Canopic refers to a jar used to store the organs of mummies, deriving its name from an ancient Egyptian city. Debussy is said to have kept such a jar on his desk. As suggested by its title, the piece consistently maintains a calm and melancholic atmosphere, marked by dynamic indications of p and pp. Though brief at 33 measures, the piece is structured around three motifs and two transitional passages [5]. Motif A (measures 1-6), characterized by solemn parallel chords, recalls the middle section of ‘La Cathédrale engloutie’ (Préludes, Book I, No. 10) with its parallel harmonies. Motif B (measures 7-10), on the other hand, presents a different texture from Motif A, featuring a bass pedal point and a chromatic melody. In Motif C (measures 11-15), the chromatic melody is joined by parallel chords in the bass, leading to a fusion of Motifs A and B. Following the first transitional passage (measures 16-19), where chords traverse a wide range, Motif B reappears in measures 20-23. Then, after the second transitional passage (measures 24-25), Motif A is recapitulated in measures 26-29, and the piece gently concludes with Motif C in measures 30-33 (see diagram).

Diagram

[1]  This diagram is based on the following literature by Bourion (Bourion, Sylveline. 2011. Le style de Claude Debussy : duplication, répétition et dualité dans les stratégies de composition, Paris: Vrin, p. 440).