{"id":7998,"date":"2021-06-25T10:45:56","date_gmt":"2021-06-25T14:45:56","guid":{"rendered":"https:\/\/esm4.esm.rochester.edu\/sibley\/?page_id=7998"},"modified":"2024-03-20T13:56:07","modified_gmt":"2024-03-20T17:56:07","slug":"la-mer7","status":"publish","type":"page","link":"https:\/\/esm4.esm.rochester.edu\/sibley\/la-mer7\/","title":{"rendered":"Claude Debussy, La Mer<\/i>"},"content":{"rendered":"

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On page 20, the manuscript\u2019s penultimate page, Debussy exercises two instances of outright excision, two full measures marked out in ink in the third score. Further, he has again employed his customary notation conventions signifying repetition: brackets, in the fifth score; and symbols resembling large percentage signs, in the first, fourth, and fifth scores.<\/p>\n

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The bars that make up the entirety of the third score account for twelve bars that appear in the published score from the 5th<\/sup> bar after the key change (five flats) up to rehearsal no. 61, marked Tr\u00e8s anim\u00e9,<\/em> where the descending 16th<\/sup>-note figures commence (at the beginning of the fourth score). Note that Debussy has not yet, in this manuscript, indicated the Tr\u00e8s anim\u00e9<\/em> direction. Further, throughout the third score\u2019s twelve bars of chorale-like texture that he will eventually assign to the brass, he has left unscored the very active musical lines that he will eventually assign to the woodwinds and strings in the completed orchestral score.<\/p>\n

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[vc_row][vc_column][vc_column_text] \u2190 previous next \u2192 [\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces”][vc_column width=”1\/2″][vc_single_image image=”7926″ img_size=”large” alignment=”right” style=”vc_box_shadow” onclick=”img_link_large”][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1624902706814{margin-top: 0px !important;margin-right: 40px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 0px !important;border-left-width: 0px !important;padding-top: 10px !important;padding-right: 20px !important;padding-bottom: 0px !important;padding-left: 20px !important;}”] On page 20, the manuscript\u2019s penultimate page, Debussy exercises two instances of outright excision, two full […]<\/p>\n","protected":false},"author":276,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[],"coauthors":[3],"class_list":["post-7998","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/7998","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/users\/276"}],"replies":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/comments?post=7998"}],"version-history":[{"count":0,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/7998\/revisions"}],"wp:attachment":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media?parent=7998"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/categories?post=7998"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/coauthors?post=7998"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}