Lecture 21. Musical Impressionism and Exoticism: Debussy, Ravel and Monet

The professor introduces the concept of musical Impressionism, marking it as a period between 1880 to 1920, predominantly French but with influence extending to England, Italy, and the United States. The discussion begins by drawing parallels between Impressionist art and music, mentioning famous Impressionist painters like Manet, Monet, and Mary Cassatt, and highlighting the public's enduring fascination with Impressionist exhibitions. The lecture transitions to music, identifying Claude Debussy as the seminal figure in Impressionist music, with mentions of other composers such as Maurice Ravel and Charles Griffes. Debussy's pivotal works, including 'Clair de Lune' and 'Prelude to the Afternoon of a Faun', are introduced as key subjects for the day's lecture.

This section delves into Debussy's 'Clair de Lune', illustrating its lack of clear meter and its effect of general relaxation. The professor plays parts of the composition on the piano, emphasizing its unique aspects like the falling down motive and the use of unexpected chords. The professor explains musical concepts such as parallel motion and augmented triads through piano demonstrations, revealing how these elements contribute to the Impressionist style's distinct sound. The unexpected chord progressions and the use of different types of triads, including the augmented triad, are highlighted as innovative techniques that characterize the Impressionist music's departure from traditional compositions.

The professor discusses 'Prelude to the Afternoon of a Faun', underscoring Debussy's inspiration from the Symbolist poet Stéphane Mallarmé and their close relationship. This part of the lecture explores the thematic content of Mallarmé's poem and its influence on Debussy's composition, emphasizing the sexually charged imagery and the innovative musical landscape that Debussy creates. The lecture covers the composition's structure, including its lack of discernible meter and its use of harp glissandos, presenting it as a groundbreaking work that challenged conventional melodic and harmonic norms.

In this segment, the professor draws parallels between Impressionist music and art, using Monet's 'La Grenouillère' as a case study to illustrate the concept of impression through brushwork and color. The discussion extends to how Impressionist music achieves similar effects through the use of arpeggios, pedal work, and innovative scales like the whole tone scale. This part emphasizes the integration of visual and auditory arts, showing how composers like Debussy translated the visual techniques of Impressionism into the auditory realm, fostering a crossover between the senses.

The professor explains Debussy's innovative use of the whole tone scale and the pentatonic scale in his compositions, particularly in 'Voiles'. Techniques such as ostinato patterns and parallel motion are discussed, with demonstrations on the piano. This section also delves into the use of piano pedals for achieving certain sound effects, including the sustaining pedal and the sostenuto pedal, and their roles in creating the wash of sound that is characteristic of Impressionist music. The discussion provides insights into the technical aspects of Debussy's compositions and his approach to creating new sonic textures.

The professor discusses the global influences on Impressionist music, particularly the impact of Eastern music on Debussy. This section focuses on 'La Cathédrale engloutie', a prelude by Debussy that evokes the image of a sunken cathedral through the use of parallel motion and specific pedal techniques. The professor illustrates how Debussy's music was influenced by his exposure to Eastern sounds, and how this piece, in particular, demonstrates his ability to paint musical landscapes that invoke visual imagery, further blurring the lines between different art forms.

The professor introduces Naomi Woo, a talented pianist at Yale, who discusses and performs 'Ondine' by Ravel. This section explores the story behind the music, based on a poem about a water nymph, highlighting how the music reflects the narrative's emotional depth and the nymph's seductive nature. Naomi's insights into the piece and her performance illustrate the expressive power of Impressionist music to convey complex narratives and emotions through innovative musical techniques and textures.

The lecture concludes with a discussion between the professor and Naomi Woo about musical talent, the importance of a broad liberal arts education for musicians, and the intricacies of practicing and performing. The conversation touches on topics such as the development of relative pitch, the impact of starting musical education with different instruments, and the cultural implications of musical training. This final part not only showcases Naomi's exceptional skill but also delves into the broader educational and cultural factors that contribute to musical excellence.