Impressionism in music was a movement in European classical music, mainly in France, which appeared in the late nineteenth century and continued into the beginning of the twentieth century from 1875 to 1925. Similarly to its precursor in the visual arts, musical impressionism focuses on a suggestion and an atmosphere. Musical impressionism followed as a progression from the Romantic era, leading to 20th century and modern music styles.
Impressionism started in France as a reaction, led by Claude Debussy, against the emotional exuberance and epic themes of German Romanticism exemplified by Wagner. In Debussy's view, art was a sensuous experience, rather than an intellectual or ethical one. He urged his countrymen to rediscover the French masters of the 18th century, for whom music was meant to charm, to entertain, and to serve as a "fantasy of the senses"
Impressionism started in France as a reaction, led by Claude Debussy, against the emotional exuberance and epic themes of German Romanticism exemplified by Wagner. In Debussy's view, art was a sensuous experience, rather than an intellectual or ethical one. He urged his countrymen to rediscover the French masters of the 18th century, for whom music was meant to charm, to entertain, and to serve as a "fantasy of the senses"
Claude DebussyRudolph Reti points out these features of Debussy's music, which "established a new concept of tonality in European music":
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Erik SatieÉric Satie was a French composer and pianist. Satie was a colourful figure in the early 20th century Parisian avant-garde. His work was a precursor to later artistic movements such as minimalism, repetitive music, and the Theatre of the Absurd.
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Maurice RavelJoseph-Maurice Ravel was a French composer known especially for his melodies, orchestral and instrumentaltextures and effects. Along with Claude Debussy, he was one of the most prominent figures associated with Impressionist music. Much of his piano music, chamber music, vocal music and orchestral music has entered the standard concert repertoire.
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