Relating Music and Art

Curated by Becky Reilly

The concept of Impression, Sunrise is simple enough.  Monet's view of the port at Le Havre could not be called a view, but rather his Impression the scene.  Rather than delineate objects, Monet instead creates tension through his moving, active brushstrokes and the paired complimentary orange and blue.  He was not to first to experiment in impression and unclear technique, as in J.M.W. Turner's murky Slave Ship, but his unrefined style, without attempt to hide technique, sets him apart.  Monet's impression does not convey an image but a perception of an image.

Impressionist ideas influenced all art forms, which "Clair de Lune" and "Gymnopédie No. 1" exemplify.  "Clair de Lune," inspired by a Paul Verlaine poem, is probably Claude Debussy's most famous work, the third movement of his 1905 Suite Bergamasque.  Debussy, whose music is now classified as Classical Impressionism, focuses on atmosphere and gentle tonality.  Including short sections of rubato (like from 2:18 to 2:35) to allow for interpretation and added effect, the piece's tempo ranges greatly throughout, echoing sentimentality and contemplation even through the bittersweet, quickly played sections. "Gymnopédie No. 1" instead holds true to its subtitle, Lent et Doloreux, "slow and painful."  The minimalist, ambient piece seems out of place, only having been published in 1888.  Its broken-up chords and simplicity differ greatly from "Clair de Lune."  Rather than adding extra atmospheric notes like Debussy, Satie strives for ultimate utilitarianism.  Debussy, Monet, and Satie only pursue one goal -- rather than literally depict their subject, they seek to create atmosphere and suggest themes.  They abandon conventional technique to appeal to humanity; rather than relating to a subject, viewers suddenly find themselves in the artist's mind.