Analysis of Motif Development in Claude Debussy's 'Clairs de Lune', Exercises of Voice

Download Analysis of Motif Development in Claude Debussy's 'Clairs de Lune' and more Exercises Voice in PDF only on Docsity! ( ABEL DECAUX'S CLAIRS DE LUNE .by Joyce Lee ;chenewerk Submitted in Partial Fulfillment of the Requirements for the Jegree ~1aster of Arts Supervised tJ Dougl~ss M. Green Department of Music Theory The Eastman School of l~usic of The University of Rochester Rochester, New York 1977 Abel Marie Decaux (1869-1943) ( Schweizerische Musikzeitung 101 (1961, pp. 33-39). In this article Brelet gives no musical data to support her conviction that Decaux was the "French Schoenberg." The only substantial insights she brings to Clairs de Lune are the programmatic elements of each movement and even then gives no basis for her information. The remalnlng of the sources of information about Clairs de Lune are of secondary interest. They derive information from Brelet's article, as in Norman Demuth's book, French Piano Music (1959, pp. 63-65), and the Dictionnaire de la Musique (1970, p. 261), or from Schaeffner's article as in William Austin's book, Music in the 20th Century (1966, pp. 157, 196). William Austin's reference to Clairs de Lune is particularly important because he equates Decaux's work with Schoenberg's Pierret Lunaire by implying that Loth are based on and/or a setting of the cycle of poetry by Albert Giraud entitled Pierret lunaire; rondels berrzamasques. (1884). Austin states that a "setting of four of the poems [of Giraud's poetry] by Abel Decaux, composed 1900-07, is described by Andre Schaeffner in 1950 as 'atonal,' though very little like Schoenberg's setting.'' (Austin, p. 196) Schaeffner does indeed say that Decaux's Clairs de Lune is "atonal," but does not equate it with Schoenberg's v ( Pierret Lunaire except for the lmagery of the moon common to both. The purpose of this thesis is to prove, by analysis of the four movements of Clairs de Lune, whether the comments about it in the source materials are true or false. Motivic development within the individual move­ ments and throughout the whole work, use of non-functional harmony and/or atonality, rhythmic articulation in relation to motives and general form, organization and structure of each movement, and any characteristic features of the movements were considered. A supplemental analysis of Decaux's remaining works, La lune blanche for voice and piano (1913) and the Fuguette sur ·l'''Ave Maris Stella" for organ (c. 1912) was included. Though these pieces are excellent in their own way, they do not have the historical interest of Clairs de Lune. Decaux's compositional technique in Clairs de Lune demonstrates apparent originality for the years in which it was composed. Although no strict serial method is used, three principal melodic motives do become the basis for both linear and chordal development in all four movements. Both atonality and the whole-tone scale are used extensively as t~ell as functional harmony. vi ( The comments in the source material do have some basis in fact, though Clairs de Lune is neither "serial impressionism,'' as labeled by Norman Demuth (p. 65) nor is it an example of tw~lve-tone techniques as later developed by Schoenberg. It is, however, an important transitional work of the early 20th century because it bridges the styles of impressionism and atonal techniques. vii ( - 2 - During the time he was at the Conservatoire Decaux studied composition with Jules Massenet, harmony with Alf·red Lavignac and Th~odore DuBois (later Director of the Conservatoire), piano with Charles DeBeriot, and organ with Charles-Harie Widor. Decaux left the Conser­ vatoire ln 1896 and entered the Schola Cantorum in Paris. The Schola Cantorum, founded in 1894 by Charles Bordes, a choral conductor, Alexander Guilmant, an organ­ ist, and Vincent d'Indy, a composer, was originally intended to be a society for the improvement of religious music, but in 1896 became a school for the study and restoration of old sacred music. Decaux was first in Guilmant's organ class and was appointed professor of organ in 1897. All of Decaux's music was published during the time he taught at the Schola Cantorum. The song, La lune blanche, published in 1913 by Editions Haurice Senart et Cie in Paris, was completed in September of 1899. Clairs de Lune for piano was originally published in 1913 by Editions Chapelier in Paris and is composed of four move­ ments: "Minuit passe," "La Ruelle," "Le Cimiti~re," and "La Mer," composed in 1900, 1902, 1907 and 1903 respectively. Decaux's last work, the Fuguette sur l'"Ave Maris Stella" is found in the anthology Les maitres contemporains de ( - ~~ - l'orgue compiled by Abbe Jos. Joubert in c. 1912. There is no indication when this last work was composed. Decaux taught the "Deuxi~me Cours" of organ at the Schola Cantorurn.. This tvas the lowest level of organ instruction. Henri Gagnebin, a student of Decaux at the Schola Cantorum, describes Decaux's teaching as "rigorous, precise, and incontestable. One learned to connect, to detach a strict part of the value of a note, to hold a tempo, in brief, to properly play the organ."2 Another record of Decaux's teaching is the organ method book by Edwin S. Barnes, also a student of Decaux at the Schola Cantorum. This book "follows the course of instruction given at the Schola Cantorum in Paris" 3 and is dedicated to "Abel Decaux, Professor at the Schola Cantorum, Paris." 4 The method is based on the teaching of the Belgian organist, J. Lemmens, who taught both Widor and Guilmant, and empha- sizes the mastery of J. S. Bach: "Hhen the student has satisfactorily and intelligently mastered the greatest produc­ tions of that composer [Bach], he may be 2Henri Gagnebin, "Grands organistes j'ai connus," L'Orgue 129 (January-March 1969): 19. 3Edw.in S. Barnes, School of Organ Playing (New York: G. Schirmer, 1921), p. 5. 4Barnes, title page. ( - 4 - presumed to have developed an organ style which will guide him safely in the conquest of the works of all other masters of organ literature."S Of the twenty-three complete compositions in the book provided for study, sixteen are by Bach. In 1903 Decaux entered the competition for the position of organist at the Basilica of the Sacred Heart in Montmartre. He was unanimously appointed by the jury composed of Widor, Vierne and Guilmant. The organ there is of special interest since it was the only one of the large organs in Paris at that time to have all three divi- sions (Recit, Positif and Solo) enclosed. The organ was built by Charles Mutin, successor .to Cavaille-Coll, and had been a model in his factory for many years. Marshall Bidwell speaks of Abel Decaux as the organist at the Sacred Heart, "by reputation a most admirable organist and teacher." 6 In September of 1923 Decaux began teaching organ at the Eastman School of Music in Rochester, New York. The school had been founded in the fall of 1921 and Joseph Bonnet, the noted French organist and composer, had taught 5 Barnes , p. 5 • 6Marshall Bidwell, "Organ Husic in Paris Churches," The funerican Organist 6 (January 1923): 16. - 7 - cited for his "dedicated service to the cause of French 1 musical art." 9 Deca~x returned to Paris in 1936 only to find that his position at Sacred Heart had been taken. He took the job as organist at the Church of the Carmelites in Paris instead. He also taught organ and church music at the Ecole C~sar Franck and the Institut Gr~gorien. Decaux's letters to a former student indicate that he remained active after his return to France. He played for a dedication recital in Paris in January of 1937 and later that year played recitals in Lyon, Grenoble and Paris. During the winter of 1940 Decaux was scheduled to play four recitals: Arrai Cathedr·al, Dunkerque, Reims Cathedral.and Paris. All were cancelled because of the war. In 1943 Decaux accepted an invitation to give a recital at the Palais de Chaillot. For too long he lingered in the cold church to prepare his registration, caught cold and soon died in the winter of 1943.1° The funeral oration of M. le Guennant, Director of the Institut Gregorien, is preserved at the Schola Cantorum. Hme. Decaux retired to a 9Records at the Grande Chancellerie de la Legion d'Honneur, Paris, 1934. lOPhilips, p. 4. Various organ periodicals report 11 August 1943 as the date, as do records at the Eastman School of Music, Roche~ter, New York. - 8 - convent on the Vaugiraud in Paris where she remained until ( her death. Decaux's only child, Marguerite, married a French organist and remained in France. ( CHAPTER II THE MUSIC f Bibliographical Introduction to the Clairs de Lune Abel Decaux's Clairs de Lune, four pieces for piano, premiered in 1909 by the pianist Ferdinand Motte- Lacroix to whom the work lS dedicated. After publication in 1913 it was performed at a concert of the Societ~ Nationale, the organization founded by Saint-Sa~ns in 1871 to promote French compositions. The pianist this time was Ricardo Vines ( 187 5-1943), who was. the first to play nearly all of Ravel's piano works in public. Paul Ladmirault reviewed this concert for the periodical, La Revue Musicale, the bulletin of the SociGt~ Independante de Musique. The ~.I.M. was founded in 1907 by Faur~, Ravel, Koechlin and others and differed from the Societe Nationale in that its concerts premiered both French and foreign compositions. In the review, Paul Ladmirault writes: "The '4 Clairs de Lune' [sic] of Abel Decaux reveal to us a very great musician, for too long unjustly ignored or unacknowl­ ed~ed, in whom we see an astonishing imagi­ nation, almost bizarre, combined with a grand lyricism too uncommon for our day.nll llpaul Ladmirault, "Soci~t~ Nationale," La Revue Musicale S.I.M. Supplement de Quinzaine 10 (April 1914): 7. - 9 - { - 12 - for piano, as is indicated on the title page of the pub­ lished work. 17 Also, if Decaux wrote only for the organ, why theQ did Demuth bother to include Decaux in a book on -l". French piano music? I Demuth quotes three examples from Clairs de Lune.l8 These are identical to those quoted by Gisele Brelet in her 1961 article. Even though her article appeared after Demuth's book was published in 1959, he mentions her as the musicologist who introduced Decaux to Germany. 19 It can be inferred then that Demuth had never seen the actual music but relied instead on Mlle. Brelet's insights. Demuth labels Decaux's compositional technique as "serial impres~ sionism." 20 Clairs de Lune has come to be considered an exam- ple of serial techniques because of the ''serial impression- ism'' label attached to the work. Effie B. Carlson lists Decaux in her book on twelve-tone and serial composers and cites Clairs de Lune as an example of "serial impressionism." Since she lists Norman Demuth as a source of her information 17Norman Demuth, French Piano Music (London: Museum Press, Ltd., 1959), p. 63. 18 Demuth, p. 64. 19Demuth, p. 65. 20Demuth, p. 65. ( - 13 - it is probable that she is merely retaining Demuth's The person most responsible for all the informa­ tion on Decaux and his Clairs de Lune is Gisele Brelet, the French musicologist. Her article "Un 'SchBnberg fran~ais': Abel Decaux," appeared in 1961 in the periodical Schwei- zerische Musikzeitung. Decaux, according to Brelet, dis­ covered a new language of atonality but his efforts have been unrecognized by history. He had no chance to compose since he was forced to teach for his livelihood. Therefore his four Clairs de Lune are all the more precious, since they are all that exist of his new language. of music: Brelet explains Decaux's place in the history "Decaux, the 'French Schoenberg,' not only foretold dodecaphonism; he anticipated the reaction of dodecaphonism against itself."22 "The essential problem for [young musicians] is to put an end to revolutionary chaos and to reconstitute, in new bases, a sonorous universe freed from the destructive forces 21Effie B. Carlson, A Bio-Bibliographical Dictio­ nary of Twelve-Tone and Serial Com osers (Metuchen, New Jersey: Scarecrow Press, Inc., 1970 , p. 70. 22 Gise1e Brelet, "Un Sch8nberg frangais': Abel Decaux," Schweizerisc11e Mus ikzei tun=g 101 ( 19 61): 3 6. ( - 1'+ - of chromaticism. Serial technique was a response to the 'esthetic will' of the new generation, born of an intense aware­ ness of the mortal danger toward which ~ the disintegration of the tonal universe was causing the musical art to run. Against this risk of total dissolution, it was necessary to set the bulwark of an integral rationalization.u23 "But won't this constructivism--which gives the serial enterprise its direction-­ confine the musician in an algebraic severity which makes an attempt on his creative · liberty and removes it from his national genius? A spontaneous movement in reaction to this soon took form. Once the system is forged, with what ardor does the musician hasten to discover the flaws in his deter­ minism, through which his powers of inven­ tion can steal forth! With the risk of anarchy eliminated, serial thought had to apply itself to the reconquest of its liberty; abstract mathematicism finally gave way to the 2 ¢iving dynamism of improvisatory activity." . "Decaux, in truth, came too soon, and was unable to receive the complete approbation of an epoch, • • • Decaux anticipated the future: it was only for himself alon~ that he was able to make that future become the present.n2S . None of the four pieces that make up Clairs de Lune are analyzed in Brelet's article. She does, however, describe the programmatic elements of the four pieces: 2 3 Bre let , p. 3 7 . 24Brelet, p. 38. 25Brelet, p. 38. ( Clairs de Lune ·~ Clairs de Lune was originally copyrighted in 1913 by Editions S. Chap~lier. The music is now available from L. Philippa, Editeur (part of Editions Consortium in Paris). The two editions are similar except for the following: 1. The fourth movement of the Chapelier edition is dedicated to Ferdinand Motte- Lacroix. 2. The Chapelier edition omits the title "La Mer" from the fourth movement. There is also a lack of uniformity in both published editions as follows: 1. Both editions omit the title "Minuit passe" from the first movement although the title is furnished on the cover. ;;: 2. The title "Le Cir#tiere" is placed in parentheses beneath the heading "Clairs de Lune No. 3" in both editions. Aside from the discrepancies in titles, there are no other changes in the editions. This includes pitches, dynamics, placement, etc. In fact, they appear to be printed from the same plates. 17 - ( - 18 - Clairs de Lune No. 1 The first movement of Clairs de Lune is titled t "Hinuit passe" and was completed by Abel Decaux in Decem­ l ber of 1900. Two authors, Norman Demuth and Marc Honneger, ; have mistakenly referred to this movement as "Minuit passe." Since both published editions give "Minuit passe" as the title it will be used here. Beneath the title of this movement is inserted the following prose poem by Louis de Lutece: "Piano, • • piano, • • pianissimo, Blanche, la lune glisse silencieuse· dans l'espace. • • Cheminees, mansardes, pignons, faites; silhouettes tenebreuses sur champ d'azur sombre. • . Immobiles fant8ms ••. Carcasse ~tique de chat miaulant .•• Profil grima~ant de monstrueuse gargouille gothique. • • Vol hesitant de chauve­ souris. . . Clarte blafarde au ciel ••• Ombre mysterieuse sur terre. • • R~ves et cauchemars abradacabrants. • • Hantises nocturnes. . • Piano, .• piano, •• pianissimo, •• " [Piano, • • piano, • • pianissimo, • • White, the moon glides silently in space ••• Chimneys~ mansard windows, gables, roof ridges; gloomy silhouettes on a field of somber azure. Immobile phantoms ••. The emaciated carcass of a meowing cat •.• The grimacing profile of a monstrous gothic gar~oyle. • • The hesitant flight of a bat. • • The pale clarity of the sky ..• A mysterious shadow on the ground. Magical dreams and nightmares. . . Nocturnal obsessions ..• Piano, .• piano, .. pianissimo ... ] ·~ 19 - Gisele Br~let states that "Minuit passe 11 was "inspired by the prose poem of Louis de Lutece," but there is no evi­ denceito substantiate her statement. 29 Since no other works by this author are available and because the name "Lut~ce" is the French equivalent of the Latin Lutetia for Paris, it is assumed that "Louis de Lutece" [Louis of Paris] is a pseudonym. The movement begins with a pianissimo statement of the motives Hhich will recur throughout the work: Example 1. Measures 1-4 t Len '-' '"=' '-' '-"' "':' . ~ ~> ~ ~ Jl - I .<ilr .... I.M' ........ - I • .... ..... - - ~ I I I" I 1 .... ... ..... J Ill I " D ~ I I' I I _ ..... - I I ,.... I .- I I \ ~ ~ ~~ ~ ~____,; ~ r~ ,........,~. l'· For the purposes of this paper these motives have been given identifying letters which indicate each and its component parts (Example 2). A and B indicate the com­ plete motive, ~1, A2 and Bl indicate those fragments which are also used extensively in the work. It is noted that Motive ~1, composed of descending m2 and ~3, 29Brelet, p. 36. - 22 - { The middle section of the movement presents new motivic material based on the pitch content of the first sectioni that is, whole-tone scale on c plus the leading tone b. This neH motive is labeled Motive C: Example 5. Measures 19-20 Beneath this new motive and on the bottom of the three staves used throughout this section is the sonority built on the octave CC-C with tritone. This represents the "twelve strokes of midnight" (the "!1id- night chord") and is stated twelve times: Example 6. Measures 19-20 o:f;;ttt: '- -e-'--""'" 0" t"'G • - - - - - ... - - Each Midnight chord lasts for two measures and continues from measure 19 until measure 42. Because it is consistently - 23 - present it will not be mentioned further. Motive C is repeated in measures 21-22, followed by a mo~ified version in measure 22 which is exclusively whole-tone. Anoth~r statement of C follows in which the tail of C is dropped and the pentultimate pitch is rhythmically shortened. This prepares for measure 24 where it too is dropped. In measure 24 a succession of the first six pitches of C is transposed so that it is based on the augmented triad of Motive A2. The only pitches of all twelve not present in measure 24 are db .c -.J..-a, a transposition of Motive A2. Measures 25-31 are a group based on motivic material derived from Motive C. The first six pitches of Motive C are stated first, immediately followed by the variant of c, here labeled cl: Example 7. Measure 25 w J.m·Jd,~- '---------' \ I c cl This is repeated down a P4 in measure 25 and down another P4 in measure 26. - 24 - In measures 27 and 28 c 1 lS joined by another i cl which in itself contains Motive Bl: i Example 8. Measure 28 This is repeated in measure 29 up a M2 and again in measure 30 up two successive m2 with increasingly smaller rhythmic values. The complexity lncreases in measure 31 where c 1 appears in the left hand with cl, Bl and an inversion of B simultaneously in the right hand. The right hand breaks the pattern and cadenzas briefly to terminate in chords in measure 32 whose pitch content is that of A and B (unor- dered): Example 9. Measure 32 I I I I 1 ~-1-- I I IL .J ... I I I ... I I ,r_ 1 - I • I I I -\. il • I -~·· ' P• p. A + B = - - .<lloc - --- ... _ I --~...-, - 27 - middle section at measures 24 and 30 and both are fol­ lowed by an "a tempo." The use of three staves in the middle ~ection is necessitated by the Midnight chord and as soon as the twe)/th stroke dies, the third stave is dropped. The first movement of Clairs de Lune presents the three motives which recur through all four movements. This movement, like the other three, is in ternary form with a shortened return of the initial section at the end. The texture in this movement is predominantly linear with emphasis on motivic material. Any chordal success1ons that result are the product of.simultaneous ordered melodic motives. The only exception to this observation is in measures 32-37 in which the chords are composed of the unordered pitch content of Motives A and B. Because the first and final sections of the move­ ment have· similar motivic and rhythmic content they have similar texture. The middle section, based on a contrast­ ing motive, has other contrasting features as well. In the middle section the smallest subdivision of the beat is the thirty-second-note whereas in the first and final sections the eighth-note is the smallest subdivision. Both the highest and lowest registers in the movement are in the ( - 28 - middle section. And the Midnight chord occurs only in the middle section. i The piece, while lacking cadential or functional root movement, sti~l has a feeling of tonality centering around C. After the initial four measures in which Motives ~ and B are presented, th'e octaves c' '-c' 1 ', c' -c' ' and c-c' recur as the beginning of Motive ~· The scalar form used in the first eighteen bars is whole-tone with the addition of the leading tone b. The cadence leading into the middle section resolves on the octave-tritone simul- taneity CC-FF#-C (the Midnight chord). Within the middle section Motive C begins on c in measures 19, 21, 23, 37 and 38. Motive ~l begins on c in measures 25, 26, 28 and 29, and Motive A begins on c in measure 40. The chord c-e-g#(ab) which comprises Motive A1 is the basis for transpositions of Motive C in measures 24, 39, and 41-43. Finally, as noted above, the chordal group at measures 32-37 exhibits a linear progression in the top voice from c'' to ffl' and skips to c'. 4 Despite the 2 time signature in measure 1 the pauses over each note in the first four bars prevent any metric coherence. Instead the first real metric downbeat occurs at measure 5 with the prominent octaves. Throughout this movement the sporadic use of pauses over notes and - 29 - rests disorients the metric pulse. Clairs ~e Lune No. 2 t "La Ruelle" [The Alley] was completed by Decaux in March of 1902. The pi~ch material is substantially similar to that of the first movement in that much of it is derived from the first movement. The opening chords of this movement are composed of Motives A and A1 : Example 10. Measures 1, 2 A These chords are alternated, one per measure, ln the first seven measures over a low bass moving in M2. This nhrase is exclusively whole tone on c (without the leading tone b used in the first section of the £irst movement. A new melody appears in measures 8-11 derived from Motive ~·(Example 11). This melody is used only in this movement and only in the first and final sections of the three-part form. For the purpose of identification it has been labeled Melody R and the accompanying chords used { - 32 - middle section of movement one. ·The transition is characterized by smaller rhythmi~ values, a rising bass that moves chromatically from A to f and caqences in the middle section on the Midnight chord (just as the transition to the middle section of the first movement cadenced), and a texture similar to Melody R on which the transition is based. Phrases in the first section are marked by long pauses on the final sonority of each phrase with a pause over the rest separating one phrase from another. The transition is set apart from the first and middle sections by double bars before measure 20 and after measure 25. The transition begins with identical pitch con­ tent as that of Helody R and accompaniment, but as Melody R becomes fragmented and the transition moves to the middle section the pitch content becomes more varied and less like Melody R. During both whole-tone chordal phrases in the first section both pedals are indicated. No pedal is indi­ cated for Melody R in measures 8-11 or in the transition. When the Midnight chord appears in measure 24 as an antici­ pation of the middle section, pedaling is once again indi­ cated as it will be in the middle section. The middle section of the movement, measures 26-32, is divided into two strata--one in the bass and one in the I - 33 - treble. The motivic material in the upper stratum con­ sists of Motives A1 and C. The underlying bass, based on the Midnight ' chord, moves in parallel motion up the Hhole- tone scale. At measure I 28 a new figure based on Rl appears. It lS labeled R2 as another derivation of Melody R: Example 14. Measure 28 'I'lL - - - - - - - - - - - - - - - - - - - - - ! ,)j ~£ ~, i \----..JI \'"" _____ _.t The extension of R2 at the end of measure 28 is similar to the extension of Motive C in measure 20 and throughout the middle section: Example 15. Measure 20 ~mJra.:fr extenslon c The combination of Motives ~1 , £ and its exten­ sion, and R2 continues in the upper stratum until measure 30 as the bass gradually rises two octaves and a third. The tempo accelerates and fewer rests are used. The rhythm ( - 34 - ln the lower stratum accelerates from m to ... ~. J:::J. J'1. and finally to ... ff:\ J"jj ffl in measure 29. Hotive C is dropped .after measure 29 and only R2 continues, especially ft the prominent m2 i~ R2 : Example 16. Measure 30 @tJ..r:J blO ?:wJ;j,T[J 1 b;L from R2 This section is marked accelerando throughout with pedaling every measure until measure 31 when the two strata merge into one composed of the whole-tone chords and the tail of Motive £, with pedaling indicated every eighth-note: Example 17. Measure 31 ... c Hidnight The bass rises from C in measure 26 to f#' in measure 31 and falls ty thirds from measure 31-32, while the treble falls by m2. Two long pauses and a double bar separate { - 37 - Example 19. Measures 1-4 ' t D over the bar line at measure 4 is followed by a harmoni- zation of the first, second and fourth pitches of ~ in measures 5-8 (the third pitch is a repetition of the first). D continues in measures 8-9 in the style of the beginning four measures, without the initial four pitches, three of these having been stated in measures 5-8 (the harmonization). This statement in measures 8-9 is agaln accompanied by Motive A1 • Motive Q, stated again in measures 10-12, is first accompanied by Motive B in the tenor voice and then by ~l in the bass. A pause over the bar line at measure 12 is then followed by a return of the chords from measures 6-7 in measures 13-14. A new figure derived from Q in measure 10 appears in measure 15 succeeded by the chord from measures 7 and 14 in measure 16. In both editions the omission of a sharp before the g in measure 15 is apparently only a misprint. The new figure reappears in measure 17 and continues into a ( - 38 - statement of D which is again accompanied by ~1 • · Heasures 19-22 present Q much the same as it was previou\lY stated in measures 10-12. It is accompanied by B in the tenor voice and Al in the bass. A pause over - t double bar lines at measure 22 begins the transition. Like the first section of movement two, the first section of this third movement alternates between the melodic and contrapuntal texture of statements of Motive D and the chordal phrases at measures 5-8, 13-14, and 16. With each successive chordal phrase one measure is dropped so that at measure 16 only the last of the three chords from measures 5-8 is stated. In the transition, measures 23-31, Motive D is harmonized by successive Mm7 chords as it was in measures 5-B, 13-14, and 16. The accompaniment throughout the middle section will be based on this chordal section. These measures therefore serve as an effective bridge between the first and middle sections. The middle section in measures 32-60 is similar to the middle section of the second movement in that it is divided into two strata. The bottom two of three staves is the lower stratum and presents, in measure 32, three Mm7 chords from the transition. An ostinato built on these chords will continue through the middle section as the lower • - 39 - stratum. Above this ostinato appears the upper stratum ' which states a chant-like melody, Melody S, in triple octaves =5 t Example 20. Measures 33-40 I As Melody S ends in measure 40 a completely new theme appears in the middle of the ostinato, labeled Melody T: Example 21. Measures 40-42 T It does not seem to be derived from Melody S. T ends as Senters in measure 42. S rises from g#'' to c#''' with an accompanying alteration--almost a modulation--in the ostinato and an increase in dynamic level. S is repeated { - 42 - Unlike the register contrasts in the first two movements, the register in this movement displays a more gradual ~evelopment. In the first section the upper regis- ter drops from d'''t (measure 1) to f' (measure 22) via a'' (measure 10) and a' (measure 19). The transition begins where the first section ended, namely at f' (measure 23). This falls to db' in measure 30. The succession of f' to db' continues in the lower stratum of the middle section until measure 45 where db' becomes C nt t ~ . From measure 45 the upper register falls from c#'' by whole steps to e'. The highest pitch in the movement is e'''' at measure 48 supported by the loudest dynamic level in the movement. The lowest pitch is ccb used throughout as the root to a cb7 chord in the lower stratum. There is no discernible tonic in this movement. In addition to the ambiguity of the whole-tone scale, no one pitch or chord is reinforced as tonic by either repe- tition or cadential/functional root movement. This lS especially evident in the transition where, even though the Db7 from measure 23 is repeated, the root movement lS by whole steps in parallel motion. The lower stratum in the middle section also moves in parallel motion--Db? to B7 to A7 (only a tritone relationship to support Db as tonic) in measure 35 and G7 to F7 to A7 in measure 45. As noted above, the lower stratum falls by whole steps from measure { - lt 3 - 51 to 60, still without functional or cadential root move­ ment. ~ Because of the slow tempo ( "Tres lent") , pauses on ends of phrases pnd over bar lines, rhythmic displace­ ment of Melody S in the middle section, and lack of func­ tional root movement, there are no small groupings of metrically strong downbeats. As in the first movement, the use of pauses over notes, rests, and bar lines disorients the metric pulse. Clairs de Lune No. 4 "La Mer" [The Sea] was completed in December of 1903 and is available from the publisher separately from the other three movements of Clairs de Lune. The pitch content of the opening six bars is derived from Motive £, successive ordered pitches added during each measure: Example 22. Measures 1-6 - 44 - In both editions the omission of a flat before the low AA in measure 2 is apparently only a misprint. it Hotive (21 appears in measures 4, 6 and 7. For reasons of balance 1these melodic figures are marked "pp," one dynamic level louder than the accompaniment based on Motive C. A double bar marked "separer" distinguishes the first phrase of measures 1-7 from the following phrase at measures 8-14. The pitch content of measures 8-14 is again derived from the ordered pitches of Motive £, now beginning on c as it did originally in the first movement: Example 23. Measures 8-10 The addition of pitches stops after measure 10. Motive A1 appears in measure 9. The complete Motive A is stated in measures 11-12 along with the octave skip from Motive B. This is repeated in measures 13-14. As in measures 1-7 the melodic figures in measures 8-14 are marked one dynamic level higher than the accom­ paniment. There is a general increase in loudness through- ( - 4 7 - is introduced in measures 23-25 and repeated in measures 27-29: Example 26. Measures 23-25 I The climax of the movement is reached in measure 27, marked "fff" with a crescendo leading into measure 28. From measure 29 to the end of the middle section at measure 31 the sixty-fourth-note arpeggios continue with descending octaves in the upper register. The first section returns at measure 32. As in the beginning this section starts with pitch content derived from the ordered pitches of Motive C. Only the first four, however, are used initially in measure 32 and the fourth is dropped in the middle of that measure, leaving only bb, c and f to complete the section and move­ ment. The figure from measure 4, derived from Motive ~1, returns in measure 33. It is first stated melodically in the first half of the measure and harmonically in the second - 48 - half: { Example 27. Measure 33 A variant of this figure 1s presented in measure 34: Example 28. Measure 34 From the "ff" in measure 32 the dynamics decrescendo through a "f" in measure 32, "p" 1n measure 33 and finally a "pp" in measure 34. The two figures from measures 33 and 34 are repeated in measures 35-the end in measure 38 as the melodic material (Example 29). A diminution of rhythmic values in 5 4 3 the accompaniment from ... ~ to .. FJ=Y; to .. r:\,l and finally to .. ~ is supported by a diminuendo in dynamic level from measure 36 to the end. "La Mer" appears superficially to be quite dif- ferent from the preceding three movements. This is because { - 49 - Example 29. Measure 36 .~ t W· 1 ·f \ ( I \ I fpom m. 34 from m. 3 3 the texture and rhythm seem to be more intricate. However, the basic structural aspects of this movement are related to the previous three. As in the first three movements, the middle sec- tion is marked by the introduction of new melodic material and contrasting rhythm. As in the second and third move- ments the close of the middle section includes a descending line. Like the other three this movement is in ternary form. The outer sections, based on similar motivic mate- rial, have similar textures. In both, pitches are derived from melodic motives but the rhythm, duration and contour are so altered as to shift the emphasis from chordal or melodic to intervallic. The middle section contrasts by its chordal patterns of rhythmically broken arpeggios and smaller rhythmic values. This movement centers around a tonality based on bb. This is established by the repetition of the octave ( Decaux presumably knew of Franck's technique and was well-acquainted with d'Indy's compositions since he was the~irector of the Schola Cantorum while Decaux was teaching there. T1}~ Second Symphony was published and performed during the time Decaux was composing Clairs de Lune. It is inconceivable that Decaux knew nothing of this tradition as it was an important school of thought ln France during the years Decaux was in school and composing (1891-1911). Decaux's use of the whole-tone scale musT be compared to that of his contemporary, Claude Debussy. In Voiles (Preludes, Book I) Debussy uses two scalar forms as the resources for both chords and linear progresslons. The first and last sections of Voiles center on the whole-tone scale on c with the middle section based on ab pentatonic. Debussy's "tonic" in the whole-tone sections is an aug­ mented triad based on c: Example 30. Debussy, Voiles I - S3 - Decaux uses this same chord 1n Motive A2 1n the first move- ment of Clairs de Lune: Example 31. "Minuit passe," measures 1-2 \ , Motive A 2 becomes the basis of melodic material later in the movement, particularly in measures 24, 37 and 40-43. A transposition of this motive to bb-d-f# is also used in the first movement ln measures 7-8, 10, 12-13, 19 and simi- larly to the end, and in the second movement in measures 8-11 and 20-21. Decaux does not use the pentatonic scale. Like Debussy, Decaux derives movement and tension from the contrast of tonal centers with correspondingly different melodic motivic material. Decaux's use of the whole-tone scale in whole- tone sections is also similar to the whole-tone section in Debussy's La Chevelure (from the Chansons de Bilitis 1897). Debussy uses the whole-tone section in measures 8-11 in La Chevelure to further delay the arrival of tonic which is Gb. The first section of the second movement of Clairs de Lune uses whcle-tone chordal phrases alternating with ' c: ', - J4 - Melody R which is not whole-tone. The first section and its return at measures 40-48 serve as a kind of frame around the middle section, balanced by the absence of any real i tonic, the slower rhythm, sparse textures and long silences in both contrasting with the middle section of the movement. In both Decaux ~nd Debussy the descending bass, lack of cadential movement and chromatic melody reinforce the absence of tonal movement. In La Chevelure the tritone gb-c is prominent in the v7 on which measures 8-11 is based. In the second movement of Clairs de Lune the tritone is merely incidental to the whole-tone movement in the bass at measures 12-19 and 40-48. The descending bass in measure 7 of La Chevelure leads into the whole-tone section. In the last three movements of Clairs de Lune a descending bass in the close of the middle section signals the arrival of the return of the first section to close the movement. The general technique of thematic derivation, germination and quotation is common to the majority of Western music. Specifically, the conviction that any motive stated melodically can become a vertical sonority and vice versa, as in the first four measures of movements one and two of Clairs de Lune, 1s a fundamental characteristic of serial and whole-tone music. The technique of deriving chords and melodic patterns from operations on a single { - 57 - quillity, the persistence of the sequential ostinato bass in the middle sections of the first three movements and the continu~ metric displacement by the use of fermata over both notes and restp, to represent the prevailing emotion in Clairs de Lune of moonlight's affect on the time of mid­ night, an alley, a cemetery, and the sea. { CHAPTER III ~ DECAUX'S OTHER COMPOSITIONS La lune blanche La lune blanche for voice and piano lS the earliest knoJ,, composition by Abel Decaux. It was completed in September of 1899 and published in 1913 by Editions Maurice Senart et Cie as part of "La Musique Contemporaine," a series of ''selected vocal and instrumental pieces among the best masters."33 The text for La lune blanche is taken from Paul Verlaine's (1844-1896) cycle of twenty-one poems enti t .,c:d La Bonne Chanson. "La lune blanche" is sixth in the cycle. The poetry reads: La lune blanche Luit dans les bois; De chaque branche Part une voix Sous la ramee .... " . . ~ 0 b~en-alrnee. , ' L'etan8 reflete, Profond rniroir, La silhouette Du saule noir Ou le vent pleure ..• The white moon shines in the woods; from every branch goes forth a voice under the leaves •... 0 my beloved. The pond reflects, deep mirror, the silhouette of the black willow in which the wind weeps ... 33La lune blanche is out of print and no longer available from Editlons Senart or its successor, Editions Salabert. - 58 - { - 59 - ,.... Revons, c'est l'heure. Un vaste et tendre Apaisement Semble descendre ' Du rirmament Que l'astre irise ••. C'est l'heure exquise. Let us dream, it is the hour. A great and tender peace seems to descend from the heavens irised by the star ••• It is the enchanted hour.34 Other settings of this poem for voice and plano are La bonne . " chanson, op. 61, no. 3 by Gabrlel Faure, composed 1891-1892, and "L'heure exquise," the fifth of Reynaldo Hahn's Chansons grises, composed 1892. Each of the three stanzas lS set separately. The design is ABCA, the final A being a modified return of the opening bars. A reduction of the score and analysis follows on page 50. 35 34Phillip L. Miller, The Ring of Words (Garden City, New York: Doubleday & Co., Inc., 1963), p. 136. 35 A copy of the analyzed score of La lune blanche is included in Appendix B. --------------~, - 6 2 - Example 32 Cont. ( 4 8 1° .Tempo 0 \ .u. ~ \...6 - -t-e-:.~=lEt*·~-, -B-.: I' 1-,. """ A A~ I I .'!"' !UD - no • .... , 'II. ~ -t-o L .., - \ ' - l~ v (,) Return PO ral P.entan ~0 ~ ~ ""'\•-H::.~ .1. A·-· -~,~-::__ r-• C'A .,... ' ~ ±E-· - .... I ..l ... -I _!. + ~----- t ~ t r Fr 6 V, ~---r--~ vo+5 v9 _____________ _ l~ ii 3/V - 63 - ( Double bars at measures 8, 21, 32 and 47 mark the changes in musical texture and delineate musical sections. The sta~as, however, do not coincide with these sections. The vocal part continues through the double bar after measure 8 and into measure 9. This occurs again at measures 21-22 where the second stanza begins on the final measure of the A section. The last line of the second stanza overlaps into the new musical texture of stanza three and the C sec- tion at measures 31~32. The final line of the poem repeats the beginning overlap (from measures 8-9) at measures 51-52. The only tonic chord is used in measure 16. Each of the sections ends on the subdominant. The first at mea- sure 21 is major. The others at measures 30 and 45 are minor. At measure 34 the vocal line from measures 12-15 appears in augmentation in the middle range of the accompani- ment. This continues until measure 40. One line of the text lS repeated. At measures 35 and 36 "Un tendre apaisement," ls followed by "Un vaste et tendre apaisement" in measures 37-39. Decaux's setting of La lune blanche is similar to ; Gabriel Faure's "La lune blanchelf and Reynaldo Hahn's "L'heure exquise.'' In all three versions of the song each stanza is set separately. In each a melodic/rhythmic pattern recurs in - 64 - the accompaniment. A two-measure group of constant eighth- { 6 notes in 8 meter is the pattern in Hahn's setting. In Faure's ~he pattern is of constant eighth-note arpeggios in 9 each measure of 8 meter. Decaux uses thirty-second-note 6 • arpeggios ln 8 meter. Decaux's is the only setting in which the accompaniment is varied and elaborated, as in the final stanza beginning in measure 33. Decaux's setting lS also the only one to have a return of the first section to close the piece. Hahn's accompaniment never departs from its pattern, so a return is unnecessary, and Faure's piece 3 9 closes with a section in 4 meter rather than the 8 meter of the beginning. Decaux's setting of La lune blanche compares very favorably with both Faur~'s and Hahn's setting of the same poem. Because its style is so similar, however, it is of less historical interest than Decaux's Clairs de Lune. ( - 67 - The resulting ffi and cadence on e in the answer at the fifth would not allow the third statement of the subject to enteri.in the tonic Dorian. Moreover, no accidentals are used in the pie?e until the final cadence, thus keeping strictly to the Dorian mode. One countersubject is used, but in two versions. The first version accompanies the answer: Example 37. Measures 6-11, CS I 41 --~~.bJlJl=l J J J J J J1 $ J J fj-f1p:~~~ -1 J iJ J J Jl E A second version of the countersubject accompanies the subject. It begins tonally and imitates CS I at tte fifth above: Example 38. Measures 11-17, CS II The CS II is used tvJice. For the other statements of the countersubject which accompany the answer, CS I is used. ( - 65 - An extra or "redundant" entry of the answer in measure 23 closes the exposition. This answer in the soprano is supp~rted by CS I in the bass. The countersubject should have followed the last answer in the bass at measures 16-21 but was delayed two bars to coincide with the extra entry of the answer. Both the subject and countersubject are used as material for sequential episodes in the exposition. The entire exposition is to be played on the Great organ. The middle section begins in measure 28 on the R~cit organ with a contrasting registration. CS II appears in the alto with the subject in the soprano at measures 28- 33. The episode, based on the countersubject, begins in measure 33. A change back to the Great organ is indicated as each voice enters the sequential episode. The closing section begins in measure 41 with a stretto passage in Hhich the subject, transposed to begin on f', and the answer, in its original form in the bass, are overlapped. Both are stated in augmentation, one pitch per measure, and only the first five notes of each are used. A short sequential episode follows in measures 46-51 based on the subject~ The final cadence consists of the answer to the subject on f' (from measures 41-45) in the soprano with a rising bass leading to a maJor tonic chord. This closing ( - 69 - section is to be played on the Recit organ beginning on a more quiet registration and making a crescendo in the final f~e bars. Tonic in .t~e Fuguette is Dorian on d with the complementary mlnor dominant. Because of the absence of the leading tone, tonic lacks the clarifying movement of scale steps 7 to 8 and the frequency of tonic-dominant and dominant-tonic movement is lessened. Cadences are predomi­ nantly stepwise--VII to I, and II-III. In the middle sec­ tion, which centers around the mediant, cadences are VII-III. The exposition does not end on a tonic chord but on a major subdominant. This is similar to Fugues 6 and 8 ln the Well-Tempered Clavier of J. S. Bach. All three of these fugues have an extra entry of the subject in the domi­ nant which extends the exposition, but in the WTC the expo­ sition ends on the dominant. The middle section of the Fuguette centers around the mediant, as if to modulate to the relative major of d minor. But, as noted above, no accidentals are used to make the mediant major although the presence of the leading tone in the cadence VII-III distinguishes this section. Root movement is predominantly stepwise. This contributes to the absence of a strong tonal center in addi­ tion to the lack of leading tone, stepwise cadences, and lack of tonic-dominant movement. / . { APPENDIX A VIE D'ABEL DECAUX by ·Gisele Philips Abel Decaux d'origine normande, natif du pays-de­ Caux, naquit a Auffay (Seine-Inf~rieure) en fevrier I869. Il passa son enfance au village d'Aumale ou son pere exer~ait la double profession d'instituteur et de secr~taire de mairie. Entour~ d'une famille qui pratiquait quelque peu la musique en ses loisirs (son pere jouait de l'orgue a l'~glise et dirigeait l'harmonie municipale) le jeune Decaux n'avait qu'un. seul desir: ~tre marin en devenant capitaine au long-cours. . . ' . ;.. Il occupa1t ses d1manches a constru1re de nombreux bateaux miniatures, les imaginant sans doute en route vers quelque pays lointain. ' ' ~ Mais son pere s'opposa a ce reve d'enfant et c'est "par d~pit," qu'il se lans-a dans la musique (selon l'expression d'une personne de sa famille). Il gardera cependant jusqu'~ sa mort cette nostalgie de la mer; il ne l'a pas oubliee dans ses "clairs de lune." Il en parlait toujours avec une emotion contenue qu'il avait peine ~ dissimuler. Ce n'est d'ailleurs pas la premiere fois qu'un marin de fait ou de coeur devienne musicien tels Rimsky- Korsakov et Albert Roussel. Debussy lui aussi, aurait voulu - 72 - ( - 73 - 'etre marln et sa muslque ne cesse d'evoquer l'eau et "la mer." La musique et lamer ne sont-elles pas toutes deux le reflet des passions et en meme temps un symbole de liberte. "Homme libre, toujours tu cheriras la mer" et "La Husique couvent me prend comme une mer" disait Baudelaire. , . Neptune ne represente t-ll pas ce monde de l'inconscient, indispensable au g~nie musical et peut-~tre au genie tout court. Le jeune Decaux quitta done sa Normandie dont il se plaisait plus tard ~ en rappeler le souvenir emerveille, car c'~tait le pays de son enfance, pour devenir au conser- vatoire National de Musique, l'eleve studieux et attentif de professeurs tels que Dubois, Lenepvue, Massenet, Widor et Lavignac, dans les etudes d'harmonie, de contrepoint, de fugue, de composition et d'orgue. ~ Nous avons retrouve le texte provenant de l'~ducation Nationale, et datent de I893, ~ , # adresse au prefet de la Seine-1nferieure, qui accordait une bourse d'un an au jeune Decaux afin de lui permettre la con­ tinuation de ses etudes. Mais c'est ~ la Schola Cantorum qu'il prit son essor. " .. D'abord eleve, a la classe d'orgue de Guilmant il y devient professeur en 1897. En 1902 Decaux " espousa Jeanne Lescarcelle en la mairie du 4e arrondissement. . , En 1903 ll se presenta au concours pour la nomination au ( - 71~ - grand orgue du Sacre-Coeur dont le Jury etait compose de Widor, Vierne et Guilmant et y fut re_pu ~ l'unanimit~. Les "clairs de lune" pour piano datent de cette p~riode ,. heureuse: le N°I: "Minuit passe" ecrit en 1900, le N°2 "La Ruelle" en 1902, le N°4 "La Mer" I903, le N°3 "Le Cimitiere" 1907. ~ , ' Ils furent executes une premiere fois . ' . en 1909 et une deuxleme fols en I9I4, par le pianiste Motte-Lacroix d'abord, puis par Riccardo Vines-Roda. En 1904 naquit sa fille Marguerite, le seul enfant de Decaux, qui, plus tard epousera en I930, Monsieur Pavie, un ~leve ... ' de son pere a la classe d'orgue. . . , Durant la guerre de I4-I8 Decaux fut moblllse dans l'armes auxiliaire. Il garda ce double poste de pro- "' fesseur et d'organiste, Jusqu'en 1923, date de son depart avec sa famille pour Rochester sur le lac Ontario aux U.S.A. I ' ' pour succeder a Joseph Bonnet comme professeur d'orgue a l'ecole Eastman. Nous avons retrouv~ des lettres de Widor, , Vierne et Dupre qui le felicitaient de son nouveau paste. (Decaux avait invit~ Vierne ~Rochester). ' Ici comme a Paris il forma de nombreux ~leves et se fit de nombreaux amis y compris au Canada fran~ais ou il ~tait re~u. "' Malgre ,.. ... , . . , le "trac" du a une intense emotlvlte et devant l'insistance de ses amls, il accepta de donner deux r~citals, l'un a d Ferdinand !f!OTT E LACROIX :l CLAIR DE LONE Nu 1 Abel DECAUX Piano, .... piano, .... pianissimo, .... Blanche, la lune glisse silencieuse dans l'espacl' .... Chemin Pes, mansardes, pig nons, faites; silhouettes tenebreuses sur champ d'azur sombre .... Immobiles fantomes .... Carcasse etique de chat miaulant. .. . Profil grima~ant de monstrueuse gargouille gothique .... Vol hesitant de chauve-souris .... Clarte blafarde au ciPl .... . Ombre IJ1ysterieuse sur terre .... 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I~ - -- (';'\ -~~ -· • iJ q~ -- ~~;9 f-- t ', pp I > ' I ,>-- ~;-r,l ~...J"\ I .•. lZ~•F-=#~: ·~~ ( ~ "i ,~ ... ~ -'~\~--------~P:J--~, ----~' .f\ Cop•tri:.:ht by S Clwpclicr· 1.'1/.? L. PHILIPPO, Editeur, 24, Be! Poissonniere, Paris. '---' ?n- ~~ ppp ' ' .. ' ~ . .;?: 2 ful. '-/ ~~-eft h~~# \, : Tr'l ·-h O..r'6c tc 1)(\ on I ~ P.610 tJ : ppp r}.;.. ... .. " t:D. * * b~~ t.!i} !-R- .)-.. ~ -- 0 -- ·n;--..+- --=· tJ~ r,·u- Taus droit~ d' e:nC'u~vB ,de re}'1"oductJon rt d' a.rr~meut ~.,.rv~!'; pour \.ou~ }lA.\''", ~ c"roJlrl!'> l& Sut!'tle. la Xorwf'«"t- ct lf" D••u·m:u 1.: --- --------- 13 CLAIR DE LUNE N°4 LA MER Abel DECAlTX Tres large PIANO Tres flou f}' (PPP Iys 2 pedales les notes en blanches bien en dehol's, ct(PP) ., Cop_y>•i;.:ht b.'l S. r hapcl1•·.,.1913 L. PHILIPPO, Edi.teur, 24, B<! Poissonniere, Paris. P.611 • • --.- r - r • • r T i ! ~ ~r_r ... ! ~-- ~ 'f£0. Tous drl.lits d'extcutiC<n,dr- rerroductio'D ~t d'a.rra.u~ement r~strvts pour tou- ~~.t:;.·:~,y corupn.5 la. Suf..dt', l·J. NuJwe'.!.'! et lf' D.l.r.t'rr.ark 5 ae — = SS TSE - 3 a a = ee — ' penne nS 6 gr ae feo te © © rey 72 I= comme une Kelaircie —- > lee flee pe ene ge nee es he 7s SS SF se tel? Bs. tay el ts eet <i _—)y F: =e f F- Eo = TE f : = L — = = se aS Se ES” ee BD. & enh ‘fi pf —. CUR 7 EB SS Se a ae ee -oe=— SSS ee L NS J No Se (ania ti bee RY er re ? ve. 4 les notes en blanches P) _ ae ee = A ED EA OO a ts fJ 5 " .') 5 -~ 5 5 ,, ~- l 11 ---t -+--f~ ........-- --r-- ~ [\;:/ - - J r--l ·-#-f- :; . • ~ . • -• • • I I • .. • • • • • - _ __f_ -t 'j ~- - ~u r T ~- r I r - f~ r - f . " - -#---+ - • -- =r -r- , I ~ I I i ~ Cl•~ ~ .'l P.611