Joni Mitchell’s first musical obsession the 1905 composition
Given how luscious and ornate her works always have a tendency to be, you might assume that the love Joni Mitchell has for music was something innate and built into her identity from birth.
The brilliance demonstrated in albums like Blue or Court and Spark speaks volumes, suggesting an element of innate musical genius that few artists ever achieve. Even in her early releases, such as Song to a Seagull or Clouds, Mitchell displayed a musical intuition that hints at a deeper understanding, demonstrating flashes of brilliance that were already beginning to permeate her songs.
While this musical gift seemed inherent, her journey to mastery involved a bit of quiet, determined pursuit. Despite not taking formal guitar lessons early on due to family restrictions, she discovered her passion by teaching herself from a Pete Seeger songbook, practicing in secret to avoid the scorn of her family. This self-taught approach allowed her to rapidly pick up the basics, setting the stage for her eventual performance on the local folk scene in Toronto.
This path underscores the idea that great musical talent often requires just the right guidance to blossom. Yet, one particular piece of music from her childhood remains profoundly impactful.
One of the most famous classical compositions, Claude Debussy’s Clair de Lune, a favorite from the Suite Bergamasque, was a sound that pricked her ears from a young age.
It was through exposure to the music her parents cherished that her adult taste was shaped. Her household featured records of trumpet pieces by Leroy Anderson and Harry James, alongside nocturnes by Chopin, Beethoven, Tchaikovsky, and Debussy. This early immersion in rich, expressive melodies—including the evocative sounds of Clair de Lune—still informs her taste today, as she continues to love the trumpet and sad, moonlit melodies.
This appreciation for the impressionistic style of classical music, particularly Debussy’s free-spirited and singular approach to composition, undoubtedly rubbed off on Mitchell. It is no surprise that the complex structure and impressionistic style of Debussy’s work feature prominently in the masterful compositions she would later create.
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