C. Debussy의 「Sonata for Cello and Piano in d minor」 연구

Abstract

Claude Debussy (1862-1918), best known as the pioneer of French impressionist music, focused on reviving the 17th and 18th century French style composition in order to show patriotism against Germany when World War I broke out. With this intention, Debussy planned on composing a series of six sonatas for various instrumental combinations, however, only three of the six sonatas were completed due to his death from colon cancer. In this thesis, the first of Debussy’s projected sonatas was examined and is summarized as below. The sonata for cello and piano consists of three movements each containing a title, Prologue, Sérénade, and Final respectively. With the successive performance of the final two movements joined by an attacca and a cyclic process that pervades each movement, a sense of fluidity throughout the work as a whole is created. The characteristics of Debussy’s compositional styles are apparent throughout the sonata. While centering on the suggested key signature and its tonality, Debussy evoked the sense of tonal ambiguity by the use of whole-tone scales, pentatonic scales, modes, and chromatic scales. In addition, departures from traditional harmonic functions are revealed by the use of parallel chord progression that was previously avoided, and the use of the 7th, 9th, and 11th chords. As a result, these create an unequalled level for timbre and harmonic color. However, the examples of leading-tone resolutions and dominant-tonic triad harmonic progressions indicate that Debussy did not completely abandon traditional practices of tonal harmony. In regards to rhythmic patterns, Debussy incorporated ties, syncopations, triplets, and ostinatos so as to give an impression of erased bar lines and elusive time signatures. A wide variety of instrumental effects are employed to create specific sounds. These include many types of extended cello techniques in sur la touche, portando, sur le chevalet, and flautando. There are also technically demanding articulations, sudden dynamic fluctuations and frequently changing expressions in the piano accompaniment to achieve the kind of atmosphere Debussy had intended. The sonata for cello and piano demonstrates Debussy’s high esteem in classical sonata forms, yet also reveals Debussy’s innovation and affirmation of French culture influenced by the music of Rameau and Couperin under the duress of his impending death. This brief work is now regarded as a staple of the chamber music repertoire and one of the finest masterpieces of the 20th century.