Homage to ‘the Art of the Primitives – ‘L’art des Primitifs’Variation, Interlude et Final sur un theme de RameauLa Plainte, au loin, du faune…

Homage to ‘the Art of the Primitives – ‘L’art des Primitifs’

Variation, Interlude et Final sur un theme de Rameau

La Plainte, au loin, du faune…

Seulki Susie Yoo

Paul Dukas’s pianism is among the finest representations of the French fin-de-siècle style (Schwerke 1928, 405), despite his small portfolio of piano writing. Dukas’s obsession with musical perfection resulted in delivering only six pieces in the piano repertoire, yet the distinguishing characteristics of Dukas’s changing style manifests across the individual works. Dukas’s dramatic musical shifts and critical thoughts are influenced by several elements. Subjected to the global tragedy caused by World War I, the loss of acquaintances, and musico-political climate, Dukas’s musical style became more introspective yet more creative and bold. To be specific, the earlier piano works exude vitality in larger forms in which the musical contents incorporate both traditional and exploratory musical language whereas his postwar works are much personal and poetic in miniature frames. Sonata in e flat minor and Variation, interlude et finale sur un theme de Rameau are examples that manifest the characteristics of Dukas’s ambitious compositional style in his earlier period, while La plainte, au loin du faune..., Allegro, and Modéré exhibit matured artistry in his later life.  

Even though Dukas’s significant musical transitions appear in various shapes such as form, harmonic language, and the composer's musical idiom, French musical qualities permeate his piano works. Specifically, Variation, interlude et finale sur un theme de Rameau (1899-1902) and La plainte au loin du faune... (1920) are highly retrospective in French literature in piano music in several ways. In Rameau variations, Dukas's respectful gesture to J.P. Rameau is well-manifested through French fin-de-siècle style, specifically with French theorist Theodore Dubois's influence (Taavola 2015). In La Plainte, Dukas commemorates and evocates one of his closest colleagues Debussy in the most poetical and intimate manner. Due to his acute perfectionism personality combined with musical intuition permeated into the compositions, Dukas’s piano writings had earned high praises from his contemporaries. Dukas's Rameau variations was applauded by Demuth and Schwerke as “Genuinely French” (Taavola 2015, 153)  which exhibits a classical and yet boldly free spirit with the poetic quality of his sensibility (Schwerke 406), and Alfred Cortot commented on Dukas's La Plainte that “it would be hard to imagine a more touching evocation of a style, a more intimate understanding of musical poetics than those evinced in these few pages tinged with melancholic emotion.” (Castro 2019, 71)  

In spite of these high praises, modern musicological and analytical studies on both pieces are somewhat sparse. They are rather recondite in modern days mainly as L'apprenti sorcier garners the majority of analytic and critical attention for its notable appearance in the Walt Disney film Fantasia. (Taavola, 151)

  In addition, while Taavola attributes the lack of analytical studies for Rameau variations to obscurity in harmonic language (Taavola, 151) ,Castro explains that the musicological attention towards La plaint is not beyond the obligatory reference to the quotation from the prelude a l'apres midi d'un faune. (Castro, 71) Moreover, La Plainte is often preferred to be performed as a curtain call piece for its brevity, and the frequency for Rameau variations being performed is rather limited despite its sophisticated contents. 

Therefore, this work will provide both musicological and analytical perspectives on Rameau variations and La Plaint for a profound understanding of Dukas's pianism. The first part will focus on Dukas's different musical styles in each composition based upon a historical fact. Precisely, In Rameau variations, Dukas’s exploration in extrinsic components such as the form and Dukas’s motive of composing the piece will be discussed. Even though the variation is written in the conventional genre just as the previous ‘sonata,’ it exhibits Dukas’s experimentation in blending different genres combined with his assured interpretation on other composers’ work and their philosophical thoughts.

To this end, this paper will view the variation's conservatism and progressiveness in relation to the influence of German and the descent of French music. Dukas's particular respect for Beethoven and Mozart accounts for his musical German heritage, which is shown in Rameau variations as conservative characteristics. The genuine French elements that Demuth applauded in Rameau variations will be examined through Dukas's developed perception of French genius Rameau, and fin-de-siecle harmonic vocabulary appeared as a progressive side of the music. 

Afterward, this paper’s evaluation of La Plainte will align with many other scholars who view La Plainte as “a new departure,” the promise of a late style in Dukas's music (Watson, 2019, 222). La Plainte was more than a commissioned work. As Carlos said, La Plainte appears more or less self-explanatory (Castro, 73) as the piece alludes to French nationalism, marks a return to Dukas’s position as a composer from the position of critic and teacher, and results in exploration of sounds.

Deviating from the traditional genre, this symbolic piece is regarding the exploration of sonority with the juxtaposition of consistency and transformation; while the ‘bell’ motif unwaveringly reverberates throughout the entire piece, motifs on Debussy's Faun and Dukas himself's Peri motif recur and develop during the piece.

The second part will focus on the theoretical analytical examination for a detailed understanding. Through Rameau variations, this paper will provide Dukas’s unique harmonic language that reflects Dubois’s Traité d'harmonie théorique et pratique with analysis on the piece. In La Plainte, the detailed analysis of the motivic transformation of Debussy’s Prélude à l’après-midi d’un faune‘ and Dukas’s  own Ballet composition La Péri motive. 

Critical insight into J.P Rameau on Variation, Interlude, et Finale on Theme et Rameau

On the surface, Baroque features in Rameau variations seem to exist exclusively in Theme but elsewhere, however, Dukas’s reinterpretation of Rameau’s music is evident in rhythmic and harmonic elements in other variations on a deeper level. To this end, understanding Dukas’s insight into Rameau’s music is crucial to acknowledge the motivation of the variation. It is plausible to view Dukas’s contribution to the review and editing of Rameau’s operatic masterpiece Hippolye et Aricie between 1894 and 1901 as considerable inspiration for writing the Rameau variations. After the reconstruction of Rameau’s opera, Dukas expressed his fascination with the ‘transformation’ and ‘restoration’ of Hippolyte. (Watson, 130) He commented on the newest edition that “One could even say that, from one end to the other, it is transformed….Everything is logically ordered, connected, and Rameau’s meaning reappears in all its strength or grace.” (Watson, 130) After gaining such insight into Rameau's musical realm, Dukas published Rameau variations the following year. Afterward, he received such praise as “enlarged to the magnitude of a monument by the finale” on Rameau variations, which is considered to be a different scale of artistic achievement. (Watson, 130-1)   

Le Lardon

A brief discussion of ‘Le Lardon’ is provided in this chapter to suggest possible reasons of minuet to be particularly chosen to unfold Dukas’s musical talent. ‘Le Lardon’ has several characteristics that Dukas might have found of interest. Chiefly, ‘Le Lardon’ has a Parisian fin-de-siècle quality, which is shown as a defining textural feature in the music (Taavola, 155)  Taavola explains that Rameau’s ‘Le Lardon’ exhibits three primary textures, asserting these textural features are what is more interesting than fundamentally homophonic harmonic progression in ‘Le Lardon.(Taavola 155)’ The three textures include; the hand-crossing passage that begins each phrase (mm. 1-2, 5-6, 9-10, 13-14), the chordal motion towards the cadence (mm. 3-4, 7-8, 11-12), and the arpeggiated endings of Period 1 and Period 2 (Taavola 155). 

Besides, the harmonic progression of the third phrase of ‘Le Lardon’ appears as an additional interesting feature. The brief A major color shown in the third phrase (mm. 9-12) is too transitory to be considered to be a significant feature, however, this phrase shows a glimpse of Rameau’s distinctive modulation technique using common notes. The modulation to the dominant key is through sharing note A involving chromaticism. As a result, the stepwise descending bass progression is ‘D-C sharp- B- A’ throughout the measure 9-11, leading to A major (Ex. 1). 

(Ex. 1- Harmonic progression measure 9-11) 

Although it occurred transitorily, the passage reflects Rameau’s modulation technique that more distinctively appeared in his other keyboard works including ‘L’enharmonique,’ and ‘Le Rappel Oiseaux.’ (Ex. 2, 3)

(Ex. 2 - ‘L’enharmonique’ measure 6-10, 15-19)

(Ex. 3 - ‘Le Rappel Oiseaux’ measure 12-27)

The recurring notes A in Example 1 (mm. 9-12) are emphasized in musical context also. To begin with, the alternating eight notes between R.H and L.H is a programmatic expression. Any passages with continuous eight notes in Theme is Rameau’s illustration of frying bacon -‘Le Lardon’-. Specifically, the syncopated arpeggio figure in the left hand is interesting. The pattern that combines syncopated eight notes and half notes in the following measures naturally provides satisfaction in a rhythmic sense. Followed by consecutive syncopated eight notes, the ^8 ‘D’ note stabilizes the wobbling motion in the first phrase, and ^5 ‘A’ performs the same role in the third phrase.   (Ex. 4)

(Ex. 4- measure 1-4, 9-12)

Hippolyte et Arcie 

It appears that Dukas’s second and tenth variations exhibit the strong influence of Rameau’s Hippolyte et Arcie - Trio des Parques  in harmonic language and rhythmic use. Rameau’s Trio des Parques is considered one of the most innovative movements in the 17th century for its most sophisticated and complicated enharmonic use (Telesco 2002, 336). The enharmonic technique attracted many scholars' attention, and Telesco explains Retrospect enharmonicism as opposed to Immediate enharmonicism which does not involve pivot chords to modulate to the new key. For that reason, Rameau’s enharmonicism is only heard in retrospect, not engaging aural clues.(Telesco, 336) The most dramatic scene of the Trio des Parques is a great example of the use of retrospect enharmonicism. (Ex. 5).

(Ex. 5 Rameau Trio des Parques from Hippolyte et Aricie (mm. 29-39), and enharmonic progression)

The significance of the enharmonic technique is that the retrospect enharmonicism can be a means to explain some extremely chromatic passages which are not readily interpreted by Roman numerals. Therefore, the application of retrospect enharmonicism to certain passages in Dukas’s variation appears to be helpful. To be specific, the most dramatic passage of the second variation in measures 45- 60 seems that Roman numeral analysis does not provide much meaningful interpretation. Example 6 is the attempt of Roman numeral analysis (measure 45-60). As shown, vertical analysis in each chord is apparently not what Dukas emphasizes in the passage. Example 6-1 demonstrates that the alternation approach explains the intense chromatic passage in the second variation is rather heard linearly and retrospectively just like Rameau’s Trio des Parques. 

(Ex. 6 - Rameau variations - Var. 2: Roman numeral approach (measure 45-60))

(Ex. 6-1 - Rameau variations - Var. 2: Introspect Enharmonicism approach (measure 45-60))

The rhythmic characteristics in the second and tenth variations show even more apparent influence from Hippolyte et Aricie than harmonic elements. In the second variation, the intense and dramatic atmosphere comes mainly from the consecutive use of dotted rhythm in a fast tempo. (Ex.7) This rhythmic distinction is what we have heard in Rameau’s Trio des Parques (mm. 29-39). 

(Ex.7- Variation 2 (mm.1-16) and variation 10 (mm.1-8)

While the second variation manifests the direct influence of Trio des Parques, the tenth variation exploits the French overture style, somewhat reminiscing the second variation. In her book ‘Paul Dukas: composer and critic,’ she asserts that the second variation is an anchor for similarly tense future moments, Variation 10:  

The second, ninth and tenth variations are the only forte passages. Hence, by deploying this dynamic for the reappearance of a bien marque syncopated chordal melody symmetrically placed as the penultimate variation, the tenth variation recalls the second variation. - Watson (Watson 133)

The connection between the two variations can become more significant in tripartite form. The second variation is only the minor variation written in the relative key ‘B minor’, which is often interpreted as a secondary theme function of the sonata structure due to the key relationship (Watson 130-5).  In addition, its placing, tonality, and contrasting expression between the first variation and second variation make the tripartite theory more plausible in the variation. What is Dukas’s purpose of the allusion of tripartite structure after all? While Dukas’s intrepid development of variations is almost to which the theme is unrecognizable, he aims for an architectural unity in the variation. To be more specific, Dukas seems to exploit the symmetrical aesthetic in the variation.  Theme and finale are in the straightforward harmonic language, variations 2 and 10 have textual similarity, and variations 5 and 6 are in highly contrapuntal polyphonic style. In addition, variations 1 and 2, 10, and Interlude are in contrast with texture, rhythm, and moods. (Example 8)

(Ex. 8: Symmetry in Rameau variations)

Dukas’s expression in a variation form: German and French elements 

This chapter will discuss Dukas’s creativity in Rameau variations in regard to his exploration in genres and his national and international influences. Dukas’s mesmerizing skill of transforming ‘Le Lardon’ into various characters in Rameau variations is a metamorphosis, which aligns with other German composers’ stance on the variation genre in the 19th century. Specifically, viewing the variation form as an opportunity to express a composer’s imagination and artistry rather than mere thematic ornamentation has drastically changed since the late Romantic period, led by German composers such as Julius Schäffer, and Johannes Brahms (Sisman 1990, 132-144). The development of a thematic idea based on harmony rather than a melodic figure in pursuit of the fantasy style of variation was a point of controversy in the past. While a broad range of research presents evidence of the development of variation in the Romantic era, this paper additionally traces this tendency back to French influence in the 17th century with Rameau’s Traité de l'harmonie, suggesting the deeper connection between Dukas and Rameau. Dukas’s ‘fantasy’ ambiance in Interlude of Rameau variations is significant on this account; this proves French musicians’ pride in the history of variation genre along with Faure’s Theme et variations, Op. 73 and Franck’s Variations symphoniques. 

German influence

As explained above, Dukas’s Rameau variations manifest German tradition with his own French language. In other words, Dukas viewed and exploited the variation genre associated with both German and French backgrounds. For instance, three formal sections ‘Variations,’ ‘Interlude,’ and ‘Finale’ in Rameau variations allude to tripartite sonata -allegro form, which suggests conservative style of German tradition. (Taavola 133) In addition to formal sections, the clear appearance of the secondary theme function in variation 2 for its relative key setting supports the tripartite form interpretation. 

Moreover, the high manifestation of fantasy-like style in Rameau variations can strongly coincide with the 19th century- German musicians’ musical philosophy. To be specific, from Julius Schäffer to Johannes Brahms, several ingenious musicians unhesitatingly categorized variations in the manner of the “fantasy” genre, viewing fantasy-variation as the ideal variation style that surpasses the melody-decorative style. (Sisman, 133-4)   In order to approach this level, those creative composers saw the bass as a resolution to harness the tension between older and newer styles in variations, and between variation and fantasy. (Sisman 133-4) They also classified variation styles into different types; variations on the bass, variations of the melody, and variations in which elaborations of a melody or motive in the manner of a fantasy. (Sisman, 133-4) The purpose of the new perspective of variation genre is to give composers themselves more freedom for creativity in development of characters in each variation in pursuit of poetic inspiration. (Sisman 133-5)

Dukas’s creativity that Schwerke describes as ‘free-spirit’ in Rameau variations can be aligned with these German musicians’ philosophy. Dukas’s adventurousity in the variation is established by his contemporaries’ critique. Debussy commented on this piece that Rameau might have had trouble finding his own melody in the later variations because Dukas varies the texture and harmony widely across the variations. (Taavola 157-8) In the variations sometimes Dukas utilizes the merest portion of the theme, fitting entirely new material into the thematic pattern, and sometimes the variations seem so different from one another that they challenge the listener to find a common thread between them. (Schuwerke 403-412) (Taavola, 157) On top of that, Dukas himself explains the proper approach to the variation form associated with fantasy.

Variation inherently gives more latitude to fantasy, the form of the varied theme appears like the true point of transition between the music of development and fantasy....Nearly all instrumentalists make the mistake of playing variations not as a unified work or idea which develops in a way that could be described as prismatic (to use an expression all musicians understand), but as a suite of small fragments independently connected to one another through a slightly vague melodic link, since, very often, thematic derivations are very free, very distant from the structure of the mother melody….it is more important to bring out the substance of the theme’s resulting [transformed] identity; the task of the interpreter is precisely to play down that external difference. - Dukas  (Dukas 1895, 393), (Dukas, 129-130)

Watson adds to this that “variation could be thought of as a process that amplifies a theme- or, here, magnifies and illuminates an idea to reveal a new spectrum of thematic fragments and colours,” “In every instance, the theme is transformed, ‘distancing itself as much as necessary from the notes of its original appearance.’(Watson 129-130) Rather than distract the audience by drawing attention to superficial contrasts, the performer should strive to convey the trajectory and apotheosis of thematic metamorphosis. (Watson 129-130)  

In practice, several variations of Rameau variations manifest the certainty that they are in pursuit of fantasy-style that is facilitated by “motivic elements” as opposed to melodic ornamentation technique. It proves Dukas’s musical position aligns with German musicians’ approach which implements the superior state in variation genre. Brahms’s Op. 9 Schumann variations represent the fantasy-style variation, as he retains the bass progression rather than melody throughout the variations for intrepid, creative writing. In example 8, the bass progression ‘F#-C#-D-B-C#-C#-F#’  from the theme is strictly maintained in variation 10 while other elements such as harmony, key, and melody are unrecognizably modified to a considerable degree. 

(Ex. 9- Brahms Op. 9, theme (mm. 1-12 and variation 10 (mm. 1-8))

A similar compositional technique is observed in Dukas’s Rameau variations. Instead of exploiting canonic techniques like Brahms, Dukas uses only motivic elements for maximum freedom for creativity. Example 9 indicates the use of four A notes and four descending notes ‘B-A-G-F#’ in ‘Le Lardon’ as motivic elements for an unrestricted development in Dukas’s variations. (Ex. 10) Dukas freely situates the motivic elements with various techniques in each variation. In variations 3 and Interlude, the four A notes motive is preserved with emphasis on articulation while descending four notes motive becomes the main musical element that dominates the entire variation in the eleventh variation (Ex.11). In some variations, such as the fourth variation, both motivic elements are clearly included. (Ex. 12)

(Ex. 10- motivic elements A notes, mm. 1-10)

(Ex. 11- variation 3 and Interlude: Four notes motive)

(Ex. 12- Variation 11: Four descending notes motive)

 (Ex. 13- variation 4: Both motivic elements)

Dukas’s masterful skill manifested in Rameau variations proves French composers’ excellency in writing a variation form. To be specific, while German composers favored experimenting with their artistry in the variation genre for a long period, French composers seem to have rare interest in the variation genre; German monumental compositions in variation form include J.S. Bach Goldberg variations, L.v. Beethoven’s Diabelli variations, and Brahms’s Handel variations. The varying theme implemented by different orchestration in Ravel’s masterpiece Bolero can be considered to be variation style, however, the core principle appears to be somewhat different than traditional variation genre.  Therefore, Dukas’s Rameau variations boosts French musician’s pride in the variation genre along with other monumental compositions Faure’s Theme et variations, op. 73 and Franck’s Variations Symphoniques, M. 46.

-French influence

As discussed, extrinsic elements such as form and genre exploration can be strongly associated with German influence. However, the intrinsic spirit in Rameau variations seems to be deeply French. Although the variation is tripartatily sectioned ‘Variations, Interlude et finale’ in addition to the emphasis on contrasting sonata allegro subject-allusion, Interlude which implies a development section in sonata form is deviated in key structures relationship. (Taavola 157)  Being D minor, the failure of satisfying the traditional key relationship in sonata form is a possible indication that it is not Dukas’s intention that the variation should give a strong implication of the sonata form. Instead, Rameau variations are evidence of Dukas’s harmonic experimentation, exhibiting intrepid and bold harmonic progression that Roman numeral approach would not be appropriate as an analysis tool. The coherent aspect, and the perception of the same materials barely exist in Rameau variations. The new psychological aspect that a listener can find in Rameau variations is the coherent effect in harmonic use. My suggestion is that Dukas’s innovative harmonic language in his variation is possibly influenced by Rameau’s theoretical treatise. Rameau’s Traité de l’harmonie réduite à ses principes naturels has provided massive influence to composers and theorists, which provides the supposition that it is impossible for Dukas’s to be not exposed to Rameau’s theory. Among Rameau’s theoretical assertions, the most relevant content to Rameau variations is his bass theory “Bass fondamentale.” With an emphasis on the fundamental or “générateur” of the chord (Girdlestone 1957, 516), the more expressive music is facilitated by turning the attention to harmony from melody. The “Bass fondamentale” plays a tremendously important part of Rameau’s system and his treatise all discusses it. Rameau’s scientific and theoretical studies with the “Bass fondamentale” led to his life's examination of the significance of harmony in his treatise. Rameau said, “melody arises from harmony” and “the strength of expression depends more on modulation than on mere melody.” (Girdlestone, 530)  

In spite of the absence of primary documents that prove the direct influence of Rameau’s theory on Dukas’s variations, the significant corresponding emphasis on harmony-over-melody assertion between Rameau and Romantic composers explains Dukas's French heritage. In developing thematic elements in further variations, harmonic features play a critical part in modifying the characters and moods than any other elements in Rameau variations. Dukas’s Rameau variations are extremely colorful and full of poetic inspiration due to his development of the theme utilizing interesting harmonic language. 

In addition to Rameau’s core outlook on harmony that influenced Dukas’s fantasy-style variation, the microscope view of Rameau variations entailing detailed analysis is also French inheritance. Defining Fin-de-siècle style in Rameau variations is rooted in Dubois’s reflective theoretical approach, and Dubois’s treatise Traité d’harmonie théorique et pratique (1891, 1921) shows apparent influence of Rameau’s treatise (1722). (Taavola 161) Taavola explains that Dubois contains great musical theoretical contents from the past, and Rameau’s use of cadences is the specific influence to Dubois. (Taavola 161) She also added that the notable outcome of harmonic training with Dubois appears as more significant than Dukas’s personal harmonic signature in some of his Rameau variations. (Taavola 161)  Using Dubois’ Fin-de-siècle theoretical approach as a new tool, the traditional tonal harmonic approach which would not provide valuable analysis can be replaced for a more appropriate analysis. 

Analysis - Rameau variations 

In addition to searching for French Fin-de-siècle heritage, the purpose of detailed analysis is to reinforce Dukas’s musical status.  Because of Dukas’s neutral stance in which his music emerges and embraces both conservatism and progressive musical perspective, it is inevitable for Dukas to be in comparison with other composers rather than being appreciated for his own voice. Dukas’s music often received criticism such as, “(Dukas’s music) is Beethoven as he was interpreted to the French mind by Cesar Franck.” (Lockspeiser 92) While such criticism is not necessarily unwelcome, Dukas’s exquisite compositional style which is subject to his obsession with perfectionism and expertise should be valued as his own musicality. Schuwerke said Dukas stands alone in his time. (schwerke 419) 

 Dukas said,  

 “Today, everybody specializes, and there are too many artisans and not enough artists. Everybody has technique and there is also an abundance of ideas, and what is terribly lacking, is not composing, but the motive to compose.What music needs is to rediscover the musical phrase and to renew melody. Nothing more completely reveals the musician than the musical phrase he creates.” (Schwerke 412-9)

To begin with, Dukas’s distinct musical features include reliance on a figured bass system, the use of cadence, contrapuntal writing, and lack of a table of keys. Also, according to Taavola, the features include the use of 9th, 11th, and 13th on the tonic, and radical resolutions of the dominant are also Dubois’ influence.  The reliance more on a figured bass system than using Roman numerals is to label chordal functions, (Taavola 161-2) of which tool is what is updated to accommodate contemporary harmonic practices. (Taavola 161) Example 10 demonstrates the importance of the figured bass system; the recurring E sharps on the strongest beats which immediately resolved to F sharp appeared as more than a mere ornamental function. Specifically, viewing the E sharp as its enharmonic note F natural, an allusion between D major and D minor keys is what represents Dubois’s influence of liberal use of mixture. Dubois exploits mixture unrestrictedly without any specific formal cause that prepares for an upcoming modulatory passage. According to Taavola,  this liberal implementation of accidentals has tremendous implications for large-scale harmonic processes in French music.(Taavola 163) 

(Ex. 13- Variation 1 mm. 1-6)

 Probably Dukas’s most Fin- de- siècle style is his contrapuntal writing which involves pedal tones, melodic- linear strings, and contrapuntal voice-leading combinations. These features are considered to be “Genuinely French” as Demuth described. Variations 5 and 6 are in the most polyphonical settings, and the use of 9th, 11th, and 13th on tonic add the quality of density. To be specific, Example 14 shows that the chord is a combination of D major triad D-F#-A and supertonic seventh chord E-G-B-D, resulting in the 15th on the tonic. Also, the use of pedal tones D has the simultaneous function of adding textures and representing Rameau's 'Le Lardon’ theme. The multiple functions of motivic elements are shown in variation 4 as well. The motivic A notes are serving as a pedal tone for a more linear structure. . This exhibits an interesting voice-leading technique; while A notes are sustained as pedal tones, the inner voice which fills the pedal tone notes is gradually ascending resulting in chromaticism F sharp- E sharp- F sharp- G- G sharp. (Ex. 15)

Several innovative features are exhibited in variation 8. Not only is the variation explained with the Roman numeral approach, but also Schenkerian linear analysis. 

The variation is not explained by the vertical-centered Roman numeral approach, nor by Schenkerian linear approach since the dominant harmony does not exist in the variation. The obscurity and ambiguity somewhat foreshadow late 20th-century musical style. (Ex. 16)

(Ex. 14- Variation 6, use of 13th on tonic, mm. 1)

(Ex. 15- Variation 4, linear writing, mm. 1-4)(Ex. 16- Variation 8, Lack of the table key, mm. 1-2) 

In terms of the use of cadences, Dukas’s cadence examples such as P.A.C (Perfect Authentic Cadence), I.A.C (Imperfect Authentic Cadence), D.C (Deceptive Cadence), and H. C (half Cadence) exhibit the influence of old models from Catel (1802), Reber (1862), and Rameau (1722) (Taavola 161). Taavola explains that, while Dukas’s majority of voice leadings follow the common practice, several examples are deviations from orthodox tonal practice. (Taavola 161) Example 17 is the excerpt of Dubois’s Cadence rompue, the deceptive cadence which reveals the motion of V - b6^ (G- Ab/ G- G# [enharmonic note]). The use of flatted 6^ is not only exploited in the deceptive cadence, but also used in unrestrictedly contexts. For instance, the color of flatted 6^ appears to be Dukas’s favorite harmony in variation 10.  In the variation, flatted 6^ appears first as iv, the mixture chord of IV (mm. 2, 6), and presents again as VIb in a more assured way (mm. 7) (Ex. 18). Although 6^ is not used in the cadence in this passage, it manifests deceived harmonic progression. The progression in measure 5-8 is I64 - V/vi- (vi)- VIb  generating the chromaticism in the bass line A-B-Bb, in which the VIb chord is approached by secondary dominant instead of dominant or tonic. According to Taavola, the instances of the liberal use of mixture are the reflection of Dubois’s technique in which he switches freely between modes throughout the text, and uses mixture often and liberally without any specific formal cause such as preparation for an upcoming modulatory passage. (Taavola 163) The cadence in the passage, on the other hand, follows Authentic Cadence, however, the harmonic progression V-I is somewhat abrupt. The abrupt cadence is another Dubois’s influence on Dukas’s music. Example 16 shows the radical resolution of the V-I motion. It reveals that hierarchy in tonality is not Dukas’s main aesthetical interest in Rameau variations.  Avoid emphasis on V by diminishing the dominant key passage indicates Dukas’s changing view on the nature of hierarchy in tonal music. Later on, Dukas’s view on tonality appears in a more innovative manner in La Plainte. The later chapter of this paper will discuss it in more detail. 

(Ex. 17- Dubois treatise- Deceptive cadence)

(Ex. 18- Dukas- Rameau variations Var. 10)

(Ex. 19- Variation 2, Abrupt V-I progression)

La Plainte, au loin, du faune…

Self-explanatory

Dukas’s postwar compositions are both brief pieces commissioned in honour of Debussy ‘La Plainte, au loin, du faune…’and the poet Ronsard ‘Sonnet de Ronsard.’ Watson said Dukas’s postwar pieces are a reflection of World War I, a potent combination of the past and the promise of the future as the piece marks the point of departure of his new musical style (Watson 229-231). Specifically, La Plainte, au loin, du faune… is deemed as deeply personal, transcending the external brief among other postwar scores. For this reason, La Plainte is often praised as ‘the most tenderly respectful intention of the collection.’ (Castro)

With Dukas’s attentive musical treatment, La Plainte displays Dukas’s sentiment of his musicien francais, fulfilling Debussyan philosophy. Debussy’s musical stance is shown in his letter:

I do believe that until today music has rested on a false principle… we attach too much importance to music writing, to the formula and the craft! We look for ideas in ourselves, whereas we should look for them around ourselves… We do not listen to the myriad sounds of nature around us, we do not pay enough attention to the rich music that nature offers us in such abundance. Music surrounds us, and we have lived in its midst until now without noticing it. This, in my view, is the new path. - Debussy (Castro 72)

To be specific, in La Plainte, the obsessive use of static ostinato tone G continuously resonates, surrounds and dominates the atmosphere of the entire piece using the simplest motivic means. (Ex. 20) According to Castro, such musical devices signal its inscription within the French tradition of the tombeau, and the iconic sign, the repeated tone evocative of a death knell (le glas) in Western funeral rites (Castro,72). Placing almost the formless musical idea as foundation in La Plainte, Dukas juxtaposed Faun call from Debussy’s Prélude à l’Après - midi d’un Faune (Ex. 21) and his previous composition La Peri as part of his response to Debussy. (Ex. 22, 22-1) The contiguity reflects the presence of Dukas’s and Debussy rather than Debussy’s phantom. Castro interpreted these concealed connotations as ‘the deliberate semantic generation, transfer and dissemination, informed by the concepts of dialogism and intertextuality.’ (Castro 71-2) He added that La Plainte appears as more or less self-explanatory in that La Plainte represents Dukas experiment work as he explores sounds spatialization, subdued sonority, and spatial effects in the piece in addition to the juxtapositions of two identities Faun and Peri. (Castro, 71-3)

(Ex. 20 - G ostinato mm. 1)

(Ex. 21 - Faun’s flute motif; Citation of Prélude à l’Après - midi d’un Faune in La Plainte- mm. 3)

(Ex. 22 - La Peri) 

(Ex. 22 -1 - Paraphrase of La Peri motif - mm. 15)

French

‘Bell’

‘Bell’ in music is generally used in programmatic and narrative contexts with a congenial musical topic, aiming to imagify the sound. The use of Bell in La Plainte appears largely in two manners, both associated with Debussy. One as a generic provider for romantic and fin-de-siécle musical style, and the symbolic use. To be specific, instead of the bell being a denotation of ecclesiastical or religious events, it simply means physical distance and resonance, suggesting the sonorous embodiment of space and sound planes in the piece. Castro asserts that the spatial effect of ‘bell’ corresponds to Debussy’s musical idiom in terms of a form of composing. (Castro, 72) If the traditional sense of music is operational participation in the creation of sound, Debussy’s philosophy is rather a perception of sonic and dynamic processes of the physical world as captured by the composer’s imagination. To be specific, several examples of Debussy’s repertoire are apparent references in La Plainte. For instance, the sound spatialization effect manifested in Debussy’s piano repertoire includes ‘Cloches à travers des feuilles' from Book II of the Images (Ex. 23), ‘Pour un tombeau sans nom’ from the six épigraphes antiques (Ex. 24), Préludes ‘Des Par sur la neige (Ex. 25),’ ‘La Cathédrale engloutie (Ex. 26)’, and ‘Canopé (Ex. 27).’ In ‘La Cathédrale engloutie,’ the ‘bell’ motif is described with parallel open intervals, alluding to the idea of church bells that sound from a distance, across the ocean. (Hutcheson, 314) The spatialization of the sound appears as a new aesthetic of the Impressionistic element in Debussy’s music, which are shown in examples 24, 25, 26, and  27 which are the experimental models in the phenomenon of ‘tone’ in musical work. 

(Ex. 23 - Cloches à travers des feuils' from Book II of the Images)

(Ex. 24 - ‘Pour un tombeau sans nom’ from the six épigraphes antiques)

(Ex. 25 - Préludes ‘Des Par sur la neige)

(Ex. 26 - Prélude La Cathédrale engloutie)

(Ex. 27 - Prélude Canopé)

The second type of ‘bell’ in music strongly symbolizes ‘death.’ Including the iconic bell tolls used in Ravel’s Le Gibet describing the deathly atmosphere of the hanged man on a gibbet, a bell still signifies a death today as the funeral tolling of a bell is used to mark the death of a person at a funeral or burial service. Historically, a bell would be rung on three occasions around the time of death. The first was the “passing bell” to warn of impending death, followed by the death knell which was the ringing of a bell immediately after the death, and the last was the “lych bell” ringing at the funeral as the procession approached the church. (Ex. 29) (Walters 1977)  Specifically, the object of the “passing bell” is to call attention to the fact that a soul was “passing” into the next world, and ask for prayers.(Puckle 1926) In Dukas’s La Plainte, after the continuous eight bell pedal tone, the last bell is rung three times at the end of the piece as Dukas evokes Debussy's funeral scene. (Ex. 30) 

The death of poor Debussy is an atrocious thing, and coming at such a time! I am overcome with grief. - Dukas (Watson 221)

(Ex. 28 - Ravel Le gibet)

(Ex. 29 - Funeral toll)

(Ex. 30 - La Plainte mm. 47-49)

New style in postwar period

In addition to the continuous ostinato pedal tone in La Plainte, the generic atmosphere reflects Impressionistic musical phenomena. Out-of-focus harmony, prioritizing on color, and tone production reveal Dukas’s new musical idiom in the postwar period. Watson said the post 1918 cultural politics had an impact on Jewish Dukas’s illustration of the reconciliation of past and future, determination of ‘foreign’ and authentically French (Watson 2010, 53-4). This foreign content is viewed differently than German influence that was strongly reflected on Rameau variations as a positive, inspirational source. On the other hand, Dukas struggled in postwar time as the society demanded innovation in art. Dukas had to determine to balance historical integrity against the challenge of responding to a modernist climate that demanded innovation in art. (Watson 52) 

La Plainte marks a return to Dukas’s identity as a composer after eight years of a break since La Peri (1912), and the strong Impressionist aesthetics is manifested as a more developed form than La Peri. Specifically, the fundamental changes in view of rhythm, timbre and dynamics are shown as further experimental responses in the music: the impression of the immediate effect of hearing, seeing or feeling on the mind, turning to ‘open-air’ subject, mysterious correspondences between nature and the imagination, and acoustic studies in musical resonance and the dissolution of form by vibrations. (Pasler 2001) 

Spatial effect

These elements effectively act in Impressionism repertoire, replacing traditional tonal music. Specifically, understanding the keen relationship between the spatial sound effect and colorful sonorities in La Plainte will help recognize the true value. To begin with, spatial effect as “musical space” does not mean to be varied or affected by physical elements. Instead, my paper narrows down the term to absolute musical elements that affect listeners’ perception. 

In La Plainte, the spatial effect is executed by equational segmentation of the same duration of the ostinato G, three dimensional effect by juxtaposing multiple motives in relation to pitch design, and recurring parallel sixths (Ex. 31) Exploiting these compositional parameters, Dukas creates the atmosphere in which presence (reality) and absence (afterlife) interplay. 

(Ex. 31 - La Plainte , Ostinato G, juxtaposition of Peri, Faun motives, Parallel sixth. mm. 1-2, 12-14)

Analysis

Due to its obvious purpose of the piece, the analytical study of La Plainte cannot be accomplished without establishing the connection to contents of implication, quotation, and allusion of the music. La Plainte is not a narrative piece, but it is a strong connotational piece.  

To begin with, Castro interprets that the parallel motion in sixth in measure 2 is responding to the tolling bell. (Castro 74-6) Additionally, the minor second intervals created in horizontal perspective in the same measure ‘A - Ab,’ ‘C# - C,’ ‘Eb- D,’ ‘G -F #’ are the anticipation of the iconic ‘sigh’ motif in the following measure. (Ex. 32)

(Ex. 32 - ‘sigh’ anticipation. mm. 2)

The juxtaposition of sigh motif ‘Eb-D’ and two interlocking tritones in measure 3 enhance the lamenting and mourning tone. (Ex. 33) Followed by the sigh motif, the paraphrase of La Peri theme is appeared as thirty second notes in the chromatic motion ‘D-Db(C#)-C(B#)-B.’ (Ex. 34)   Another symbolic tone in that phrase is the recurring minor triads which appeared in different keys throughout the piece strongly implies low bells. (Ex. 35)

(Ex. 33 - juxtaposition of sigh (lament motif and tritones. mm.3)

(Ex. 34 - Paraphrase of La Peri. mm. )

(Ex. 35 - Recurring minor triad - low bell)

At the end of the phrase, Dukas recalls Debussy in measure 5 by referring to the Faun flute motif following the lament motif in measure 6. (Ex. 36)

(Ex. 36 - Recall of Faun and lament motif. mm. 5-6)

In measure 15, the fuller Faun motif is paraphrased with a rhythmic variation. (Ex. 37, 37-1) The syncopated rhythmic paraphrase is highly evocative of jazz idiom. During the 20th century in France, composers revealed a strong interest in jazz style in their compositions. To be specific, cakewalks of Debussy and Satie, and Ravel’s two piano concertos are what Dukas might have found models in. 

(Ex. 37 - Original Faun motif)

(Ex. 37-1 - Syncopated jazz style variation of Faun theme)

Conclusion

Dukas’s masterpieces Variation, Interlude et final sur un theme de Rameau and La Plainte, au loin, de faune… pay homage to Debussy. In this work, these pieces been have examined from various perspectives to appropriately comprehend Dukas and his exploratory musical idiom. The preceding discussion of Rameau variations acknowledges the piece as Dukas's self-discovery and reconciliation of his German and French heritage. Dukas’s mostly German tradition-aligned conservative inclination appears in Rameau variation as a tripartite structure with implication of sonata form. Additionally, Dukas’s opinion on the fantasy-style aspect in Rameau variations explains the substantial influence of 19th century German musicians’ stance on a variation genre. Yet, Dukas’s French heritage is recognized as individuality in the variation as Dukas exploits the theoretical techniques from two French music theorists, Rameau and Dubois; Dukas took innovative thoughts from Rameau, and Fin-de siècle  style from Dubois. 

Dukas’s insight into Rameau is based upon Rameau’s progressive theoretical outcome as Rameau recognized the psychological and physiological force in music from a scientific perspective. Rameau had known how to attract and engage with the listener’s mind with proper writing of musical elements including rhythm, harmony, and melody, which eventually captured Dukas’s attention through Hypocrite et Arcie. Specifically, the retrospective aspect of Rameau’s enharmonicism and the dramatic spirit of musical settings appear as the major influence in Dukas’s variation. On the other hand, the Fin-de-siecle style of the variation is exclusively Dubois’s influence. The musical ideas incorporate a plethora of transitional harmonic language from classical tonal to atonal music, which include remaining romantic gestures yet undeniable deviation of tonality. This paper explained the inexplicability of traditional tonal analysis with roman numeral approach of the piece by suggesting the retrospective perspective of Rameau’s modulation technique, and Dubois’s liberal use in harmony that was defined in his treatise. 

The postwar piece La Plainte, au loin, du Faune displays Dukas’s semi-autobiographical and reflective characteristics in somewhat distant manner. Dukas commemorates Debussy by juxtaposing his La Peri and Debussy’s Faun motive in the music, and he observes his own sadness from a distance instead of exposing his suffering from the loss of a friend and postwar aftermath.  With the exploration of spatialization effect in the music in addition to fulfilling Debussyan philosophy in the piece, Dukas enables the transcendence of the past and the present, of dreams and reality. Indeed, Dukas’s integrative style of the genre, style, and time in both compositions should be reconsidered as musical craftsmanship and representation of his homage to great musicians in the past rather than a lack of the composer’s voice as pervasive judgment negatively criticizes. 

Bibliography

Castro, Paulo F.de. Paul Dukas: Legacies of a French Musician. Edited by Helen Julia Minors and Laura Watson. Routledge, 2020. 

Deruchie, Andrew. The French Symphony at the Fin de Siècle: Style, Culture, and the           Symphonic Tradition. University of Rochester Press, 2013. muse.jhu.edu/book/73652

Dill, Charles. "Rameau's Imaginary Monsters: Knowledge, Theory, and Chromaticism in Hippolyte Et Aricie." Journal of the American Musicological Society 55, no. 3 (2002): 433-76. Accessed December 15, 2020. doi:10.1525/jams.2002.55.3.433.

Girdlestone, Cuthbert Morton., and Jean-Philippe Rameau. Jean-Philippe Rameau: His Life and Work, Etc. London: Cassell & Co, 1957.

Goléa, Antoine, and Lucile H. Brockway. “French Music since 1945.” The Musical Quarterly 51, no. 1 (1965): 22–37. http://www.jstor.org/stable/740887.

Keane, Maria Michaela. (1987). The Theoretical Writings of Jean-Philippe Rameau. Washington, D.C.: Catholic University of America Press.

 Lockspeiser, Edward (1957). "Paul Dukas". In Bacharach, A. L. (ed.). The Music Masters. Pelican Books. OCLC 655768838

Minors, H. J., & Watson, L. (2019). Paul Dukas: Legacies of a French musician. Abingdon, Oxon: Routledge.

Pasler, Jann. "Dubois, (François Clément) Théodore." Grove Music Online. 2001; Accessed 19 Apr. 2021. https://www-oxfordmusiconline-com.ezaccess.libraries.psu.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000008232.

Pasler, Jann. “Impressionism”. Grove Music online, 2001; Accessed 27 Sep. 2021 https://doi-org.ezaccess.libraries.psu.edu/10.1093/gmo/9781561592630.article.50026  

Puckle, Bertram S. “Funeral Customs.” Funeral Customs: Chapter V: Bells, Mourning, 1926. https://www.sacred-texts.com/etc/fcod/fcod08.htm. 

Rehding, Alexander. “Rousseau, Rameau, And Enharmonic Furies In The French Enlightenment.” Journal of Music Theory 49, no. 1 (January 2005): 141–80.

Sadler, Graham and Christensen, Thomas. “Rameau, Jean-Philippe.” Grove Dictionary: 20 January 2001. https://doi.org/10.1093/gmo/9781561592630.article.22832

 Schwartz, Manuela, and G.W. Hopkins. "Dukas, Paul." Grove Music Online. 2001; Accessed 19 Apr. 2021. https://www-oxfordmusiconline-com.ezaccess.libraries.psu.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000008282. 

Schwerké, Irving. "Paul Dukas: A Brief Appreciation." The Musical Quarterly 14, no. 3 (1928): 403-12. Accessed April 19, 2021. http://www.jstor.org.ezaccess.libraries.psu.edu/stable/738438

Sisman, Elaine R. "Brahms and the Variation Canon." 19th-Century Music 14, no. 2 (1990): 132-53. Accessed April 28, 2020. doi:10.2307/746199.

 Swinkin, Jeffrey. "Variation as Thematic Actualisation: The Case of Brahms's Op. 9." Music Analysis 31, no. 1 (2012): 37-89. Accessed April 28, 2020. www.jstor.org/stable/23322092.

Taavola, Kristin. "Paul Dukas’ “Rameau variationss” Some Thoughts on the Origin of His Harmonic Language." Theory and Practice 40 (2015): 151-75. Accessed April 19, 2021. https://www-jstor-org.ezaccess.libraries.psu.edu/stable/26477735

Taruskin, Richard. The Oxford History of Western Music. Oxford: Oxford University Press, 2010.

Telesco, Paula. "Forward-Looking Retrospection: Enharmonicism in the Classical Era." The Journal of Musicology 19, no. 2 (2002): 332-73. Accessed October 27, 2020. doi:10.1525/jm.2002.19.2.332

Trochimczyk, Maja. “From Circles to Nets: On the Signification of Spatial Sound Imagery in New Music.” Computer Music Journal 25, no. 4 (2001): 39–56. http://www.jstor.org/stable/3681955.

Verba, E. Cynthia. "The Development of Rameau's Thoughts on Modulation and Chromatics." Journal of the American Musicological Society 26, no. 1 (1973): 69-91. doi:10.2307/830834.

Walters, Henry Beauchamp. The Church Bells of England. Oxford University Press, 1977. 

Watson, Laura. Paul Dukas: Composer and Critic. Woodbridge: Boydell Press, 2019. 

Watson, Laura. “Dukas’s ‘Victory’: A Cultural and Political Reading of a Post-WW1 Manuscript.” The Musical Times 151, no. 1911 (2010): 53–70. http://www.jstor.org/stable/20721618.