Unit XXI: The Impressionist and Post-Impressionist Eras [Index]

Discovering Debussy and Impressionism

Lesson 60 (Read Chapter 60, pp. 356–365)

"A century of aeroplanes deserves its own music. As there are no precedents, I must create anew."—Claude Debussy

Parisian painters strove to capture their first impressions of a scene on canvas and found new subjects that focused on light and on everyday life. “Impressionism” was at first a term of derision applied to a painting by Claude Monet. In literature, writers sought to suggest an idea or image, using symbolism rather than direct statement. Thus the writers of the Symbolist movement achieved a new kind of abstract language. Musical impressionism arose as a means to move away from the traditional major-minor system: it looked back to medieval music in its use of parallel chord movements, and it adopted new scales (whole-tone, pentatonic) that composers heard in non-European music. It also featured new chords built in thirds to include the dissonant interval of a ninth. Instruments were used for color much like an artist applied different hues to a painting, and the music moved in a gentle, floating rhythm. The most important exponent of Impressionism in music was Claude Debussy, who preferred smaller, free forms to the traditional large forms of earlier eras. His best-known orchestral work is the Prelude to “The Afternoon of a Faun,” written for a ballet but now usually performed as a programmatic tone (symphonic) poem.

Note these important points:

The term "impressionism" derives from a painting by Claude Monet.
The painting style was centered in Paris, with works by Pissaro, Manet, Degas, and Renoir.
Characteristics of the style include

juxtaposition of pure colors.
studies in light and use of luminous sheen.

Symbolism was a parallel movement in French literature.
Symbolist writers include Verlaine and Mallarmé. .
Their style used indirect language, free verse, and loose suggestions.
Impressionism in music is characterized by

parallel chord movement and some stacked (ninth) chords.
non-Western influences, including new scales (whole tone, pentatonic).
interest in instrumental color.
floating rhythms and meters.

Debussy was the most important Impressionist composer.

He was attracted to non-Western scales and sounds.
He wrote programmatic music and used short lyric forms.
He is known for his symphonic tone poems, piano music, vocal music.

Debussy and others were influenced by new world musics heard at the 1889 Paris World Exhibition.

Making connections about the arts

Review the artworks illustrated in this chapter to get a sense of Impressionism in the visual arts. Note in particular the painting by Claude Monet (p. 357) that gave the movement its name, and the simplicity of the subjects in the works of Degas (p. 358) and Mary Cassatt (p. 359).

Meeting the masters: Debussy

In the Online Tutor, select Debussy from the Romantic-era composers. Read the short essay about this master and listen to the examples provided. Follow one of the suggested links to broaden your knowledge of this composer.

Hearing Debussy's music

Listen to Debussy's Prelude to "The Afternoon of a Faun," following either

1. Interactive Listening Guide; or

2. Listening Guide 34 in the text (CD 3, tracks 46-50).

Note the following points while listening:

· The program is based on a symbolist poem by Mallarmé about a mythological creature (faun).

· The form is a loose ternary (A-B-A') structure.

· The opening presents a languid melody based on a chromatic scale.

· The timbre moves from one instrumental color to another.

· There is more animated movement in the B section.

Reflecting on Debussy and Impressionism

Musical impressionism derives its characteristics from impressionistic painting.
Symbolism is a parallel impressionistic movement in literature.
Debussy was deeply influenced by non-Western scales, rhythms, timbres, and textures.

< lesson

UNIT INDEX

lesson >