The term “impressionism” was borrowed from late 19th-century French painting. The term was first used to mock Monet’s painting Impression, Sunrise (1873), because the painting did not present clear outlines. The term was later used to categorize paintings by Manet, Degas, Renoir, etc. This term was also used on works by Turner, Whistler, and also the literary style of Poe that features free verse and fluidity in symbolist poetry. The term was not applied to music until in the 1880s; in 1887 Debussy’s music was attacked for its “envoi”—such as the exaggerated sense of musical colour—and therefore the term became “one of the most dangerous enemies of truth in all.”
Impressionistic arts emphasize the immediate response upon hearing, feeling, seeing upon receiving a work of art. The work therefore evokes more of the subjective thoughts rather than objective portrayal. Despite the subjective emphasis, impressionist composers also believe that such works can also connect the subject with object by presenting the interaction between them. Impressionist composers commonly make use of ninths, distant overtones, multiple resonance, influences from the distant past or exotic places to create a musical space. Important representatives in music include Beethoven’s Sixth Symphony, which paints the sensual world with sound. Wagner’s nature music, such as the forest murmurs in Siegfried, also brings out the vagueness of impressionism.
More importantly, Debussy was not only a significant representative of impressionism but his extension of concepts about impressionism also impacts the future of music. In Debussy’s Printemps, the slow and arduous portrayal of the birth of things in nature is clearly impressionist. The unusual color, mosaic-like effect, unusual orchestral colors such as harp harmonics, muted cymbals, and wordless chorus all reflect impressionist ideas. Debussy’s Prélude de l’aprés-midi d’un faune makes use of sound-colors and portrays the mysterious interaction between nature and the imagination. However, it should not be mistaken that Debussy’s works were purely impressionist. His use of folk songs and the strong melodic character in works by Ravel, another important representative of impressionism, prove that their impressionist music was not entirely impressionist.
Neo-impressionism and post-impressionism in the twentieth century, influenced by Gauguin and Matisse, brought the idea into a more exaggerated level. Stravinsky’s Rite of Spring exemplifies post-impressionism for its juxtaposition of violent emotions, brutal rhythms, strong contrast of colors, and more advanced harmony. Post-impressionism also laid foundation for a Franco-Russian modernism. Post-impressionism remained popular even after Debussy’s death in 1918; composers who joined the style included Vaughan-Williams, Koechlin, Lili Boulanger, and Messiaen. Despite the negative connotation of the term “impressionism,” the nature of crossing cultures, times, and places continues to attract composers.
