found in all his Preludes. 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. In the legend, the ocean engulfed the cathedral 1,500 years ago as punishment for the impious population. It was allowed to rise out of the water at sunrise to remind the people of their sins, then slowly return to the depths and enchanted sleep.

Daniel Ericourt notes in his Masterclasses in Debussy that on Mt. St. Michel, a very small island just off the Brittany coast of France, stands an imposing church towering 500 feet above the sea. Appropriately enough, this island is surrounded by quicksand. This church could not have inspired the legend because when it was built in 708 A.D. the legend had been in existence for about 300 years. However, it could easily have been part of Debussy's inspiration because his family made frequent excursions to the ocean when he was a child. (1)

Determining the Form

Important in the performance of any work is an overall formal analysis. In this case, four of the references consulted list a different form. Roy Howat, in his book Debussy in Proportion, says "with one exception this piece follows an arch form, ABCBA, with the main divisions at bars 28, 47, 72 and 84, and the two outer portions forming introduction and coda." He continues, "Although the sections are all thematically related, they are still clearly distinguished in other ways. The 27-bar introduction contains the one departure from a pure arch form--an anticipation in bars 7-13 of the central C section, so that this long introduction itself forms a ternary sequence." (2)

Bela Siki, in his book Piano Repertoire, A Guide to Interpretation and Performance, discusses the form as follows: "Presentation of two themes as motives (bars 1-27), First theme (bars 28-40), Transition (bars 40-46), Second theme (bars 47-67), Transition (bars 67-71), Recapitulation of first theme (bars 72-83), and Coda (bars 84-89)." (3)

Rather than following thematic indications, Ericourt divides the piece into three poetic interpretive sections as follows: "The first section of the piece (bars 1-15) may be taken to represent the early morning sea mists enshrouding the cathedral, and the rest of the piece its appearance (second section bars16-46), and eventual succumbing to the sea (third section, bars 47-89)." (4)

Maurice Hinson, in his 1992 edition of the Preludes calls the form binary (AB[A.sup.1][B.sup.1]) with the following analysis: part 1 (A): bars 1-27; part 2 (B): bars 28-46; part 1 ([A.sup.1]): bars 47-71; part 2 ([B.sup.1]): bars 72-89. (5) In his new collection of impressionistic music, however, Hinson agrees with Ericourt's analysis of three sections and uses almost the same words as Ericourt to describe the sections. (6) My own analysis is closer to Hinson's original analysis with the exception of an introduction and coda: intro: bars 1-6; A: bars 7-27; B: bars 28-46; [A.sup.1]: bars 47-71; [B.sup.1]: bars 72-83; coda: bars 84-89.

Decoding the Meter

One enigma in the performance of La Cathedrale Engloutie is Debussy's use of the meter signature 6/4=3/2. Traditionally, 6/4=3/2 means the quarter note remains constant so that a bar of six quarter notes is equal in overall length to a bar of three half notes. From measures 1-6 (Example 1) and 14-21 (Example 2), the rhythmic motion is primarily in quarter notes. From measures 7-13 and again from measures 22-83 (Example 3), the movement is in half notes. If the pianist sets a suitable slow tempo at the beginning, the effect at measure 7 and again at measure 22 is that of slowing down. What did Debussy intend?

The solution to this metrical dilemma may be found in Debussy's own performance of the work. Charles Burkhart discusses this in an article in the Fall 1968 issue of Piano Quarterly entitled, "Debussy Plays La Cathedrale Engloutie and Solves Metrical Mystery." (7) In 1913, three years after Debussy had composed and published La Cathedrale Engloutie, he made a Welte-Mignon player piano roll of the piece. In this performance, Debussy plays bars 7-13 and 22-83 at exactly double the speed of the remainder. The ending, bars 86-89, is less clear because Debussy makes a considerable rallentando in bars 84-85, and bar 86 (Example 4) could be considered as a return to the ordinary slower tempo from the rallentando. However, it can still be heard as the ratio of half note to quarter note with a ritard.

Although the argument can be made that a piano roll cannot guarantee exact reproduction of the original tempo--since its pitch is unaffected by playback speed--this does not apply to the discussion of changing tempi within the piece, because the proportions within the music would still be faithfully reproduced. Debussy's way of playing the piece, apart from being musically logical, was also known to some of his acquaintances, including Alfred Cortot who recorded the piece on disc with the same tempo changes. Burkhart discusses performances of seven pianists who have recorded this piece. Of that seven, only four interpreted it correctly, and those four had studied with or were close acquaintances of Debussy. Burkhart also mentions that Cortot's pupil, Gina Bachauer, plays it exactly right. (8) Howat notes that "Debussy's stepdaughter, Dolly Bardac, who was a resident in the Debussy household when the Preludes were composed, has confirmed in conversation that Debussy played those two sections at double speed." (9)

One famous pianist, Walter Gieseking (1895-1956), however, did not play the meter changes the way Debussy did. In his book The Pianist's Guide to Pedaling, Joseph Banowetz has devoted an entire chapter to Gieseking's pedaling in Debussy and Ravel, and has included a master lesson by Gieseking, which Banowetz states was combined from several lessons on Debussy's Sunken Cathedral. (10) Gieseking says that at measure 7, the pianist should remain slow, play no faster. Banowetz says "Gieseking thought he was the only one to play this piece in the correct time, that even Debussy, on his Welte Mignon recording, played it incorrectly. A reviewer in Paris once criticized Gieseking for not changing the tempo here, but Gieseking said, 'This man did not know that he was wrong and not I.'" (11) According to Banowetz, Gieseking was and still is, "universally acclaimed as the greatest interpreter of the piano works of Debussy and Ravel." (12)

Hinson, in his 1992 edition of the Preludes, mentions the proper proportions in his discussion of the composition at the beginning of the book, but does not indicate them in the score. (13) in the 2004 edition, however, Hinson shows the proportions in the score. (14) Ericourt was aware of the piano roll performance, but does not actually say the quarter note equals the half note. He says, "At the beginning of the piece the time signature is indicated as 6/4 or 3/2. This means that at times one plays the piece with two beats to the bar (6/4), and at other times with three beats (3/2)." (15) In his discussion of the interpretation of the time signature, Siki refers to Debussy's recorded performance and says: "One wonders whether he meant the 6/4 and 3/2 to be related in this manner or made a mistake in the notation. At any rate, the authority of the recorded performance cannot be questioned." (16)

Why the proportional relationships are not indicated in the score remains a mystery. Howat states that the autograph manuscript contains one piece of circumstantial evidence: in bars 70-73 the eighths are notated as sixteenths, with the bar-line between bars 70 and 71 omitted; and the half notes in bars 72-73 are obviously changed from what were initially quarter notes (Example 5). Debussy noted neatly in the margin that "ces doubles croches sont des croches" (these six teenth notes are eighth notes). But this manuscript, in view of its exceptional immaculateness, must have been recopied from an earlier draft. Howat speculates that "[Debussy's] mistake in bars 70-3 suggests that the draft from which he was copying may have had a different metrical notation, which he was now altering in the course of recopying." (17)

Howat also makes the point that when the piece is performed using Debussy's tempos, the negative golden mean (18) falls exactly at measure 28, (Example 6) the beginning of the B section and the beginning of the fortissimo section. The positive golden mean falls at measure 47, (Example 7) the return of the A theme in the key of E major. (19) According to some people, this would make the proportions, and thus the performance, more aesthetically pleasing.

Taking all of the previous discussion into account, the pianist must decide whether or not to follow Debussy's tempos. I believe that Debussy played it the way he intended for it to be heard. With that point of view, the pianist then must set a tempo that is neither too fast nor too slow. Using the quarter note in the 6/4 section as the beat unit, the tempo is quarter note=63. Siki suggests quarter note=60-66. Hinson has quarter note=69. Debussy's tempo is close to quarter note=63, but he takes more ritards than he has marked in the score. In one place (measure 20), (Example 8) he gets gradually faster, seeming to disregard his own marking: Augmentez progressivement (sans presser) [crescendo continually (without rushing)]. He makes a big ritard starting in measure 39 so that the Un peu moins lent [a little less slowly] at measure 47 (See Example 7) is closer to the beginning tempo than actually faster as the tempo marking indicates. He also makes a big ritard in measure 63 (Example 9).

We can note some other differences between the score and Debussy's performance. Debussy does not strike the octave E at the beginning of measure 8, but ties it from measure 7 (Example 10). When striking the octave E at the beginning of the measure as indicated in the score, one has difficulty keeping the C-sharp sounding as melody, as is found in the analogous point in the return of that theme in measure 47. Perhaps Debussy forgot to mark the tie in the score. In measure 13 he reverses the B and E. His dynamics in measure 16 are certainly not sempre pianissimo. In measure 58 he strikes the left hand G-sharp grace note with the G-sharp in the right hand, and in measure 60 he omits the left hand G-sharp grace note.

The concern about playing these grace notes in time has been addressed by both Gieseking and Siki. In measure 60, Gieseking "played the A octave on the last beat ahead of the right hand in order to give himself more time for the downward leap to the G sharp." (20) Siki suggests executing the grace notes "as if they were the last eighth notes of measures 58 and 61--quickly enough not to hinder metrical continuity." (21) (Example 11)

Pedaling Problems and Tone Color Issues

Two other performance problems to be considered are the use of contrasting tone colors and pedaling. Tone color is influenced by pedaling, degree of legato, voicing of chords and controlling the key descent. To get a full, rich soft sound, the pianist must place the fingers on the keys and use the full weight of the upper body to depress the keys. In measures l-5, the dotted whole-note chords should ring, especially the top notes of the right hand and bottom notes of the left hand, while the inner chords should be soft and even in tone. A ringing sound can be created by gently releasing the note instantly (almost a staccato) while holding the pedal. Top notes of the chords should be brought out throughout the composition. In the fortissimo section beginning in measure 28, the chords must be played with full weight but with a relaxed wrist to create a loud sound that is not harsh (Example 12). In my piano study with him, Ericourt suggested using the thumb to play the low Cs in this section. Gieseking suggests "playing the low Cs as an octave, using the third fingers of both hands, for power and sonority." (22) In the au Mouvement section (measures 72-83), using Cortot's idea, Gieseking suggests bringing out the thumb notes of the chord rather than the upper voice. (23)

Pedaling in Debussy's works is problematic since, according to Hinson, Debussy left fewer than 20 pedal indications in his entire piano music. It is difficult to tell anything about Debussy's pedaling in this work by listening to his performance, and no pedal indications are in the score. Banowetz states that Gieseking believed "the pedal sign in Debussy and Ravel is the bass note, and the pedal should be held as long as the bass note harmony. Thus, the pedal must be held for bars or even pages when the harmony remains the same." (24) However, he also stated that "'In small rooms and on recordings, you can't use as much pedal as you can in Carnegie Hall' and he would often use flutter pedal if the instrument and hall did not permit a long, unbroken pedal." (25) Hinson states that pedaling was a major problem in preparing his edition of the Debussy Preludes. "My pedal indications should only be used as suggestions that I hope will be useful ... it is impossible to indicate each shading and nuance of pedaling, (flutter pedaling, brief touches of pedal, etc.) since some are so subtle as to be almost imperceptible." (26)

Both Gieseking and Siki have given measure-by-measure suggestions for pedaling, and in comparing those suggestions with Hinson's 2004 edition and my own ideas, one finds several differences. Chart 1 (below) is a measure-by-measure comparison of all of the above suggested pedaling (measure numbers given are inclusive).

Gieseking suggested special effects noted in Chart 1 for measures 42-46. (Example 13) "Here Gieseking felt that Debussy wanted the special effect of the main chord diminishing, as if the sostenuto pedal were being used. To achieve this effect, silently depress or retake the first chord after playing the second chord. Change the pedal on the quarter rest so that on the sixth beat just the first chord will be left sounding." (30)

Siki suggests using the una corda pedal in the first 15 measures, in measures 42-52, and from measure 70 to the end (also my preference). Hinson indicates una corda in the first 20 measures, and does not indicate its use after that. Gieseking does not mention its use at all.

Pianists disagree on the use of the sostenuto pedal in Debussy's works. Siki suggests using it to sustain the low C in the section beginning at measure 28. (31) (See Example 12) Although Gieseking was known to use it in certain instances, he specifically says "do not use sostenuto pedal" in this composition. (32) While Hinson does not indicate its use in his edition, he said in a phone conversation he "sees no reason why it couldn't be used there." (33) Regarding its use in any of Debussy's music, Ericourt says, "the middle pedal, which may seem a natural to hold the sustaining chords, creates tonal 'vacuum' between the sustaining and moving chords, and should not be used; it is to be noted that the piano Debussy used for composition did not have a middle pedal, nor do the majority of European pianos." (34) Whether or not Debussy had a sostenuto pedal on his piano, according to David Crombie, it was certainly found on square Steinway pianos of that time, (35) so Debussy might have used it if it had been available to him.

The question now is, having heard Debussy's performance of this work and compared the performance suggestions of three pianists, what should we do? Do we copy Debussy's performance exactly, tying the octave E in measure 8, and even leaving out the grace note in measure 60? Since this is only one performance and piano rolls were not edited to create a perfect performance, perhaps we should use Debussy's performance as a guide, but not adhere to it strictly. Pedaling and tone color will always depend on the piano, the hall and perhaps the mood of the performer at the time; each of the pianists quoted here might have played the piece differently each time it was performed. These are all wonderful suggestions from well-respected performers, and each of us can learn from their suggestions, and decide whether to incorporate them into our own teaching and/or performing.

NOTES

(1.) Daniel Ericourt. Masterclasses in Debussy (Chapel Hill: Hinshaw Music, Inc., 1978), p. 51.

(2.) Roy Howat. Debussy in Proportion, A Musical Analysis (London, Cambridge University Press, 1983), p. 159.

(3.) Siki, Bela. Piano Repertoire, A Guide to Interpretation and Performance (New York: Schirmer Books, 1981), p. 299.

(4.) Ericourt, loc. cit.

(5.) Maurice Hinson, Debussy Preludes, Book I (Los Angeles: Alfred Publishing Co., Inc., 1992), p. 7.

(6.) Hinson. Anthology of Impressionistic Music (Los Angeles: Alfred Publishing Co., Inc., 2004), p. 6.

(7.) Charles Burkhart, "Debussy Plays La Cathedrale Engloutie and Solves Metrical Mystery," Piano Quarterly, 65 (Fall, 1968): 14-16. (8.) Ibid., p. 16.

(9.) Howat, op. cit., p. 160.

(10.) Banowetz, Joseph. The Pianist's Guide to Pedaling (Indiana University Press, 1985), p. 280.

(11.) Ibid., p. 280.

(12.) Ibid., p. 230.

(13.) Hinson, Debussy Preludes, Book I, p. 45-49.

(14.) Hinson, Anthology of Impressionistic Music, p. 58-63.

(15.) Ericourt, op. cit., p.52.

(16.) Siki, op. cit. p. 301.

(17.) Howat, op. cit., p. 161.

(18.) The golden mean or golden ratio is an aesthetic value in which a length of time or space is divided so that the shorter is to the longer as the longer is to the whole. It is found throughout the universe in such areas as nature, art, music, architecture, relationship of planets to their orbits and so forth, and has been related to psychological preferences and aesthetic enjoyment.

(19.) Howat, op. cit., p. 160-161.

(20.) Banowetz, op. cit., p. 284.

(21.) Siki, op. cit. p. 300.

(22.) Banowetz, op. cit., p. 282.

(23.) Ibid., p. 286.

(24.) Ibid., p. 231.

(25.) Ibid., p. 231.

(26.) Hinson, op. cit., Debussy Preludes, Book I, p. 5.

(27.) Banowetz, op. cit., p. 280-287.

(28.) Siki, op. cit., p. 301.

(29.) Hinson, Anthology of Impressionistic Music, p. 58-63.

(30.) Banowetz, op. cit., p. 283.

(31.) Siki, op. cit. p. 301.

(32.) Banowetz, op. cit., p. 282.

(33.) Phone conversation with Maurice Hinson, May 4, 2006.

(34.) Ericourt, op. cit., p. 51.

(35.) David Crombie. Piano: Evolution, Design and Performance (New York: Barnes & Noble Books, 1995), p. 20.

REFERENCES

Banowetz, Joseph. The Pianist's Guide to Pedaling. Bloomington: Indiana University Press, 1985.

Burkhart, Charles. "Debussy Plays La Cathedrale Engloutie and Solves Metrical Mystery," Piano Quarterly, 65 (Fall, 1968): 14-16.

Crombie, David. Piano: Evolution, Design and Performance. New York: Barnes & Noble Books, 1995.

Ericourt, Daniel. Masterclasses in Debussy. Chapel Hill: Hinshaw Music, Inc., 1978.

Hinson, Maurice. Debussy Preludes, Book L Los Angeles: Alfred Publishing Co., Inc., 1992.

--. Anthology of Impressionistic Music. Los Angeles: Alfred Publishing Co., Inc., 2004.

Howat, Roy. Debussy in Proportion, A Musical Analysis. London: Cambridge University Press, 1983.

Siki, Bela. Piano Repertoire, A Guide to Interpretation and Performance. New York: Schirmer Books, 1981.

Recorded Treasures, Inc., No. S603. The Welt Legacy of Piano Treasures: Debussy and Ravel Perform Their Own Compositions in 1913.

Janet Bass Smith holds a D.M.A. degree from the University of Missouri-Kansas City, Conservatory of Music. She maintains an independent piano studio in Bowling Green, Kentucy, where she is principal keyboardist and marketing director for the Bowling Green Chamber Orchestra.

Chart 1

Measures          Gieseking (27)                Siki (28)

1-7, 1st beat     renew w/each long bass        same
                  chord but in m. 6 release     m. 6 no chg.
                  sound grad.
7-13              chg. w/each recurring E       same as Gieseking
                  belltone
14-15             one pedal                     one pedal
16-18             one pedal                     one pedal
19-21             one pedal                     one pedal
22-25, 1st beat   one pedal                     one pedal
25-27             chg. w/each bass note         three peels each m.
28-39             no sost, peel each chord      add sost, peel each
40-41             no indication                 no indication
42-45             special effects (see below)   chg. each m.
46-50             chg. with each bass G#        chg. with each bass G#
51-54             chg. each 2 mm.               chg. with each bass G#
55-62, 2nd beat   one pedal                     chg. with each bass G#
62-65             chg. with each chord          chg. with each chord
66-67             one pedal                     no indication
68-70             one pedal                     no indication
71                no pedal                      no indication
72-83             chg. with each chord          chg. with each chord
84 to end         one pedal                     one pedal

Measures          Hinson (29)                Smith

1-7, 1st beat     same                       same
                  m. 6 no chg.               m.6 like Gieseking
7-13              chg. w/ every octave       same as Gieseking
14-15             one pedal                  one pedal
16-18             chg. every RH chord        one pedal
19-21             one pedal                  one pedal
22-25, 1st beat   one pedal                  one pedal
25-27             chg. w/each bass note      three peds each m.
28-39             no sost, peel each chord   add sos. peel each chord
40-41             one pedal                  one pedal
42-45             chg. each two m.           chg. each two mm.
46-50             chg. w/each melody note    chg. w/each bass G#
51-54             chg. each 2 m.             chg. w/each bass G#
55-62, 2nd beat   one pedal                  chg. w/each bass G#
62-65             chg. with each chord       chg. with each chord
66-67             one pedal                  one pedal
68-70             one pedal                  one pedal
71                pedal each beat            70 rel. grad., 71 1/2 ped
72-83             chg. with each chord       chg. with each chord
84 to end         one pedal                  one pedal