JAVS Spring 2026

By the time m. 40 is reached—the final inverted statement of the fugal subject—the rhythmic sonorities have been fully integrated and move toward resolution in the quarter-note standstill at m. 44. The reappearance of a single rhythmic sonority creates an atmosphere of ambiguity, facilitating a seamless transition back into the A section. Ultimately, the observation of rhythmic displacement offers critical insight into Stravinsky’s compositional priorities in Élégie . His use of displacement not only challenges conventional perceptions of form but also draws attention to the tonal ambiguity that permeates the work. Displacement in Debussy’s Élégie, much like in the Stravinsky, is utilized to speed up the progression of harmonies (highlighting cadential arrival points, implying the blend of modal areas, etc.) while equally showcasing different rhythmic sonorities that make up the driving lines. This will be further explored in the next section.

Debussy’s É légie, L. 138 (1915-16) - Analysis, Parallels, Significance Claude Debussy (1862–1918) composed Élégie , L. 138 as part of the memorial album Pages inédites sur la Femme et la Guerre (“Unpublished Pages on Woman and War”), published in 1916. The project sought to honor the contributions of women during World War I and curated a wide range of artistic media, including songs, poetry, stories, pictures, and letters. 14 Stylistically, Debussy’s compositional approach during this period remained rooted in the Impressionist tradition, emphasizing atmospheric expression through explorations of timbre and other orchestrated effects. This perspective is further articulated in the article “The Piano Works of Claude Debussy,” in which the authors emphasize musical phrasing as an extension of sensory experience. 15

Figure 13. “The Piano Works of Claude Debussy,” pg. 433.

Turning to the works at hand, Debussy’s Élégie is a striking contribution to the piano repertoire that— despite being composed several decades before Stravinsky’s Élégie —reveals compelling parallels in approaches to voicing, harmonic placement, and rhythmic treatment. While Debussy’s work is shorter in duration, consisting of twenty-one measures compared to Stravinsky’s fifty-nine, the formal structures of the two compositions are notably similar. Examining specific

examples, both openings exhibit rhythmic similarities, with overlapping voices that contribute to a slower harmonic pacing. The use of dotted figures (dotted half notes and quarter notes) alongside a lower bass line articulated in eighth notes suggests a sense of tonal grounding while maintaining forward momentum in the musical line.

14

Journal of the American Viola Society / Vol. 42, No. 1, Spring 2026