Impressionism in painting, music and literature. Musical impressionism

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✪ Edgar Degas “Movement of Color” [ Short story long life]

✪ Russian impressionism and its predecessors

✪ Russian impressionist artists

✪ Konstantin Korovin. "Paris"

Subtitles

Origin

Musical impressionism has, first of all, impressionism as its predecessor. French painting. They not only have common roots, but also cause-and-effect relationships. And the main impressionist in music, Claude Debussy, and especially Erik Satie, his friend and predecessor on this path, and Maurice Ravel, who took the baton of leadership from Debussy, looked for and found not only analogies, but also expressive means in the works of Claude Monet, Paul Cézanne , Puvis de Chavannes and Henri de Toulouse-Lautrec.

The term “impressionism” itself in relation to music is emphatically conditional and speculative in nature (in particular, Claude Debussy himself repeatedly objected to it, however, without offering anything definite in return). It is clear that the means of painting, associated with vision, and the means of musical art, based mostly on hearing, can be connected with each other only with the help of special, subtle associative parallels that exist only in the mind. Simply put, the blurry image of Paris “in the autumn rain” and the same sounds, “muffled by the noise of falling drops” in themselves already have the property of an artistic image, but not a real mechanism. Direct analogies between the means of painting and music are possible only through composer's personality who has been personally influenced by artists or their paintings. If an artist or composer denies or does not recognize such connections, then talking about them becomes, at a minimum, difficult. However, before us as an important artifact there are confessions and, (what matters most) the works themselves characters musical impressionism. It was Erik Satie who expressed this idea more clearly than others, constantly emphasizing how much he owes to artists in his work. He attracted Debussy to himself with the originality of his thinking, independent, rough character and caustic wit, which absolutely did not spare any authorities. Also, Satie interested Debussy with his innovative piano and vocal compositions, written with a bold, although not entirely professional, hand. Here below are the words with which in 1891 Satie addressed his newly found friend, Debussy, encouraging him to move on to the formation of a new style:

When I met Debussy, he was full of Mussorgsky and persistently sought ways that were not so easy to find. In this regard, I have long surpassed him. I was not burdened by either the Rome Prize or any others, for I was like Adam (from Paradise), who never received any prizes - definitely lazy!...
At this time I was writing “Son of the Stars” to a libretto by Péladan and explained to Debussy the need for a Frenchman to free himself from the influence of Wagnerian principles that do not correspond to our natural aspirations. I also said that although I am in no way an anti-Wagnerist, I still believe that we should have our own music and, if possible, without “German sauerkraut.” But why not for these purposes use the same visual means that we see in Claude Monet, Cezanne, Toulouse-Lautrec and others? Why not transfer these funds to music? Nothing could be simpler. Isn't this what real expressiveness is?

But if Satie derived his transparent and stingy impressionism from the symbolic painting of Puvis de Chavannes, then Debussy (through the same Satie) experienced the creative influence of more radical impressionists, Claude Monet and Camille Pissarro.

It is enough just to list the names of the most striking works of Debussy or Ravel to get a complete idea of the impact on their work of both visual images and landscapes of impressionist artists. So, in the first ten years, Debussy wrote “Clouds”, “Prints” (the most figurative of which, a watercolor sound sketch - “Gardens in the Rain”), “Images” (the first of which, one of the masterpieces of piano impressionism, “Reflections on the Water ", evokes direct associations with famous painting Claude Monet "Impression: Sunrise")… By famous expression Mallarmé, impressionist composers studied "hear the light", convey in sounds the movement of water, the vibration of leaves, the blowing of wind and refraction sun rays in the evening air. The symphonic suite “The Sea from Dawn to Noon” suitably summarizes Debussy’s landscape sketches.

Despite his often-publicized personal opposition to the term “impressionism,” Claude Debussy repeatedly expressed himself as a true impressionist artist. So, speaking about the earliest of his famous orchestral works, “Nocturnes", Debussy admitted that the idea for the first of them (“Clouds”) came to his mind on one of the cloudy days, when he was looking at the Seine from the Bridge of Concorde... Well Regarding the procession in the second part (“Celebrations”), this idea was born from Debussy: “... while contemplating the equestrian detachment of soldiers of the Republican Guard passing in the distance, whose helmets sparkled under the rays of the setting sun... in clouds of golden dust.” Likewise, the works of Maurice Ravel can serve as a kind of material evidence of direct connections from painting to music that existed within the Impressionist movement. The famous sound-visual “Play of Water”, the cycle of plays “Reflections”, the piano collection “Rustles of the Night” - this list is far from complete and it can be continued. Sati, as always, stands somewhat apart; one of the works that can be named in this regard is, perhaps, “The Heroic Prelude to the Gates of Heaven.”

The surrounding world in the music of impressionism is revealed through the magnifying glass of subtle psychological reflections, subtle sensations born of contemplation of minor changes occurring around. These features make impressionism similar to another art movement that existed in parallel - literary symbolism. Erik Satie was the first to turn to the works of Josephin Péladan. A little later creativity Verlaine, Mallarmé, Louis and especially Maeterlinck found direct implementation in the music of Debussy, Ravel and some of their followers.

Despite all the obvious novelty musical language Impressionism often recreates some expressive techniques characteristic of the art of previous times, in particular, the music of French harpsichordists of the 18th century and the Rococo era. It would only be worth recalling such famous visual plays by Couperin and Rameau as “Little windmills" or "Chicken".

In the 1880s, before meeting Erik Satie and his work, Debussy was fascinated by the work of Richard Wagner and was completely in the wake of his musical aesthetics. After meeting with Satie and from the moment of creating his first impressionistic opuses, Debussy with surprising sharpness switched to the position of militant anti-Wagnerism. This transition was so sudden and sharp that one of Debussy’s close friends (and biographer), the famous musicologist Emile Vuillermeau, directly expressed his bewilderment:

“Debussy's anti-Wagnerism is devoid of greatness and nobility. It is impossible to understand how a young musician, whose entire youth was intoxicated by the intoxication of “Tristan” and who, in the formation of his language, in the discovery of an endless melody, undoubtedly owes so much to this innovative score, contemptuously ridicules the genius that has given him so much!
- (Emile Vuillermoz, “Claude Debussy”, Geneve, 1957.)

At the same time, Vuyermo, internally bound by relationships of personal hostility and enmity with Erik Satie, did not specifically mention him and released him as the missing link in the creation full picture. Indeed, French art of the late 19th century, crushed by Wagnerian musical dramas, asserted itself through impressionism. For a long time, it was precisely this circumstance (and the growing nationalism between the three wars with Germany) that prevented us from talking about the direct influence of Richard Wagner’s style and aesthetics on Impressionism. Perhaps the first to raise this question was the famous French composer of Cesar Franck's circle - Vincent d'Indy, Debussy's senior contemporary and friend. In his famous work"Richard Wagner and his influence on the musical art of France", ten years after Debussy's death, he expressed his opinion in categorical form:

“The art of Debussy is indisputably from the art of the author of Tristan; it rests on the same principles, is based on the same elements and methods of constructing the whole. The only difference is that Debussy interprets Wagner’s dramatic principles..., so to speak, a la française» .
- (Vincent d'Indy. Richard Wagner et son influence sur l'art musical français.)

Representatives of impressionism in music

The main environment for the emergence and existence of musical impressionism always remained France, where Claude Debussy’s constant rival was Maurice Ravel, who after 1910 remained practically the sole head and leader of the Impressionists. Erik Satie, who acted as the pioneer of the style, due to his nature was unable to move into active concert practice and, starting in 1902, openly declared himself not only in opposition to impressionism, but also founded a number of new styles, not only opposite, but also hostile to him. Interestingly, in this state of affairs, for another ten to fifteen years, Satie continued to remain a close friend, friend and opponent of both Debussy and Ravel, “officially” holding the post of “Forerunner” or the founder of this musical style. Likewise, Maurice Ravel, despite very complex and sometimes even openly conflicting personal relationships with Erik Satie, never tired of insisting that meeting him was of decisive importance for him and repeatedly emphasized how much he owes to Erik Satie in his work. Literally at every opportunity, Ravel repeated this to Satie himself “to his face,” which greatly surprised this universally recognized “the clumsy and brilliant Herald of new times” .

The followers of Debussy's musical impressionism were French composers of the early 20th century - Florent Schmitt, Jean Roger-Ducas, Andre Caplet and many others. The first to experience the charm of the new style was Ernest Chausson, who was friends with Debussy and, back in 1893, became acquainted with the first sketches of “The Afternoon of a Faun” hand-in-hand, performed by the author on the piano. Latest works Chausson clearly bears traces of the influence of just emerging impressionism - and one can only guess what the later work of this author might have looked like if he had lived at least a little longer. Following Chausson and other Wagnerists, members of César Frank's circle were influenced by the first impressionist experiments. Thus, Gabriel Piernet, Guy Ropartz and even the most orthodox Wagnerist Vincent d'Indy (the first performer of many orchestral works by Debussy) paid full tribute to the beauties of impressionism in their work. Thus, Debussy (as if in hindsight) still prevailed over his former idol- Wagner, whose powerful influence he himself overcame with such difficulty... The strong influence of early examples of impressionism was experienced by such a venerable master as Paul Dukas, and in the period before the First World War - Albert Roussel, who had already retired in his Second Symphony (1918). in his work away from impressionistic tendencies, to the great disappointment of his fans.

On turn of XIX-XX centuries, certain elements of the impressionist style were developed in other composition schools in Europe, peculiarly intertwined with national traditions. Of these examples, we can name the most striking: in Spain -

5th grade from 04/04/17

Lesson topic: “Musical colors” in the works of composers
impressionists.
Goal: expanding and deepening children’s understanding of visual arts
possibilities of musical art.
Tasks:
1. Development of children’s abilities to perceive artistic images created in
music by composers, to respond emotionally to them.
2. Consolidation of knowledge and ability to determine by ear musical means
expressiveness.
3. Acquaintance with the work of French composers M. Rovel and C. Debussy.
During the classes
1. Organizational stage
2. Singing
Performing the song “Music Lives Everywhere.”
3. New material
Teacher - Are the words of this song true? Is it really music, musical
sounds can be heard everywhere?
Children: Yes, in the sound of rain, car horns, the sound of wind in a chimney, on holidays...
Teacher - Let's close our eyes for a moment and listen to the world around us.
world. The sound of a phonogram of the sounds of nature and the street.
Teacher - Indeed, our world is filled with sounds in which you can hear
and music.
Can music depict the world around us with sounds? Draw
paintings like a real artist?
Children - Yes, E. Grieg’s music told about Norwegian nature and fairy tales,
P. Tchaikovsky “April. Snowdrop" about Russian nature...
Teacher - What colors did the music artist use?
Children - Musical.
Teacher - We have now determined the topic of our lesson “Musical
colors" in the works of composers
And we will find out which composers a little later. Let's try to list these
"musical colors"
Children - Tempo, dynamics (volume), timbre, rhythm, mode, register, melody.
The teacher is the basic musical “colors”, or rather musical means
expressiveness that composers use to create their
works.
The artistic and expressive means of painting include: tone,
coloring, stroke, color, line, contrast (color and light).
Tell me, where did the concept of “landscape” come into music?
What does it mean?
4. Preparation for mastering new knowledge.
Teacher: Performing a verse of a song about paintings.
1

If you see: a river is drawn in the picture,
Or spruce and white frost, or garden and clouds,
Or snow avalanche, or field and hut,
The painting must be called LANDSCAPE.
Teacher: Today we will turn to the work of the “musical impressionists”
music of 20th century French composers Claude Debussy and Maurice Ravel and
let's see how they portray in
musical landscape in his works.
The teacher reads the entire topic of the lesson on the slide: “Musical colors” in
works of impressionist composers.
You probably already have a question, who are the Impressionists?
Assimilation of new knowledge.
About impressionism.
art that originated in France in the 70s of the 19th century. Originated in painting and
named after Claude Monet’s painting “Impression. Sunrise".
Work in groups. Information about Composers - Impressionists - C. Debussy
and M. Ravel
The play by M. Ravel “The Play of Water” is performed
Listening to the play “Clouds” by C. Debussy..
Learning a song.
U: And now we will get acquainted with new song, which was written by the composer
Alexander Tolstobokov, it’s called “Dot, Dot, Comma.”
Work on the song, then summarize and summarize the entire lesson.
Lesson summary
Homework
Write down in your notebook the names of musical works known to you.
landscape theme.
Reflection
I learned in class today...
I managed…
It was difficult…
I was surprised today...
It was interesting…
Now I can...
About the paintings
1. If you see it in the picture
A river is drawn
Or spruce and white frost,
Or a garden and clouds,
Or a snowy plain
Or a field and a hut,
Required picture
It's called LANDSCAPE.
2. If you see it in the picture
Cup of coffee on the table
Or fruit drink in a large decanter,
Or a rose in crystal,
Or a bronze vase,
2

Or a pear, or a cake,
Or all items at once,
Know that this is a STILL LIFE.
3. If you see that from the picture
Is anyone looking at us?
Or a prince in an old cloak,
Or a steeplejack in a robe,
Pilot, or ballerina,
Or Kolka, your neighbor,
Required picture
It's called PORTRAIT.
3

composer Claude Debussy, a contemporary of Maurice Ravel, also lived in France.
Already in his conservatory years, he caused surprise and sometimes confusion among his
mentors in search of unusual sounds, the desire to get away from boring
musical stamps. Glubokoye
He is influenced not only by music, but also by other arts. One of the most
strong impressions associated with impressionist painting.
He is passionate about Debussy and modern Symbolist poetry with its understatement and
mesmerizing musicality. In the 90s, an original
musical style of the composer, the first mature works are born.
IMPRESSIONISM (from French - impression) - a movement in art,
originated in France in the 70s of the 19th century. Composers – impressionists –
C. Debussy and M. Ravel - inherited from artists the desire to convey
subtle moods, variability of the play of light, show different colors
shades. Their musical works are particularly colorful and
colorism.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Dot, dot, comma
It turned out to be a funny face.
Hands, legs, cucumber,
A little man appeared.

What will these dots see?
What will these pens build?
How far are these legs?
Will they take him away?
How will he live in the world?
We are not responsible for this
We drew it
That's all.

What are you, what are you, this is important,
So that he grows up brave,
So that I could find my way,
Calculate the run.
It's hard, it's hard
But it’s impossible otherwise
Only like that from a little man
A man will come out.

However, even children know
How to live in this world,
Easier than this question
There is nothing.
You just have to be truthful
Noble, fair,
Smart, honest, strong, kind
That's all.

How easy it all works out
In words and on paper,
How easy it is on a smooth map
Draw an arrow.
And then you have to go
Through mountains and ravines,
So first, little man,
Learn to walk.

Period, period, comma...
Period, period, comma...
Period, period, comma...
Period, period, comma...

In 1882 he began studying piano, and from 1887 he studied harmony. City
Sibur was located on the very border with Spain, where his father served at that time
a travel engineer, a passionate music lover, who instilled this love in his son.
In 1889, Ravel entered the Paris Conservatory, where he graduated
piano class. The young musician received a lot of help from his teacher Charles
de Berio, a famous pianist of the time. However, interest in improvisation
the creation of a composition appeared from Ravel after becoming acquainted with the work
the "underground" founder of musical impressionism and simply
extravagant composer Erik Satie, as well as a personal meeting with another
composer and pianist Ricardo Vines. Ravel created a piano
cycle The Game of Water, which played a revolutionary role in the development of French
piano school: the best features of pianism are combined here with the original
using the coloristic capabilities of the tool.
IMPRESSIONISM (from French - impression) - a direction in
art that emerged in France in the 70s of the 19th century. Composers –
the impressionists - C. Debussy and M. Ravel - inherited from the artists
the desire to convey the subtlest moods, the variability of the play of light,
show different color shades. Their musical works
They are particularly colorful and colorful.

The founder of musical impressionism was Claude Debussy, a French composer, pianist, conductor, and music critic. Debussy was not only one of the most important French composers, but also one of the most significant figures in music at the turn of the 19th and 20th centuries; his music represents a transitional form from late romantic music to modernism in 20th century music. In its

In his work, he relied on French musical traditions - the music of French harpsichordists (F. Couperin, J.F. Rameau), lyric opera and romances (C. Gounod, J. Massenet). The influence of Russian music (M.P. Mussorgsky, N.A. Rimsky-Korsakov), as well as French symbolist poetry and impressionist painting, was significant.

Debussy embodied fleeting impressions in music, the subtlest shades of human emotions and natural phenomena. He created an impressionistic melody, characterized by flexibility of nuances and at the same time vagueness. Debussy created a new pianistic style (études, preludes). His 24 preludes for piano, equipped with poetic titles (“Delphic dancers”, “Sounds and aromas flutter in the evening air”, “Girl with flaxen hair”, etc.), they create images of soft, unreal landscapes, imitate the plasticity of dance movements, evoke genre paintings.

Contemporaries considered the orchestral Prelude to “The Afternoon of a Faun” to be a kind of manifesto of musical impressionism, in which the characteristics of Debussy’s music were manifested. instability of moods, sophistication, sophistication, whimsical melody, colorful harmony. His works are characterized by subtle psychologism and vivid emotionality in expressing the feelings of the characters. Their echoes are found in the operas of G. Puccini, B. Bartok, I.F. Stravinsky

Thus, the work of Debussy, one of greatest masters 20th century., had a significant influence on composers in many countries, including Russia. Impressionism in music lasted until the end of the first decade of the 20th century.

5. Impressionism in literature

Impressionism in literature spread in the last third of the 19th and early 20th centuries.

In literature it never developed as a separate direction. Rather, we can talk about the features of impressionism within different movements of the era, primarily within naturalism and symbolism.

Symbolism sought to return to art the idea of the ideal, of a higher essence hidden behind ordinary objects. The appearance of the world is permeated with countless hints of this hidden essence - this is the main postulate of symbolism. But since the ideal is revealed to the poet through visible objects in an instantaneous impression, impressionistic poetics turned out to be a suitable way of conveying ideal content. The most striking example of poetic impressionism is the collection of poems by P. Verlaine “Romances without Words,” published in 1874, when the painting by C. Monet was exhibited. Verlaine's “landscapes of the soul” demonstrate that in poetry (and in literature in general) pure impressionism is impossible; any verbal “picture” seeks support for deep meaning. He Verlaine proclaimed the demand for “music first” and he himself cultivated the principle of “musicality” in his poetry. And this meant increased attention to the material of the poem, its sound instrumentation, the desire to convey a psychological state not only through description, but also through the very sound of the poem. In Russia, impressionist poets were Konstantin Balmont and Innokenty Annensky. Elements of impressionistic poetics can be found in many symbolist poets.

Impressionistic poetics acquires a special quality in the genre of the symbolist novel. Here it appears primarily as a special principle of text structure based on loosely connected associations, manifested in the nonlinearity of the narrative, the absence of a traditional plot, and the “stream of consciousness” technique. To varying degrees, these techniques were developed by Marcel Proust ("In Search of Lost Time", 1913-1925), Andrei Bely ("Petersburg", 1913-1914).

Impressionistic poetics fit well with the theory of naturalism. Naturalism sought above all to express nature. He demanded truthfulness, loyalty to nature, but this meant loyalty to the first impression. And the impression depends on a specific temperament; it is always subjective and fleeting. Therefore, in literature, as in painting, large strokes were used: one intonation, one mood, replacement of verbal forms with denominative sentences, replacement of generalizing adjectives with participles and gerunds expressing process, formation. The object was given in someone's perception, but the perceiving subject himself was dissolved in the object. The appearance of the object changed if the hero looked at it in different states. Descriptions of colors, smells, and elements were important.

In prose, the features of impressionism were most clearly manifested in the short stories of Guy de Maupassant, who is considered to be the most pronounced impressionist writer. By his own admission, Maupassant sought to construct a subjective “illusion of the world” through a careful selection of details and impressions. But in reality, this attitude is just an “illusion of impressionism.” “Pure observation,” proclaimed by the impressionists, implied the rejection of ideas in art, of generalization, of completeness. Impressionism was against the general, and therefore presupposed the absence of a complete plot, and therefore was most clearly manifested in short stories describing a small event in time, and often in significance.

In literature, more consistently than in painting, attempts were made to substantiate impressionism theoretically. After the novels and articles of Zola and the “Diaries” of the Goncourt brothers, “Impressionism” by J. Laforgue, “The Art of Prose” by G. James, “On Art” by Valery Bryusov appeared, which to varying degrees approached the “poetics of impressions”.

Impressionism was also embodied in criticism. Back in 1873, the English art critic W. Pater, in his book Renaissance, spoke of “impression” as the basis for the perception of a work of art. In an impressionistic essay, the assessment is given not from the point of view of known artistic canons, but on the basis of the personal view and taste of the author. “I prefer to feel rather than understand,” wrote A. France.

Conclusion

My essay examined impressionism as one of the trends in French art of the 19th century, namely impressionism in painting, music and literature.

We saw that impressionism arose and took shape in difficult times and was the last major artistic movement in France of the 19th century. This helped him become one of the most important phenomena in the art of recent centuries, which marked the beginning contemporary art. Despite all the internal diversity of this movement, all its followers - regardless of the field of work, be it music or painting - were united by the desire to convey emotions, impressions, every moment of life, every most insignificant change in the world around them. Impressionism renounced the rationality, reality and “museum quality” of classical art and was able to “open the eyes” of viewers and listeners to the importance and beautiful uniqueness of every moment.

(French impressionnisme, from impression - impression) - an artistic movement that arose in the 70s. XIX century in French painting, and then manifested itself in music, literature, theater. Outstanding impressionist painters (C. Monet, C. Pizarro, A. Sisley, E. Degas, O. Renoir, etc.) enriched the technique of depicting living nature in all its sensual charm. The essence of their art is in the subtlest recording of fleeting impressions, in a special manner of reproducing the light environment with the help of a complex mosaic of pure colors and cursory decorative strokes. Musical impressionism emerged in the late 80s and early 90s. He found his classical expression in the works of C. Debussy.

The application of the term “impressionism” to music is largely conditional: musical impressionism is not entirely analogous to the movement of the same name in painting. The main thing in the music of impressionist composers is the transmission of moods that acquire the meaning of symbols, the recording of subtle psychological states caused by contemplation outside world. This brings musical impressionism closer to the art of symbolist poets, which is characterized by the cult of the “inexpressible.” The term "impressionism" used music critics late 19th century in a judgmental or ironic sense, later became a generally accepted definition covering wide circle musical phenomena at the turn of the 19th and 20th centuries. both in France and in other European countries.

The impressionistic features of the music of C. Debussy, M. Ravel, P. Dukas, F. Schmit, J. Roger-Ducas and other French composers are manifested in their attraction to poetically inspired landscapes ("Afternoon of a Faun", "Nocturnes", "Sea" Debussy, "The Play of Water", "Reflections", "Daphnis and Chloe" by Ravel, etc.). Closeness to nature, subtle sensations arising from the perception of the beauty of the sea, sky, forest, are capable, according to Debussy, of arousing the composer’s imagination, bringing to life new sound techniques, free from academic conventions. Another sphere of musical impressionism is refined fantasy, generated by ancient mythology or medieval legends, the exotic world of the peoples of the East. Impressionist composers often combined the novelty of artistic means with the implementation of exquisite images of ancient art (Rococo painting, music of French harpsichordists).

Musical impressionism inherited some features inherent in late romanticism and the national schools of the 19th century: interest in the poeticization of antiquity and distant countries, timbre and harmonic beauty, and the resurrection of archaic modal systems. The poetic miniaturism of F. Chopin and R. Schumann, the sound painting of the late F. Liszt, the coloristic discoveries of E. Grieg, N. A. Rimsky-Korsakov, the freedom of voice and the spontaneous improvisation of M. P. Mussorgsky found an original continuation in the works of Debussy and Ravel. Talentedly summarizing the achievements of their predecessors, these French masters at the same time sharply rebelled against academization romantic traditions; They opposed art to the pathetic exaggerations and sound oversaturation of R. Wagner’s musical dramas restrained emotions and transparent meager texture. This also reflected the desire to revive the specifically French tradition of clarity and economy of expressive means, contrasting them with the heaviness and thoughtfulness of German romanticism.

In many examples of musical impressionism, an enthusiastic and hedonistic attitude towards life appears, which makes them similar to the paintings of the impressionists. Art for them is a sphere of pleasure, admiring the beauty of color, the sparkle of light, serene tones. At the same time, acute conflicts and deep social contradictions are avoided.

In contrast to the clear relief and purely material palette of Wagner and his followers, the music of the Impressionists is often characterized by subtlety, tenderness, and the fluent changeability of sound images. “Listening to impressionist composers, you mostly revolve in a circle of foggy iridescent sounds, tender and fragile to the point that the music suddenly dematerializes... only in your soul leaving for a long time the echoes and reflections of intoxicating ethereal visions” (V.G. Karatygin).

The aesthetics of impressionism influenced all major genres of music: instead of developed multi-movement symphonies, symphonic sketches began to be cultivated, combining the watercolor softness of sound painting with the symbolist mystery of moods; V piano music- equally compressed program miniatures based on a special technique of sound “resonance” and landscape painting; The romantic song was replaced by a vocal miniature with a predominance of restrained recitation, combined with the colorful imagery of the instrumental background. In the opera house, impressionism led to the creation of musical dramas of semi-legendary content, marked by the enchanting delicacy of the sound atmosphere, the spareness and naturalness of vocal declamation. With some deepening of psychological expressiveness, the static nature of drama was reflected in them ("Pelléas and Mélisande" by Debussy).

The work of impressionist composers has greatly enriched the palette of musical and expressive means. This applies primarily to the sphere of harmony with its technique of parallelism and whimsical stringing of unresolved colorful consonances-spots. The Impressionists significantly expanded the modern tonal system, opening the way for many harmonic innovations of the 20th century. (although they noticeably weakened the clarity of functional connections). The complication and swelling of chord complexes (non-chords, undecimated chords, altered and fourth harmonies) are combined with simplification, archaization of modal thinking (natural modes, pentatonic, whole-tone complexes). The orchestration of impressionist composers is dominated by pure colors and capricious highlights; Woodwind solos, harp passages, complex string divisi, and con sordino effects are often used. Purely decorative, uniformly flowing ostinat backgrounds are also typical. The rhythm is sometimes unsteady and elusive. Melodics are not characterized by rounded constructions, but short expressions. phrases-symbols, layers of motives. At the same time, in the music of the Impressionists the significance of each sound, timbre, and chord was unusually enhanced, and the limitless possibilities of expanding the scale were revealed. Particular freshness was given to the music of the Impressionists by the frequent use of song and dance genres, the subtle implementation of modal and rhythmic elements borrowed from the folklore of the peoples of the East, Spain, and in the early forms of black jazz.

At the beginning of the 20th century. musical impressionism spread outside of France, gaining various peoples specific national traits. In Spain, M. de Falla, in Italy, O. Respighi, the young A. Casella and J. F. Malipiero originally developed the creative ideas of French impressionist composers. English musical impressionism is unique with its “northern” landscape style (F. Dilius) or spicy exoticism (S. Scott). In Poland, musical impressionism was represented by K. Szymanowski (until 1920) with his ultra-refined images of antiquity and others. East. Influence French impressionism experienced at the beginning of the 20th century. and some Russian composers (N. N. Cherepnin, V. I. Rebikov, S. N. Vasilenko in early years his creativity). A. N. Scriabin combined the independently formed features of impressionism with fiery ecstasy and violent impulses of will. The fusion of the traditions of N. A. Rimsky-Korsakov's music with the original influences of French impressionism is noticeable in the early scores of I. F. Stravinsky ("The Firebird", "Petrushka", the opera "The Nightingale"). At the same time, Stravinsky and S.S. Prokofiev, along with B. Bartok, turned out to be the founders of a new, “anti-impressionist” trend in European music on the eve of the First World War.

I. V. Nestyev

French musical impressionism

The work of two major French composers Debussy and Ravel is the most significant phenomenon in French music at the turn of the 19th and 20th centuries, a bright outbreak of deeply humane and poetic art in one of the most difficult and controversial periods in the development of French culture.

The artistic life of France in recent years quarter of the XIX century was distinguished by amazing diversity and contrasts. On the one hand, the appearance of the brilliant “Carmen” - the pinnacle of realism in French opera, a whole series of deep in concept, artistically significant symphonic and chamber works by Frank, Saint-Saens, Fauré and Debussy; on the other hand, the established dominance in musical life the capital of France such institutions as the Paris Conservatory, the Academy of Fine Arts with their cult of dead “academic” traditions.

An equally striking contrast is the spread in the broadest strata of French society of such democratic forms of musical life as mass singing societies, the socially acute in spirit activities of Parisian chansonniers, and along with this, the emergence of an extremely subjective trend in French art - symbolism, which corresponded primarily to the interests of the aesthetic elite of bourgeois society with their slogan “art for the elite.”

In such a difficult situation, one of the most interesting, vibrant movements in French art of the second half of the 19th century was born - impressionism, which arose first in painting, then in poetry and music.

In the visual arts, this new direction united artists of very unique and individual talent - E. Manet, C. Monet, O. Renoir, E. Degas, C. Pissarro and others. It would be incorrect to unconditionally classify all of these artists as impressionism, because each of them had his own favorite subject area and original style of painting. But at first they were united by hatred of official “academic” art, alien to the life of modern France, devoid of real humanity and direct perception of the environment.

“Academicians” were distinguished by their exceptional passion for the aesthetic norms of ancient art, for mythological and biblical stories, and the impressionists were much more close to the themes and figurative sphere of creativity of such artists of the previous era as Camille Corot and especially Gustave Courbet.

The main thing that the Impressionists inherited from these artists was that they left the studios into the open air and began to paint directly from life. This opened up new ways for them to comprehend and display the world around them. K. Pissarro said: “You cannot think about painting a really serious picture without nature.” The most characteristic feature of their creative method was the transmission of the most direct impressions of a particular phenomenon. This gave some critics reason to either rank them with the then fashionable naturalism with its superficial “photographic” perception of the world, or accuse them of replacing the reflection of real phenomena with their purely subjective sensations. If the reproach of subjectivism had a basis in relation to a number of artists, then the accusation of naturalism was not well founded, because most of them (Monet, Renoir, Degas, Van Gogh) had a whole series of paintings, although they seem to be momentary sketches, as if snatched “ from life”, actually appeared as a result of a long search and selection of a characteristic, typical and deep generalization of life observations.

Most impressionists always emphasized the importance of choosing a specific theme for their paintings. The eldest of them, Edouard Manet, said: “Color is a matter of taste and sensitivity. But you need to have something to say. Otherwise, goodbye!.. You also need to be excited about the topic.”

The main theme of their work was France - its nature, life and people: fishing villages and noisy Parisian streets, the bridge in Moret and the famous cathedral in Rouen, peasants and ballerinas, laundresses and fishermen.

The landscape was a real revelation in the paintings of impressionist artists. Their innovative aspirations were revealed here in all their diversity and richness of shades and nuances. Genuine living colors of nature, a sense of air transparency, the finest play of chiaroscuro, etc. appeared on the canvases of the Impressionists.

New subjects and a constant great interest in nature demanded from the Impressionists a special pictorial language, the discovery of stylistic patterns of painting based on the unity of form and color. They were able to establish that the color in a painting can be formed not necessarily by mixing colors on the palette, but as a result of “pure” tones placed nearby, which form a more natural optical mixture; that shadows are not only a consequence of low illumination of an object, but can themselves give rise to a new color; that color, just like line, can “blind” an object, give it a clear, defined shape, etc.

The novelty of the subject matter and especially the method of the impressionist artists caused a sharply negative attitude from the official artistic circles of Paris. The official press called the first exhibition of the Impressionists “an attack on good artistic morals” and respect for the masters of classical French art.

In an atmosphere of continuous struggle between traditional and new trends in painting and poetry, musical impressionism took shape. It also arose as a direct opposition to the outdated, but tenaciously held “academic” traditions in the musical art of France at the end of the last century. The first and most prominent representative of this trend was Claude Debussy. The composer who largely continued the creative aspirations of Debussy, but at the same time found his own original and original path of development, was Maurice Ravel. Their first creative experiments met with the same hostile attitude from the leadership of official institutions - the Paris Conservatory, the Academy of Fine Arts, as the paintings of impressionist artists. They had to make their way in art alone, because they had almost no like-minded people or associates. The entire life and creative path of Debussy and Ravel is a path of painful searches and happy discoveries of new themes and plots, bold experiments in the field of musical genres and means of musical language.

Despite the common origins of their work and artistic environment, both artists are deeply individual in their creative appearance. This was manifested in the choice of certain themes and subjects by each of them, and in their attitude to national folklore, and in the nature of the evolution of each person’s creative path, and in many important features of the style.

Musical impressionism (like painting) grew out of national traditions French art. This was manifested in Debussy and Ravel in strong, although not always outwardly noticeable, connections with French folk art (where the most living example for them could be the deeply national in nature work of Wiese), in close communication with contemporary literature and painting (which was always typical for French music of various historical periods), in an exceptional role in their work of program instrumental music, with a special interest in ancient culture. But the closest phenomena that directly prepared musical impressionism still remain modern French poetry (where at that time the figure of the poet Paul Verlaine, who was close in spirit to the impressionists, emerged) and, especially, pictorial impressionism. If the influence of poetry (mainly symbolist) is found mainly in the early works of Debussy and Ravel, then the influence of pictorial impressionism on the work of Debussy (and to a lesser extent on Ravel) turned out to be broader and more fruitful.

In the works of impressionist artists and composers, related themes are found: colorful genre scenes, portrait sketches, but landscape occupies an exceptional place.

There are common features in the artistic method of pictorial and musical impressionism - the desire to convey the first direct impression of a phenomenon. Hence the attraction of the Impressionists not to monumental, but to miniature forms (in painting - not to a fresco or large composition, but to a portrait, sketch; in music - not to a symphony, oratorio, but to a romance, piano or orchestral miniature with a free improvisational manner presentation) (This is more characteristic of Debussy than of Ravel. In his mature work, Ravel shows a special interest in large instrumental forms - sonata, concerto, as well as opera and ballet.).

Most of all, pictorial impressionism influenced music in the field of expressive means. Just as in painting, the searches of Debussy and Ravel were aimed at expanding the range of expressive means necessary for the embodiment of new images, and, first of all, at maximizing the enrichment of the colorful side of music. These searches touched on mode and harmony, melody and metrhythm, texture and instrumentation. The importance of melody as the main expressive element of music is weakened; at the same time, the role of modal-harmonic language and orchestral style, due to their capabilities, are more inclined to convey pictorial-figurative and coloristic principles.

The new expressive means of impressionist composers, with all their originality and specificity, have some analogies with the pictorial language of impressionist artists. The frequent appeal of Debussy and Ravel to ancient folk modes (pentatonic, Dorian, Phrygian, Mixolydian and others), as well as the whole-tone scale in combination with natural major and minor, is similar to the enormous enrichment of the color palette of impressionist artists; prolonged “balancing” between two distant tonalities without a clear preference for one of them is somewhat reminiscent of the subtle play of chiaroscuro on a canvas; the juxtaposition of several tonic triads or their inversions in distant keys produces an impression similar to small strokes of “pure” paints located side by side on the canvas and forming an unexpectedly new color combination, etc.

The work of Debussy and Ravel (as well as impressionist artists) was also affected by a certain limitation of impressionist aesthetics. It found expression in the narrowing of the range of themes, the artistic and figurative sphere of their work (especially in comparison with their great predecessor Berlioz, the music of the era french revolution), in indifference to the heroic-historical and social issue. On the contrary, clear preference is given to a musical landscape, a genre scene, a characteristic portrait, and less often to a myth or fairy tale. But at the same time, Debussy and especially Ravel, in a number of major works, overcome the limitations of impressionist aesthetics and create such psychologically profound works as the Second Piano Concerto and “Tomb of Couperin” (Ravel), grandiose in terms of the scale of symphonic development “Waltz” and “Bolero” ( Ravel), bright colorful paintings folk life, like “Iberia” and “Celebrations” (Debussy), “Rhapsody Spanish” (Ravel).

Unlike numerous directions modernist art, which blossomed in full bloom at the beginning of the 20th century (expressionism, constructivism, urbanism and others), the work of two French artists distinguished by a complete absence of painful sophistication, relishing the terrible and ugly, substituting the emotional perception of the environment with the “construction” of music. The art of Debussy and Ravel, like the paintings of the Impressionist artists, glorifies the world of natural human experiences, sometimes deeply dramatic, but more often conveys a joyful feeling of life. It's truly optimistic.

Most of their works seem to rediscover the beautiful poetic world of nature for listeners, painted with subtle, enchanting and captivating colors of a rich and original sound palette.

The historical significance of the legacy of Debussy and Ravel was aptly and accurately defined by Romain Rolland, saying: “I have always looked at Ravel as greatest artist French music, together with Rameau and Debussy - one of the greatest musicians of all time."

B. Ionin

An artistic movement of the late 19th and early 20th centuries, based on the desire to convey fleeting impressions, subjective sensations and moods of the artist. It originally arose in French painting, then spread to other arts and countries. In choreography, the desire to capture the moment, characteristic of impressionism, was based on improvisation and opposed to the creation of a completed artistic form. IN ballet theater based on complex technology dance and developed dance forms, consistent impressionism would mean its self-destruction, and therefore it did not receive significant distribution. Impressionism manifested itself mainly in the so-called. free dance. A. Duncan defended the idea of “liberating the body” and intuitive interpretation of music, without any. dance standards. Impressionism in dance also became widespread in Germany. M. M. Fokin tried to bring impressionism closer to the ballet stage. Recreating scenes from different eras in performances (Pavilion of Armida, Chopiniana, both 1907; Egyptian Nights, 1908, etc.), Fokine resorted to stylization. Later, the structure of dance became increasingly blurred in his works. Complete forms (pas de deux, adagio, variation, etc.) were rejected and even parodied (for example, in the ballet "Bluebeard"). At the same time, the features of impressionism in Fokine’s work are only one of its facets.

Subsequently to replace big performance miniatures are coming more and more often. However, in the pursuit of faithful transmission of an instant impression, the themes were reduced and the script dramaturgy was neglected. Impressionism quickly exhausted its possibilities.

Ballet. Encyclopedia, SE, 1981

Origin

Musical impressionism has, first of all, impressionism in French painting as its predecessor. They not only have common roots, but also cause-and-effect relationships. And the main impressionist in music, Claude Debussy, and especially Erik Satie, his friend and predecessor on this path, and Maurice Ravel, who took the baton of leadership from Debussy, looked for and found not only analogies, but also expressive means in the works of Claude Monet, Paul Cézanne , Puvis de Chavannes and Henri de Toulouse-Lautrec.

The term “impressionism” itself in relation to music is emphatically conditional and speculative in nature (in particular, Claude Debussy himself repeatedly objected to it, however, without offering anything definite in return). It is clear that the means of painting, associated with vision, and the means of musical art, based mostly on hearing, can be connected with each other only with the help of special, subtle associative parallels that exist only in the mind. Simply put, the blurry image of Paris “in the autumn rain” and the same sounds, “muffled by the noise of falling drops” in themselves already have the property of an artistic image, but not a real mechanism. Direct analogies between the means of painting and music are possible only through composer's personality who has been personally influenced by artists or their paintings. If an artist or composer denies or does not recognize such connections, then talking about them becomes, at a minimum, difficult. However, before us as an important artifact there are confessions and, (what matters most) the works themselves of the main characters of musical impressionism. It was Erik Satie who expressed this idea more clearly than others, constantly emphasizing how much he owes to artists in his work. He attracted Debussy to himself with the originality of his thinking, independent, rough character and caustic wit, which absolutely did not spare any authorities. Also, Satie interested Debussy with his innovative piano and vocal compositions, written with a bold, although not entirely professional, hand. Here below are the words with which Satie addressed his newly found friend, Debussy, in 1891, encouraging him to move on to the formation of a new style:

When I met Debussy, he was full of Mussorgsky and persistently sought ways that were not so easy to find. In this regard, I have long surpassed him. I was not burdened by either the Rome Prize or any others, for I was like Adam (from Paradise), who never received any prizes - definitely lazy!... At this time I was writing “Son of the Stars” to a libretto by Péladan and explained to Debussy the need for a Frenchman to free himself from the influence of Wagnerian principles that do not correspond to our natural aspirations. I also said that although I am in no way an anti-Wagnerist, I still believe that we should have our own music and, if possible, without “German sauerkraut.” But why not for these purposes use the same visual means that we see in Claude Monet, Cezanne, Toulouse-Lautrec and others? Why not transfer these funds to music? Nothing could be simpler. Isn't this what real expressiveness is?

- (Erik Satie, "Claude Debussy", Paris, 1923).

It is enough just to list the names of the most striking works of Debussy or Ravel to get a complete idea of the impact on their work of both visual images and landscapes of impressionist artists. So, in the first ten years, Debussy wrote “Clouds”, “Prints” (the most figurative of which, a watercolor sound sketch - “Gardens in the Rain”), “Images” (the first of which, one of the masterpieces of piano impressionism, “Reflections on the Water ", evokes direct associations with the famous painting by Claude Monet "Impression: Sunrise")… According to the famous expression of Mallarmé, impressionist composers studied "hear the light", convey in sounds the movement of water, the vibration of leaves, the blowing of wind and the refraction of sunlight in the evening air. The symphonic suite “The Sea from Dawn to Noon” suitably summarizes Debussy’s landscape sketches.

Despite his often-publicized personal opposition to the term “impressionism,” Claude Debussy repeatedly expressed himself as a true impressionist artist. So, speaking about the earliest of his famous orchestral works, “Nocturnes”, Debussy admitted that the idea for the first of them (“Clouds”) came to his mind on one of the cloudy days, when he was looking at the Seine from the Pont de la Concorde... Well Regarding the procession in the second part (“Celebrations”), this idea was born from Debussy: “... while contemplating the equestrian detachment of soldiers of the Republican Guard passing in the distance, whose helmets sparkled under the rays of the setting sun... in clouds of golden dust.” Likewise, the works of Maurice Ravel can serve as a kind of material evidence of direct connections from painting to music that existed within the Impressionist movement. The famous sound-visual “Play of Water”, the cycle of plays “Reflections”, the piano collection “Rustles of the Night” - this list is far from complete and it can be continued. Sati, as always, stands somewhat apart; one of the works that can be named in this regard is, perhaps, “The Heroic Prelude to the Gates of Heaven.”

The surrounding world in the music of impressionism is revealed through the magnifying glass of subtle psychological reflections, subtle sensations born of contemplation of minor changes occurring around. These features make impressionism similar to another art movement that existed in parallel - literary symbolism. Erik Satie was the first to turn to the works of Josephin Peladan. A little later, the work of Verlaine, Mallarmé, Louis and especially Maeterlinck found direct implementation in the music of Debussy, Ravel and some of their followers.

Ramon Casas (1891) "The Money Mill" (impressionist painting with the figure of Satie)

Despite all the obvious novelty of the musical language, impressionism often recreates some expressive techniques characteristic of the art of previous times, in particular, the music of French harpsichordists of the 18th century and the Rococo era. It would only be worth recalling such famous visual plays by Couperin and Rameau as “Little Windmills” or “The Hen”.

“Debussy's anti-Wagnerism is devoid of greatness and nobility. It is impossible to understand how a young musician, whose entire youth was intoxicated by the intoxication of “Tristan” and who, in the formation of his language, in the discovery of an endless melody, undoubtedly owes so much to this innovative score, contemptuously ridicules the genius that has given him so much!

- (Emile Vuillermoz, “Claude Debussy”, Geneve, 1957.)

At the same time, Vuillermeau, internally bound by a relationship of personal hostility and enmity with Erik Satie, did not specifically mention him and released him as a missing link in creating a complete picture. Indeed, French art of the late 19th century, crushed by Wagnerian musical dramas, asserted itself through impressionism. For a long time, it was precisely this circumstance (and the growing nationalism between the three wars with Germany) that prevented us from talking about the direct influence of Richard Wagner’s style and aesthetics on Impressionism. Perhaps the first to raise this question was the famous French composer of Cesar Franck's circle - Vincent d'Indy, Debussy's senior contemporary and friend. In his famous work "Richard Wagner and his influence on the musical art of France", ten years after Debussy's death, he expressed his opinion in categorical form:

“The art of Debussy is indisputably from the art of the author of Tristan; it rests on the same principles, is based on the same elements and methods of constructing the whole. The only difference is that Debussy interprets Wagner’s dramatic principles..., so to speak, a la française».

- (Vincent d'Indy. Richard Wagner et son influence sur l'art musical francais.)

Representatives of impressionism in music

Debussy and Satie (photo by Stravinsky, 1910)

The main environment for the emergence and existence of musical impressionism always remained France, where Claude Debussy's constant rival was Maurice Ravel, who after 1910 remained practically the sole head and leader of the impressionists. Erik Satie, who acted as the pioneer of the style, due to his nature was unable to move into active concert practice and, starting in 1902, openly declared himself not only in opposition to impressionism, but also founded a number of new styles, not only opposite, but also hostile to him. Interestingly, in this state of affairs, for another ten to fifteen years, Satie continued to remain a close friend, friend and opponent of both Debussy and Ravel, “officially” holding the post of “Forerunner” or founder of this musical style. Likewise, Maurice Ravel, despite very complex and sometimes even openly conflicting personal relationships with Erik Satie, never tired of insisting that meeting him was of decisive importance for him and repeatedly emphasized how much he owes to Erik Satie in his work. Literally at every opportunity, Ravel repeated this to Satie himself “to his face,” which greatly surprised this universally recognized “the clumsy and brilliant Herald of new times”.

The followers of Debussy's musical impressionism were French composers of the early 20th century - Florent Schmitt, Jean-Jules Roger-Ducas, Andre Caplet and many others. The first to experience the charm of the new style was Ernest Chausson, who was friends with Debussy and became acquainted with the first sketches back in 1893. Afternoon rest faun" from under the hands, performed by the author on the piano. Chausson's last works clearly bear traces of the influence of just emerging impressionism - and one can only guess what this author's later work might have looked like if he had lived at least a little longer. Following Chausson and other Wagnerists, members of Cesar Franck's circle were influenced by the first impressionist experiments. Thus, Gabriel Piernet, Guy Ropartz and even the most orthodox Wagnerist Vincent d'Indy (the first performer of many of Debussy's orchestral works) paid full tribute to the beauties of impressionism in their work. Thus, Debussy (as if in retrospect) still prevailed over his former idol - Wagner, whose powerful influence he himself overcame with such difficulty... Such a venerable master as Paul Dukas experienced the strong influence of early examples of impressionism, and in the period before World War I - Albert Roussel, already in his Second Symphony (1918) moved away from impressionistic tendencies in his work, to the great disappointment of his fans.

At the turn of the 19th and 20th centuries, certain elements of the impressionist style were developed in other composition schools in Europe, uniquely intertwined with national traditions. Of these examples, we can name the most striking: in Spain - Manuel de Falla, in Italy - Ottorino Respighi, in Brazil - Heitor Villa-Lobos, in Hungary - the early Bela Bartok, in England - Frederick Delius, Cyril Scott, Ralph Vaughan - Williams, Arnold Bax and Gustav Holst, in Poland - Karol Szymanowski, in Russia - early Igor Stravinsky - (of the Firebird period), late Lyadov, Mikalojus Konstantinas Ciurlionis and Nikolai Tcherepnin.

In general, it should be recognized that the life of this musical style was quite short even by the standards of the fleeting 20th century. The first traces of a departure from the aesthetics of musical impressionism and the desire to expand the limits of its inherent forms of musical thinking can be found in the work of Claude Debussy himself after 1910. As for the pioneer of the new style, Erik Satie, before anyone else, after the premiere of Pelleas in 1902, he decisively left the growing ranks of supporters of impressionism, and ten years later he organized criticism, opposition and direct opposition to this trend. By the early 30s of the 20th century, impressionism had already become old-fashioned, turned into a historical style and completely left the arena of contemporary art, dissolving (as individual colorful elements) in the work of masters of completely different stylistic directions (for example, individual elements of impressionism can be distinguished in works by Olivier Messiaen, Takemitsu Toru, Tristan Murai and others.

Notes

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Erik Satie, Yuri Khanon Memories in hindsight. - St. Petersburg. : Center Middle Music& Faces of Russia, 2010. - P. 510. - 682 p. - ISBN 978-5-87417-338-8
Erik Satie. Ecrits. - Paris: Editions champ Libre, 1977. - P. 69.
Emile Vuillermoz. Claude Debussy. - Geneve, 1957. - P. 69.
Claude Debussy. Selected letters (compiled by A. Rozanov). - L.: Music, 1986. - P. 46.
edited by G. V. Keldysh. Musical encyclopedic dictionary. - M.: Soviet encyclopedia, 1990. - P. 208.
Schneerson G. French music of the 20th century. - M.: Music, 1964. - P. 22.
Vincent d'Indy. Richard Wagner et son influence sur l’art musical francais. - Paris, 1930. - P. 84.
Volkov S. History of culture of St. Petersburg. - second. - M.: "Eksmo", 2008. - P. 123. - 572 p. - 3000 copies.
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Ravel in the mirror of his letters. - L.: Music, 1988. - P. 222. Compiled by M. Gerard and R. Chalus.
Schneerson G. Ravel in the mirror of his letters. - L.: Music, 1988. - P. 220-221.
French music of the 20th century. - M.: Music, 1964. - P. 154. Filenko G.

French music of the first half of the 20th century. - L.: Music, 1983. - P. 12.

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