Music of the Impressionismus

Impression, soleil levant of Claude Monet

as music of the Impressionismus one designates one epoch of the music and a style direction, which followed approximately starting from 1880 the time of the romance. Starting from approximately 1910 it overlaps with the new music.

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to the forerunners of the musical Impressionismus in the broader sense is counted the late romantics Modest mash ensuring ski and Franz Liszt. Tendency and Farbwerte receive increased priority,but no absolute supremacy over the form.

painting, music and seal

the substantial impulse of the Impressionismus proceeded from the painting. Against usual working within the closed studio some French artists, them in front Claude Monet , began in the open air toopaint. Exact observation of the light and shade conditions let play it with these effects, instead of clear outlines used the Impressionisten of the canvas subjectively noticed color, crucially became finally the impression (frz.l'impression) the instant. Pahlen describes the atmosphere briefly:

„The river flows past. ToBank stands humans and looks on the pulling water outside, which does not seem to form outlines. Even light is on the waves. And humans, a painter, go into his studio and paint the river. But a daily, after it often painted it,it the picture fancies, unsatisfactorily wrongly. It takes the Staffelei and carries it to the edge of the water and sees more exactly. There waves ripple themselves/crinkle, there fall the light not so monotonously on the surface, as it always believed, there look up itonce one hundred tiny details. It begins to paint it. Beside the painter a musician stands. This hears the quiet noise of the river, monotonously, infinitely. Then, when its painter friend on the bank remains and begins the river naturalistisch to experience, also it hears new, tiny clay/tone sequences, everyonedifferently than the previous, in itself insignificantly and nevertheless a sound carpet without break. “

(Briefly Pahlen, “the large history of the music”)

a same one accused 1887 Claude Debussys compositions as “vague Impressionismus”. The composer countered:

The musicians are selected for it, the whole charm of one nightor a daily to catch the earth or the sky. They alone can arouse their atmosphere or its eternal pulse impact. (Claude Debussy)

actual tried composer of the Impressionismus often, expresses impressions into internal feeling expression to convert. Debussy resisted however the term. Music applied to itas “sounding and color art”.

The poets Charles Baudelaire, Paul Verlaine and Stéphane Mallarmé gotten used to with Debussy brought him with the symbolism to the seal in connection, which the fantastic and irrational one should get into the this-lateral, naturalistische world. Debussy and Maeterlinck knew their talents with one anotherconnect and brought so the opera “Pelléas et for Mélisande “on the world.

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as founders of the musical Impressionismus applies above all for Claude Debussy, - lively by asiatic music - by inclusion excessive the three-sounds, complete scales and Pentatonik onenew coloredness (tone quality) in its musical works searched:

A further important composer of the Impressionismus is Maurice Ravel.

Typical forms of the music of the Impressionismus are the through-composed opera (beside “Pelléas Mélisande (opera) et “from Debussy also” Ariane et Barbe bleue“et of Paul Dukas and L'enfant les sortilèges from Maurice Ravel) and sinfonische seals (R. Bunch, Pfitzner among other things).

Characteristics of the music of the Impressionismus are:

  • last phase of the musical romance
  • dissolution of the strict forms of the tonality;
  • Preference of “dissolving” tone qualities in relation to closed melodies;
  • Dissolutionthe traditional tonality (complete scale, sound shifts, new interval connections, freely floating chords)
  • flowing, sliding, circle or wavy melody movements
  • masked Metren
  • church-tonal idioms
  • sound nuances
  • emancipation of the dissonance
  • associative Melodik
  • complete clay/tone scale
  • Bordunquinten: be enough, borne or repeated deep Begleittöne in the Quintabstand
  • Quintolen
  • Ostinato: a continuous motive that constantly repeatsbecome
  • chord pressing: Chords, which remain alike in their structure, but to be parallel shifted
  • Pentatonik
  • organ clay/tone
  • Triole
  • Quint of quart sounds: Over a common basic clay/tone quart and a Quint are developed


see also:

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