“What is the meaning of life? That was all- a simple question; one that tended to close in on one with years, the great revelation had never come. The great revelation perhaps never did come. Instead, there were little daily miracles, illuminations, matches struck unexpectedly in the dark; here was one.”
― from TO THE LIGHTHOUSE By Virginia Woolf, 1927
Impressionism in music was a movement among various composers in Western classical music (mainly during the late 19th and early 20th centuries) whose music focuses on mood and atmosphere, "conveying the moods and emotions aroused by the subject rather than a detailed tone‐picture".[1] "Impressionism" is a philosophical and aesthetic term borrowed from late 19th-century French painting after Monet'sImpression, Sunrise. Composers were labeled Impressionists by analogy to the Impressionist painters who use starkly contrasting colors, effect of light on an object, blurry foreground and background, flattening perspective, etc. to make the observer focus their attention on the overall impression.[2]
La mer, trois esquisses symphoniques pour orchestre (French for The sea, three symphonic sketches for orchestra), or simply La mer (The Sea), L. 109, CD. 111, is an orchestral composition by the French composerClaude Debussy.
Although some of Debussy's contemporaries drew analogies between La mer and French Impressionist paintings – much to the composer's irritation – others have detected the influence of his admiration for the English painterJ. M. W. Turnerand Debussy's choice of Hokusai's c. 1831 woodblock print The Great Wave off Kanagawa for the cover of the printed score indicates the influence of Japanese art on him.[5][37] Despite Debussy's scorn for the term "impressionism" applied to his or anyone else's music[38] – a matter on which he and Ravel were of the same firm opinion[39] – the term was used by some of his most devoted admirers. His biographer Edward Lockspeiser called La mer "the greatest example of an orchestral Impressionist work",[40] and more recently in The Cambridge Companion to Debussy Nigel Simeone commented, "It does not seem unduly far-fetched to see a parallel in Monet's seascapes".[40]
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