Thursday, February 9, 2012

Impressionist Art and Music; A Passing Comparison

L’Absenthe by E. Degas 1896[1]

            Often when discussing impressionist art from the 19th century individuals will associate scenes of water lilies, waves, beaches or paintings of the natural world where people are something of an accessory. Usually there is an air of hedonism as visual pleasure takes the place of formal realism or two and three part perspective so popular since the Renaissance. L’Absenthe by Degas is an interesting exception to these kinds of discussion as it is obviously done with impressionistic technique, but the natural world fits nowhere into the scene being observed. In truth it is a rather mundane dreary image of an intoxicated girl seemingly numbed to a surgical state through the wormwood laced beverage before her. In this respect, the impressionist brush strokes of non-exact and blurry form become a metaphor for viewing the world through an inebriated lens. There is a genuine state of stillness in the painting, the onlooker gets a sense that the universe is continuing only outside of this scene.    
      
Comparisons between visual art and music can often be difficult as notes; melody and harmony do not communicate the same kind of impression as a stark visual image. To write subjectively, however; the Sarabande[2] from the Debussy piano suite “Pour le Piano” composed between the years 1896 and 1903[3] does have some similarities in both mood and approach to composition.  Neither work is particularly colorful; the Sarabande begins with Debussy’s quintessential parallel fifths and octaves in a modal gesture with non-functional harmonies. It is easy to hear the numbing sound of monotonous chords being played in the piano’s middle register.  At the top of page 13 the murkiness of low chords gives something of a time-slowing effect (the entire piece is quite a slow rubato pulse) which seems to match the eyes of the girl in the painting.  The work is, to be sure, beautiful, but there is no genuine coherence to the piece, it is rather a Satiesque meandering of impressions with no genuine climax (save for the fortissimo marking on the third stanza of p. 14[4] which is really more of a momentary outburst) much as drunkards will taut philosophy and try to maintain intellectual speech while intoxicated.

Both pieces are substantial works, and both challenge the audience to be considered as compositions independent of social conventions surrounding the notion of good art versus bad art. There is an immense amount of technical skill, but both works go to great lengths to hide this attribute from the public’s consideration, focusing rather on the ease of lines and harmony (hence the lack of color). Perhaps the greatest aspect of both pieces lie in the possibility that it is a challenge to convention, but it is a gentle one.


[1] http://www.artchive.com/artchive/D/degas/labsinth.jpg.html Retrieved November 1, 2009. Provided Image of L’Absenthe by E. Degas
[2] The piece can be heard by following this link: http://www.youtube.com/watch?v=rHNU6Tc8CJo&feature=related. Retrieved November 1, 2009
[3] http://allmusic.com/cg/amg.dll?p=amg&sql=42:181687~T1. Retrieved November 1, 2009. Provided information on “Pour Le Piano” by C. Debussy
[4] The score can be seen by following this link: http://imslp.info/files/imglnks/usimg/d/d8/IMSLP12773-Debussy_-_Pour_le_piano__piano_.pdf. Retrieved November 1, 2009.




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