‘La Mer’ (French for ‘The Sea’) is one of the most evocative pieces ever composed. The composer Claude Debussy conjures up images and sensations of the sea, creating some of the most beautiful sounds an orchestra can produce. In this episode I share insights into this piece, I continue to explore the question ‘What Is Music?’ and we discover the instruments of the Percussion Section.

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Hello! My name’s Scott Wilson. I’m a conductor and I’m passionate about classical music. In this podcast we discover the music of one of our greatest artforms. We listen to a new piece in each episode, I share insights into the music, and over time, I’ll take you on a journey through classical music’s composers, musicians, and history. Everything’s discussed in an easily digestible way, and no prior knowledge is needed. This podcast is for you!

Today we’re listening to ‘La Mer’ by the composer Claude Debussy. The title of the piece translates in English to ‘The Sea’. It’s one of the most evocative pieces ever composed and an absolute favourite of mine. As well as conveying the images and sensations of the sea, you’ll hear some of the most beautiful sounds that an orchestra can produce. So, here we go: immerse yourself in the gorgeous sound of Debussy’s orchestra!

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Well, before long we’ll get to this magnificent climax, but for now, let’s go from the beginning. If you listen carefully you’ll hear the rumbling of drums in the distance; and on top, there’s a high-pitched quivering sound from the violins. Perhaps the rumbling sound puts us in the depths of the sea, whilst the high-pitched sounds are the flashes of light on the surface of the water. The music gets louder, then rolls downwards. We sense the crest of a small wave above us.

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It’s mysterious. Did you hear the rumblings? Though they were originally in the timpani, they’ve now transferred to the violins, violas, cellos and double basses. The musicians are rapidly pushing and pulling their bows back and forth across the strings of the instruments. Their bubbling energy creates a sense of anticipation. Let’s listen to part of that excerpt again. You’ll hear the lower strings get louder, then quieter. This is the undulations of the deep sea. On top of this, there’s an eerie melody, also mimicking the ebb and flow of the water.

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Although the listener’s attention is perhaps drawn to the melody, when conducting this, much of my attention is on the accompanying string instruments. By changing the speed and volume of their music in a way that’s free and of the moment, an electric atmosphere can be created. I hope the audience will feel the swelling of the water as if it surrounds them. To experience this, it can be helpful to close your eyes, imagining yourself being pulled on a journey through the sea.

We’re now going to hear more instruments joining in. They’re playing short, melodic fragments which rise in pitch. The music gets faster and gradually becomes louder. We’re ascending, fuelled by the radiant sunshine that appears above us!

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I love the moment immediately following that small climax. We’ve arrived in the glorious warmth of the morning sun. The music is light and bouncy. Listen to the accompaniment: I’ll play it now on the piano.

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For me, this is the breeze, dancing across the ripples of the water. On top of this the cellos play a graceful tune, and this is answered by another tune in the woodwind. The easy-going, joyful music is surely that of a calm sea on a perfect day. Let’s hear this again now.

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And did you hear the harps just now!? It’s a favourite moment of mine! It sounds like the twinkling of sunlight as it reflects on the water. Just because I love it so much, let’s hear it again:

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This is why I can’t get enough of this piece. It’s a vehicle for hearing the range of thrillingly beautiful sounds that an orchestra can produce. And though everyone will appreciate that a composer chooses the pitches and the rhythms which are to be performed, perhaps it’s worth highlighting that part of Debussy’s genius is the incredible care he takes to choose the ideal instrument to play each and every note in the piece.

It’s not easy! Every instrument has a unique sound. And in addition, every instrument is capable of playing a variety of sounds. For example, a low pitch on a clarinet has an earthy quality to the sound, and it’s able to creep into the music in a way that’s barely audible. Yet, when playing high pitches, a clarinet can shriek out across an orchestra in a way that’s extremely penetrating.

But a master composer takes things a step further. They consider not only the many different instruments, and the variety of sounds that each instrument can make, but also the unique sound created when several instruments play simultaneously. Composers exploit the sound-potential of instruments, and instruments playing in combination, in order to captivate the listener. This emphasis on celebrating beautiful sounds is one of the defining qualities of classical music.

As I said in the last episode, ‘music is a celebration of the beauty of sound and / or the communication of emotions through sound’. Just as we’ve delved a little deeper into how composers, orchestras, and listeners celebrate the beauty of sound, in the next episode I look forward to exploring how music communicates emotions to listeners.

But now let’s continue on! You’ll hear the music rushing towards a goal, then leaping upwards and downwards, and then, the energy ebbs away and the music becomes more drowsy.

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And now we reach a calm stillness. Wonderfully, it’s created by a large number of musicians. All sixty string players - the musicians of the two violin sections, and the viola, cello, and double bass sections - are playing long, quiet notes. These notes are spread in a spacious way from a very low pitch to a very high pitch. On a piano, these pitches sound like this:

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Can you hear how spread-out the sound is? Let’s listen to a few seconds now, and though it’s difficult to do so, try to ignore the two instruments in the foreground. See if you can hear the vast spaciousness created by the strings in the background.

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Let’s listen again, but now also following the melody. It’s played by a lone cello, combined with an English Horn (which is the big oboe instrument we heard in the previous episode). These instruments are playing exactly the same tune. Debussy could’ve composed for only one of the instruments, and in many ways this’d sound very similar. However, Debussy has carefully considered exactly how he’ll create the perfect sound for this moment.

The sound is interesting because he’s combined two instruments; but it’s made more special because both instruments are playing pitches that are at the high end of their range. This creates a physical challenge for both players, which is compounded by the fact that they’re trying to maintain a balance of volume and exact rhythmic precision with each other. In performance this really is difficult. Bear in mind that the players are far apart and without eye contact. The quiet stillness of the orchestra leaves the two players highly exposed. Their physical and mental exertion creates a slight tension in the air. The effect can be mesmerising.

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I hope you’re full of anticipation for what happens next! Well, a wonderful climax is coming, and adding sparkle on top of the orchestra’s sound at this moment will be the instruments of the percussion section.

Percussion instruments create their sound when struck by the player’s hand or with a mallet, or by activating something within the instrument by shaking it. Unpitched instruments like snare drums, bass drums, cymbals, tambourines, triangles, and gongs, and pitched instruments like timpani, xylophones and glockenspiels are found in the percussion section of an orchestra. In addition, any rare instrument - or indeed non-instruments that have been repurposed for use in music, like whistles, sirens, or bells - are played by percussionists. As such, a percussionist is a multi-skilled instrumentalist. Though they’re required to be a master performer on each of the usual percussion instruments, they can be called upon by a composer to create interesting sounds from any number of instruments, and occasionally, from a completely new instrument.

Timpani (otherwise known as kettledrums) have been a member of the orchestra since its formation in the mid-eighteenth century. Their fundamental responsibility is to underpin the two or three most important pitches within a piece, in order to give the music a sense of stability. This quality sets the timpani apart from other percussion instruments which were usually called upon only to add emphasis or to add a cultural reference within the music. For example, given their powerful sound, cymbals and bass drum frequently play a loud clash at the climax of a piece. Instruments like tambourines and castanets have sometimes been used to represent Southern-European cultures, and gongs and wooden temple blocks to represent East-Asian cultures.

But from the late nineteenth century, the role of the percussion section in orchestras expanded and became more refined. Composers began using percussion instruments not only for their climactic and cultural reference capacities, but to enhance the range of unique sounds available within an orchestra. Instead of a timpanist and only one or two percussionists, modern orchestras have grown to accommodate any number of percussionists, playing a vast array of instruments spread out across the entire back of the stage.

Over the coming episodes we’ll discover the unique qualities of the brass, woodwind, and string sections of the orchestra. And though Debussy writes wonderfully for each of these, as we listen to the final moments of ‘La Mer’ you’ll hear the percussion instruments adding brilliance to the orchestra’s sound. Initially we’ll hear the ocean floor begin to stir, whilst in the background the cymbals add a glassy, transparent hue. As the wave rises, the cymbals transform into a shimmer, and at the climax soar over the orchestra, like the rolling crest of a wave. 

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Isn’t the sound of the orchestra just gorgeous! I love the way the music surges and recedes: it’s a spectacular wave of orchestral sound. Let’s listen again. You’ll hear the rushing of the strings as they hurtle upwards towards the summit. And then, we arrive gracefully: it’s as if you’re looking out across the water to the horizon.

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Once again, I notice the percussion section. As the music rises towards its final wave, the splashing of the cymbals is joined by the powerful timpani and the deep-pitched tam-tam (which is the large gong-sounding instrument). They throw colours of sound out across the orchestra: the waves are majestically crashing into each other! On top, the horns and trumpets glide over the orchestra, bringing boundless excitement to the music. And then, following three powerful chords, the orchestra surges and recedes a final time, saturating the listener in beautiful sound!

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Well how about that! ‘La Mer’ is something truly special. Though I admire Debussy’s restraint, sometimes I just wish that music from the final few moments would continue on for much longer! But I guess that’s the magic: the music has disappeared before you’ve had a chance to grasp it! All I can say is: Debussy’s ‘La Mer’ - what a wonderful celebration of sound!

Thank you for being with me for another episode of A Thousand Pictures. If you have questions or would like to make a suggestion of a piece or topic for a future episode, please get in touch via social media or email feedback@athousandpictures.com. Further information, a link to the recording featured in today’s podcast, and suggestions about what to listen to next can be found at athousandpictures.com. Or, subscribe to our email list and you’ll receive this information directly to your inbox.

Today we’ve been listening to the first movement from ‘La Mer’ by the composer Claude Debussy. I recommend the recording by the Lucerne Festival Orchestra conducted by Claudio Abbado.

And finally, please subscribe, please rate and review, and please share this podcast with others. Your support is valuable and it’s appreciated: together we can create a community which celebrates classical music! Now go and listen to this wonderful piece, and get out there and hear a performance by your local orchestra!

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