Impressions

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Impressions: A Reflection on Pointillism

The music on "Impressions" was inspired by artistic Pointillism. It is a concept that originally interested me on a technical level. I loved the idea that there were two perspectives to take into account when looking at paintings from that school: if you stay close enough to them, the only thing you can see are dots of various colors which make very little sense. But if you pull back, the dots start merging, and at a certain point the bigger picture becomes clearer, and eventually perfectly defined. I found this idea fascinating—that very small things could, when put together in a certain way, make up something much bigger that would look very different—and that it could have a different meaning even, depending on your point of focus.

Over time, I realized that this process of focusing from the particular to the general (or vice-versa) involved what is, for me, an emotional process of discovery: on one hand, if you zoom in, you see how the end result is achieved (a fascinating aspect); on the other hand, if you zoom out, you see the end result itself, with all its potential for meaning and interpretation (no-less fascinating).

There is something beautiful and gratifying in finally seeing the full picture, to give it enough time to understand it, to let it speak to you. I felt it would be interesting to apply this emotional “pay-off” in a music setting. As such, the music in “Impresssions” is maybe more inspired by my emotional response to the paintings themselves and their underlying technique—and how I deconstructed and reconstructed them—than by trying to mimic the music of those times. Technically, this translates musically into trying to combine and blend various phrases or pattern played by hammered, plucked, or lightly brushed instruments (my “points”) and letting them grow over time to create “the bigger picture.”

When I think of the famed artists from the pointillist school, Paul Signac is my favorite. But my personal preference in that artistic period would go toward impressionist painters such as Claude Monet. I like to think that if “Impressions” is technically inspired by Signac’s work, it is, in a maybe more critical way, emotionally inspired by Monet's.

I found the idea behind pointillism fascinating – that very small things could, when put together in a certain way, make up something much bigger that would look very different and could have a different meaning depending on your point of focus. There is something beautiful and gratifying in finally seeing the full picture and giving it enough time to understand it and let it speak to you.
— Jerome Leroy
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Credits

Music Composed and Orchestrated by Jerome Leroy

Featuring: English Session Orchestra

Contracted by Dom Kelly

Orchestra Coordinator: Jojo Arvanitis

Conducted by Matthew Slater

Orchestral Leader: David Juritz

Flute solos performed by Gina Luciani

Clarinet solos performed by Vicente Ortiz Gimeno

Oboe solos performed by Kristin Naigus

Recording Engineer: Lewis Jones

Mixed by Ren Swan

Mixed at School Farm Studios, Essex

Assistant to Composer: Victor Kong

Music Produced by Andrew Sunnucks for Audio Network

Acknowledgments

Thanks to Andrew Sunnucks, Ali Johnson, Alex Kovacs, Gemma Guy, Lucy McGougan, Ren Swan, Laura Campbell, and Jean-Baptiste Denis. With my most sincere appreciation to the three people who nurtured my love for paintings and the Arts in general: Professor Henry Tate, Françoise Leroy, and my mother.


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