Near the close of the nineteenth century, a new movement had emerged in European classical music. Rooted most heavily in France and lasting till the mid twentieth century, Europe witnessed what we call 'Impressionism', an idea of music described wonderfully by Oscar Thompson in 1937 as he states that the aim of such art was to "suggest rather than to depict; to mirror not the object, but the emotional response to the object; to interpret a fugitive impression rather than to seize upon and fix the permanent reality." Impressionism thus, in its most basic definition, is the converse of realism.A rather prominent characteristic of Impressionist music was the striking predominance of modal and exotic scales, free rhythm, unresolved dissonances and the evidently smaller programmatic form. Apart from this, Impressionist music is more broadly characterized by a dramatic use of both the minor and major scale systems. Claude Debussy is known as one of the greatest Impressionist composers till date. Many musical critics believe that the Impressionist movement was a liberating intrusion in the otherwise fixated notions of Western classical music. However, Impressionism too came with a set of restrictions, incapacities and difficulties, those of which will be discussed further in the essay in relation to their influence on Debussy's composition.
Born on August 27th, 1862, Claude Debussy came from an ancestral background comprising of shopkeepers, suburban employees and peasants, none of which had any musical talent or affiliation. Much unlike a majority of composers known during the Classical and Romantic eras such as Mozart or Rachmaninoff, not only did he possess no musical family background, he also had had no extensive musical training...
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...s and syncopation. Though a passepied is traditionally written in triple meter, Debussy employs an interesting choice of meter throughout his piece that deviates from the norm of such a form. Modal chords give it a rather moto perpetuo feel, meaning a fast tempo and a steady, continuous stream of notes. Present in almost every measure is a crisp staccato accompaniment under which the melody provides us with two themes: the acicular introductory theme and the more graceful second theme. Throughout the course of this final piece, the second theme is heavily varied, oscillating between duple and triple meter and containing multiple inversions. The piece ends beautifully with a cascade of eighth notes as Debussy plays with the modal conflict of F-sharp and B. We also encounter a flurry of pianississimo chords which finally end with an array of sporadic staccato chords.
Impressionist paintings can be considered documents of Paris capital of modernity to a great extent. This can be seen in their subjects, style of painting, and juxtaposition of the transitive and the eternal.
“To say the word romanticism is to say modern art - that is, intimacy, spirituality, color, aspiration towards the infinite, expressed by every means available to the arts.” Charles Baudelaire. The Romantic era in classical music symbolized an epochal time that circumnavigated the whole of Western culture. Feelings of deep emotion were beginning to be expressed in ways that would have seemed once inappropriate. Individualism began to grip you people by its reins and celebrate their unique personalities and minds. Some youth began to wear their hair long, their beards scraggly and unkept, and their clothing was inspired by the outlandish and the flamboyant. Music morphed from a once tangible aural stimulant into music marked by its decent into the depths of human emotions most of which were not rational. Classical music became a stream of consciousness, a vehicle to convey their countless emotions. In the Romantic Period, music now voiced what, for centuries, people had been too afraid to express. The culture, the composers, and the music of the Romantic era changed classical music profoundly. The Romantic era classical music manifested itself as a time of the irrational and peculiar, a time that allowed many people the opportunity to express their inmost convictions through the music.
Achille-Claude Debussy was one of the most renowned French composers who stimulated the music of the twentieth-century. Debussy’s life experiences have given an emotional and relatable truth to his work. Works such as Clair de Lune, Prélude à l’après-midi d’un faune, and La Mer are great achievements of Debussy that are the most familiar today. Debussy is worth reviewing because he uniquely structured his compositions that served as a base for musicians in the past, and will easily continue to motivate musical masterpieces for years to come. Claude Debussy (born Achille-Claude Debussy) was born August 22, 1862, in St-Germain-en-Laye, France.
...th Wagner and Chopin played important roles throughout Debussy’s compositional career. Debussy’s youthful inspiration is clearly developed from exposure to the works of Richard Wagner. With echoes of Wagnerian motifs in Debussy’s La Damoiselle élue, it is obvious the impact Wagner had on Debussy, as well as French music in that time period. It is difficult to say what later triggered Debussy to become anti-Wagnerian, and this rebellion becomes clear as Debussy continued to write compositions that strayed farther and farther from Wagnerism, and closer to the style of Chopin. The virtuosity achieved by Debussy from the inspiration of Chopin’s piano works, previously identified, is perhaps what is remembered most about Debussy. It is in circumstance more memorable the later style of his music rather than a more ambiguous past of compositions.
Impressionism is another important one that was actually not just in music. It was a trait that could be found in pieces of art as well. Impressionist artists could be considered realists. They would see and understand the art in a world of reality. The works of these artists and composers takes imagination to grasp. They are works that are said to have no boundaries. The work of impressionism started with the French in the late 19th century. An example of an impressionist composer would be Debussy. His works are very hard to follow and have quite sounds.
On January 27th, 1756, at 9 Getreidegasse in Salzburg, Austria, a Jupiter among mere men and composers was born. Wolfgang Amadeus Mozart was born the son of Anna Maria (1720-1778) and Leopold Mozart (1719-1787), a composer, teacher, and the fourth violinist for Count Leopold Anton von Firmian. Already learning to play the keyboard at a mere age of three years old, Mozart would learn by sight as he watched his seven year old sister took lessons from her music teacher. As Mozart got older and started to develop as a player and composer, his traveled with his father around Europe performing as a child ...
Mendelssohn was born in Hamburg in 1809. His father Abraham Mendelssohn was a banker, while his mum Lea Mendelssohn was a highly educated artist and musician. Mendelssohn first had his piano lesson from his mum, but soon he was sent to study with the best teachers at that time such as Marie Bigot and Ludwig Burger. He also took composition lessons with Karl Zelter, who was the professor of the University of Berlin. Under their proper guidance, he completely showed his music talent- he first appeared as pianist at nine and as a composer at ten. At his age of twelve, he already composed nine fugues, five symphonies for strings, two operas and a huge number of smaller pieces. When he was sixteen, the publication of his Octet in E-flat Major for strings and Overture to A Mid Summer Night’s Dream marked his full maturity.
Although from the same artist group, these Impressionists originated from backgrounds that seemed worlds apart. Claude Monet, known as the “Master Impressionist” varied the themes in his artwork more than any other artist did. Monet’s work “Impression Sunrise”, of which the term “Impressionist” originates also gives rise to the title “Master Impressionist”. Edgar Degas started his career as an artist with nothing in common with Monet but the era in which they lived. From themes to brushstrokes and choices of colours, Monet and Degas started their relationship as Impressionist artists on opposite ends of the earth. However, towards the climax of their lives as artists, Monet aided Degas in adopting Impressionist Aesthetic qualities.
Debussy’s Impressionist style shines through in Pierrot, one of the many Lieds written by the established composer. Debussy was famous for his interesting and new forms of tonality. Debussy was able to create a piece focused on sound and its emotional reaction with Pierrot. His use of unconventional scales creates a sound unique to Impressionism and Symbolism, the French literary contemporary to Impressionist music. The piece consists of four themes, and they are played and repeated in an interesting order that will be discussed later. The themes themselves are similar, but definitely distinct in their sound. There is a certain dissonance that resounds through all of them, but it does not have the effect of making the piece hard to follow. Dissonance can often have this effect, but the dissonance in this...
10 By “Icon” and “Iconize” I mean the process of associating a musical object with an external object, or a cultural image. Debussy creates musical textures which correspond to certain concrete things, such as the sea, the snow, etc. - a highly luxurious and sophisticated version of word-painting. That is the reason why his music can be conceived as programmatic, just like the expressionists, except he deals with nature rather than personal drama.
In this essay, I shall try to examine how great a role colour played in the evolution of Impressionism. Impressionism in itself can be seen as a linkage in a long chain of procedures, which led the art to the point it is today. In order to do so, colour in Impressionism needs to be placed within an art-historical context for us to see more clearly the role it has played in the evolution of modern painting. In the late eighteenth century, for example, ancient Greek and Roman examples provided the classical sources in art. At the same time, there was a revolt against the formalism of Neo-Classicism. The accepted style was characterised by appeal to reason and intellect, with a demand for a well-disciplined order and restraint in the work. The decisive Romantic movement emphasized the individual’s right in self-expression, in which imagination and emotion were given free reign and stressed colour rather than line; colour can be seen as the expression for emotion, whereas line is the expression of rationality. Their style was painterly rather than linear; colour offered a freedom that line denied. Among the Romanticists who had a strong influence on Impressionism were Joseph Mallord William Turner and Eugéne Delacroix. In Turner’s works, colour took precedence over the realistic portrayal of form; Delacroix led the way for the Impressionists to use unmixed hues. The transition between Romanticism and Impressionism was provided by a small group of artists who lived and worked at the village of Barbizon. Their naturalistic style was based entirely on their observation and painting of nature in the open air. In their natural landscape subjects, they paid careful attention to the colourful expression of light and atmosphere. For them, colour was as important as composition, and this visual approach, with its appeal to emotion, gradually displaced the more studied and forma, with its appeal to reason.
In this essay, I will contrast and compare the two art movements, Impressionism, and Post-Impressionism. I will be concentrating on the works of the two leading artists of these styles Claude Monet and Vincent van Gogh.
Impressionism can easily be viewed as a captivating and revolutionary art movement, which took place during the Nineteenth century in Europe. Artists of this era began to contend with newer technologies, like the camera, for it possessed the capability to seize a spontaneous moment in time. Impressionists wanted to do the same; they strived to paint the picture of a genuine moment happening in front of them. One famous artist of this time period was Edgar Degas . Degas’ The Rehearsal On Stage, created in1874, reflects the characteristics of the impressionism period style of art as well as Degas’ own personal artistic style. By combining these two influences, Degas was able to produce a painting, which could be used to evoke a feeling of physical, sexual, and moral tension while also depicting modern-day life.
Impressionism is the name given to the art movement that changed art forever. Starting in France in the 1860's, Impressionism was considered a radical break from tradition.1 Through the work of artists including Édouard Manet, Claude Monet, Pierre Renoir, Camille Pissarro and Edgar Degas impressionism was born. Impressionists painted outside and focused greatly on light and its reflection. They painted quickly on primed white canvas with short visible brushstrokes and placed separate colours side by side letting the viewer’s eyes mix them. (Techniques uncommon to art at this time) Regarding their subject they again broke with tradition and painted anything they wanted including the modernity of Paris and the everyday life of its citizens. This new found freedom regarding subject along with unconventional techniques greatly displeased the L’École des Beaux-Arts where academic artists would have worked on subjects such as history, royalty and mythology.2 In contrast to the impressionists their work had a smooth varnished finish, showing little to no evidence of the artist’s presence. Having introduced Impressionism, I aim to in this essay analyse why the city of Paris is at the heart of the impressionist movement. Firstly by looking at how Paris helped create the impressionist movement and secondly how Paris fuelled it.
The exposition of Dussek’s Piano Sonata in G Major can be broken down into two primary themes, two secondary themes, and finally a transition into cadential extension. The first primary theme is made up in large by a parallel period. The antecedent begins on measure 1 and continues to measure 4. A 2:2:4 sentence connects the antecedent with the consequent, which begins on measure 12. Much like the antecedent, the consequent gives off an impression of statement and response; however, it is more apparent in the consequent due to the drastically changing dynamics. Overall bleeding into the continuation of the consequent which begins on measure 16. The continuation concludes with a sequence emphasizing the central theme of the piece. The silence within the figures of this theme bring attention that a change is about to take place, leading into the second primary theme. While it can be considered a transition due to the right hand primarily playing sixteenth note runs with a chromatic structure, measure 23 is the beginning of the second primary theme. The secondary theme can b...