Impressionism in music (fr. Impressionnisme, from fr. Impression- impression) is a musical direction similar to impressionism in painting and parallel to symbolism in literature, which developed in France in the last quarter of the 19th century - the beginning of the 20th century, primarily in the works of Eric Satie, Claude Debussy and Maurice Ravel.
The starting point of "impressionism" in music can be considered the year 1886-1887, when the first impressionistic opuses by Eric Satie ("Sylvia", "Angels" and "Three Sarabands") were published in Paris - and as a result, five years later, which resonated in professional environment, the first works of Claude Debussy in a new style (first of all, “Afternoon Faun Rest”).
Musical impressionism as a predecessor is primarily impressionism in French painting. They have not only common roots, but also cause-effect relationships. And the main impressionist in music, Claude Debussy, and especially Eric Satie, his friend and predecessor along the way, and who accepted the baton of leadership Maurice Ravel from Debussy, searched and found not only analogies, but also expressive means in the work of Claude Monet, Paul Cezanne Puvis de Chavannes and Henri de Toulouse-Lautrec.
As for the pioneer of the new style, Eric Satie - earlier than anyone else, after the premiere of the opera "Pelleas and Melisande" in 1902, he decisively leaves the growing ranks of supporters of impressionism, and after another ten years - he organizes criticism, opposition and direct opposition to this trend. By the beginning of the 30s of the XX century, impressionism had already become old-fashioned, turned into a historical style and completely left the arena of contemporary art, having dissolved (as separate colorful elements) - in the works of masters of completely different stylistic trends (for example, individual elements of impressionism can be distinguished in works by Olivier Messiana, Takemitsu Torah, Tristan Murray, etc.).