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"La cathédrale engloutie" (The Sunken Cathedral) for solo piano, from Préludes / Book 1, L.117: No. 10 by Claude Debussy, performed live on piano by Marnie Laird for Brooklyn Classical. Listen on SPOTIFY: https://spoti.fi/3NgCDie

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Hello everyone! I've always loved this piece and somehow I went all these years never learning it. I'm so glad I finally did! First things first, I have a question for my fellow musicians and music nerds: The ending...does anyone else hear "Somewhere" from Westside Story?! I'm convinced Bernstein must have been quoting Debussy in that song. Let me know in the comments if you agree!

Upon studying the score, I found out there are several sections where the tempo Debussy intended is debated among pianists - he seems to have forgotten to indicate where the tempo should be twice as fast as before. (Debussy recorded the piece himself and his performance indicates that's what he wanted.) So this is what I did. (Also, if Hélène Grimaud does it, it's good enough for me!)

This prelude is a perfect example of Debussy's impressionist style in that it is a musical depiction of an image. La Cathédrale Engloutie, or The Sunken Cathedral, is based on an ancient Breton myth in which a cathedral, submerged underwater off the coast of the Island of Ys, rises up from the sea on clear mornings when the water is transparent. Sounds can be heard of priests chanting, bells chiming, and the organ playing from across the sea. The piece begins with the cathedral underwater, and as the music progresses, Debussy gently brings the cathedral out of the water using rolling wave-like patterns, and finally we hear the grand sound of the organ. Then the cathedral sinks back down into the water and we hear the organ again, but this time it's underwater.

Thanks for watching! The recording should be up on Spotify and everywhere else very soon.

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Brooklyn Duo is:
Marnie Laird, piano
Patrick Laird, cello

Marnie's Bio:

Canadian pianist Marnie Laird, praised as "…a technically immaculate, probing and authoritative protagonist" (The Miami Herald), enjoys an active career as a collaborative pianist, chamber musician, and soloist. Prior to founding Brooklyn Duo and Brooklyn Classical, Marnie spent three years as principal pianist of the New World Symphony in Miami under the direction of Michael Tilson Thomas. In high demand as a pianist in New York City, she worked with several opera companies, including the Gotham Chamber Opera, and was also on staff as a collaborative pianist at The Juilliard School after graduating. Recent performances have taken her to Weill Hall at Carnegie Hall, Lincoln Center, and Merkin Hall.

Originally from Vancouver, BC, Marnie has been the recipient of numerous Canadian awards, including top prizes from the Canadian Music Competitions, Canadian Music Teachers' Association, and the BC Arts Council. Most notably she was awarded the Gold Medal for the highest mark in Canada on the A.R.C.T. piano performance exams. She made her solo orchestral debut at age 13 with the Vancouver Symphony Orchestra, and has participated in the Tanglewood, Music Academy of the West, Kneisel Hall, and Banff summer festivals.

Marnie received her Master’s degree in collaborative piano from The Juilliard School, where she was the recipient of a full scholarship as well as the Orchestral Piano Fellowship. She also has a Master’s in solo piano performance from The University of British Columbia. Her principal teachers include Lorraine Ambrose, Robin Wood, Jane Coop, Jonathan Feldman, and Margo Garrett.

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