Impressionism in Music: Debussy and the Dawn of Modernity
IMPRESIONISMO1890. It develops as an artistic movement in the last quarter of the nineteenth century. Its appearance is started called “modern art”: Since he speaks of “isms” and not style. The difference is that styles emerge as expressions of culture, whereas the “ism” is the result of a will specifically oriented towards finalidad.Al like realism was based on positivism of Comte, Impressionism made in the theory of Locke’s sensations: the sensation is the source of our knowledge.
Surge in 1874 at the Exhibition of Young Artists, because MONET, entitled “l’Impression, Sunrise”. The painting was severely criticized by the critic LEROY and even, it was critical that pejoratively called with the name “Impressionists” these painters, the group rejected at first as the last exhibition, Impressionist “takes place in the 1886. Had to endure the crmost adverse or affiliation. Surge rejection of painting as an academician and study classical character. They shared a pictorial and aesthetic interest but lacked a theoretical manifestos and even a line of action applies to unitaria.Se music for the first time in 1887 in the Prix de Rome ruling citing the work of Debussy and musical color but away from design and shape. The un-Romantic impressionism but inherits many of the things as: – taste for free-form, so intimate, the attention to detail. Long-tarbajo to translate sounds lied not bounded, but evanescent-synaesthesia, affecting visual issues in relation to listener and performer.
– Different colors and tones, chromaticism, and exotic old-relaccionados painting, poetry, music: Looking for blur-statism and things alone are sought, achieved fragments repituiendo constant directivity no harmonies, no chains
– Texture of tones, colors, combining different effectsTo make music even more late nineteenth estática.A the Universal Exhibition occurs and causes a reaction away from the formal academicism Germany. There will be an assimilation of European folklore (Spanish), from distant exotic cultures (Asia, Indonesia), return to pasado.No can say that Impressionism is a stage in the history of music implies xq two decades and is represented basically by Debussy and Ravel.
1.
France
Debussy-Ravel
Debussy was ranked by the analogy of Impressionist painters and the exaltation of the fade and the ability to translate sounds into each of the sensory impressions immediately, simple and spontaneous. This image is relegated from the post-Romantics, with compositions such as La Mer, or ballet Jeux. Debussy despise the art of easy fun, pleasant and melodious, is involved in the Wagnerian decadence moral commitment, form a musical language that expressed spiritual evanescence of inner experience and the formal rigor of an artistic make perfectly conscious and won responsable.En 1884 Japan’s Grand Prix de Rome withL’enfant prodige.
Throughout his adult life he lived in Paris, occupying an important place in the cultural life of the youth work ciudad.Sus reveal the influence of Chabrier and Fauré, exponents of a renaissance of French music after the pervasive influence of Wagnerian chromaticism, approaching the hue. Also of interest in Russian music by Mussorgsky is revealed in his songs on texts by Baudelaire 1889 and his String Quartet 1893, where he reveals his growing interest in the development, structure and timbre.
It caused too much effect on the Gamelan music originating in 1889. A more naturalistic music, linguistics has linked to the expression and the flow of dramatic events and psychological. This is becoming more evident from 1890 where abandoned his first preference for abstract music for a more programmatic, but favoring a poetic evocation of feelings, impressions and atmospheric landscapes. (Admiring the pastoral Beethoven) This attitude is reflected in the first of his major orchestral works “Prelude to the Afternoon of a Faun “, 1894, the” three night “(the trio Sirens introduces a wordless female chorus) and the opera Pelleas et Melisande 1893-1902, where despite the existence of a music history seem to respond to personajes.Con inner world of the faun, with its delicate, undulating solo flute melody illustrates the kind of free ornamental natural curves that the composer call arabesque. The same call this resource as the delicate tracery of Gregorian chant that solesmes.Busca study in pure sound with new construction criteria, Webern influenced. Recognizes the importance of Wagner but takes borne either by or against him. Usica Debussy rejects shopping, entertainment. French taste forés but does not react with the frivolity and lounge. Interested Bizet, Massenet, when harpsichordist (Couperin) According Laborda, Debussy is a participant in the intellectual and moral commitment of declining Wagner, slightly inclined to art, with allusions. Language for expressing the evanescence of making conscious and artistic responsable.Admira Wagner for artistic and intellectual commitment. Art can not cover everything and have to leave open the window of freedom to create work. That music does not stress the word, but you must complete, for the listener to participate with their imagination and mind.
“La siesta del fauno”
1984 caused a major scandal when it was first presented in Paris, for its explicit eroticism and its radical departure from the tradition of classical ballet. The choreography created represented an aspect of lively Greek bas-relief, where the dancers debmove an opposition to the classical rules taught before. Debussy took two years to compose the musical counterpart of the poem: from 1892 to 1894. The work is considered by some experts as the starting point of modernity musical.Cambios relations between instruments, with the sets. The dancer is more integrated. “L’Après-midi d’un Faune” inspired in Stéphane Mallarmé’s poem entitled “The Afternoon of a Faun”, was released on 29 May 1912 by Vaslav Nijinsky, on a score by Claude Debussy with staging by Leon Baskt Pelleas et Melisandre, 1893-1902.
strong personal stamp that prints Debussy completed his only opera and the deliberate surrender that it is produced by some molds established as the archetypal lyric.
In Pelléas no arias or set numbers or dramatic characterization, or major expansions orquestales.Hay, N creative work of exquisite subtlety, designed on the basis of small strokes, in which developments are never short crystallize in more than suggestion and printing, always within an ambiguous musical structure in which there develops a flat vocal line uniforme.En the opening bars of the prelude of the opera Tristan chord appears. Note that the harmony of the supposedly isolated strokes Pelléas is heir in direct line-and therefore debtor-Wagnerian genius, namely by the chromaticism of Debussy admired