Debussy: Sonata for Cello and Piano Essay

The 19th century saw the rise and growth of art and culture all around Europe. Paris particularly towards the end of the century carved a name for itself by being the epicenter of culture, arts, and fashion, a title it still holds to date. During that time, arts together with other traditions grew and flourished in France. These significant developments would impact and have a huge influence on modern art. Claude Debussy (1862-1918), a leading French impressionist composer is one particular example whose pieces have had a significant impact on Western classical music. His 1915 piece, Sonata for Cello and Piano written during Debussy's struggles with cancer which he ultimately lost the battle during World War I is one of the pieces that is still revered today. Despite the challenges he faced with his health, he was able to complete these among other pieces which today form part of the standard repertoire. This paper is aimed at looking at Claude Debussy's contribution to modern Western classical music with a focus on Sonata for Cello and Piano.

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The Cello Sonata is consisted of three movements; Prologue, Serenade, and Finale, all who are in D minor. When compared to other instrumental sonatas, Cello Sonata is brief lasting approximately thirteen minutes, a demonstration of Debussy's conciseness. Romantic style melodies coupled with contrasting fragmentations represent how Debussy's musical ideas flow throughout the piece. Mosaic technique describes how particular distinct themes follow each other with disparate ideas interconnected in a sequence. This means that the music goes back and forth in between the themes in a move that evokes the listener to sit on the edge because of how the music captures and captivates the audience. Largement declame is a perfect example where both the piano and cello crescendo jointly at the climax of the theme and end up settling the fragmental idea rather than resolving the previous one. Before this section, the cello is fast and vigorous increasing in intensity and dynamics (molto crescendo). In a manner to express unfulfilled expectations with each turn, this quality adds to the overall austerity of the piece. It evokes intense and mixed emotions with the constant shifts of ideas that are against the sweeping melodies. The emotions are not only intense, but they also have an astounding amount of vividness.

The prologue contains Lent, Sostenuto E Molto Risoluto. These are presented in long lines played in a lyrical rubato style. The melody in measures eight and nine has some heartfelt and longing emotional attributes that also add to the dramatics of the piece. The second movement, Serenade, follows the ideas of continuous themes that are present in the first movement.

Serenade contains Moderement Anime which is expressed in a faster, more rapid staccato style in the cello line. These consist of frequent alteration of notes. Because of the alternating entrances between the cello and the piano, the first measures of the Serenade are somewhat of a 'conversation.' Dialogue is also present in the final few measures (5 after rehearsal six towards the end), where there is a prominence in the interaction between the cello and the piano. Notably, the piano answers the cello in a higher register that can be seen as communication between the two instruments. After this section, the second and third movements are played as attacca (without pause) opening with intense pizzicato (arrache) dissolving into string motions.

The piece is largely homophonic, and although the cello is the leading voice, there are many parts in the music where both the cello and the piano have equal harmonic significance and technical difficulty. This is evident around four measure after rehearsal 4 and at Presque Lent. The piano is tasked with following the mood that the cello sets and in the instance where the cello is more rapid and has intricate lines, the piano also steps up and supports it by including faster chords and scales (evidenced in measures 21 to 29 in the second movement).

The Finale marks the end of the piece, and it contains Anime, Leger et Nerveux. These begin with a rather joyous theme as is present in the first 7 minutes. Pizzicato and mezzo-staccato notes mark the Finale emphasizing on lighter playing and giving motion to the melody. The movement with most energy is the Finale although it later settles into a melancholy mood similar to that created previously I measure 7 through to 14. After that, however, there is a more upbeat feel especially in the 16th notes played beneath the piano. The movement has 123 measures and is relatively longer when compared with the other two movements. However, even though the last moment holds the most number of notes, it is also the shortest as it is played faster with a higher tempo.

After ending the third movement, Debussy recalls the opening cello theme that is transitioned by short motives from the cello and the piano that are also present in the first movement. He labels the movement 'Leger et Nerveux,' meaning that it should be played 'light and nervously.' The sudden change of rhythm and the staccatos amplify the movement as is evidenced in measure 7. Here, the light and short 16th ascending notes are immediately followed by a slow and slurred passage that has quarter and halftones. The constant is quite visible and obvious as it is 'expressive and sustained' or "expressif et soutenu.'

Conclusion

In conclusion, Debussy's works received both praise and criticism. Unlike other composers of his time, he was rather different as he put in innovative ideas into his works that made people view Western classical music in a different light as it did not sound like traditional Western music. The Sonata for Cello and Piano particularly put him up there in the limelight as it was a piece of art that stood the test of time. The sonata, as well as other innovative works, still influence classical music not just in the West but all over the world achieving unfound musical success and influencing how composers write classical pieces.