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RC 99 Mandoline (“Les donneurs de sérénades”)

text source

Paul Verlaine, Fêtes galantes. Nouvelle édition (Paris: Vanier 1891), 37-38

first performance

1909-11-23 00:00:00.0 Amsterdam, Concertgebouw

recordings

  • Anniversary Edition 6 Et'cetera KTC 1435 CD6
  • Songs 2 NM Classics

publications

  • Complete Songs for Solo Voice and Piano Vol. 4 Donemus / Alphons Diepenbrock Fonds 13575040
  • Diepenbrock Album B/M Vol. I
  • Mandoline (“Les donneurs de sérénades”) De Nieuwe Muziekhandel 3704232

  • Mandoline (“Les donneurs de sérénades”)
  • Verlaine, Paul
  • mezzo soprano and piano
  • 1909-08-05 00:00:00.0 - 1909-08-18 00:00:00.0
  • duration 2:00

The first sketch of Diepenbrock’s setting of Verlaine’s Mandoline (Mandolin) dates from 7 June 1909. On p. 16 of sketchbook C-10 the contours of the opening melody of the voice, in the key of D major, has been outlined, but as yet without the characteristic octave leap and the graceful triplet on “sérénades” (serenades). The sentence “C’est Tircis et c’est Aminte” (It is Tircis and it is Aminte) on the top of p. 17 is already based on an ascending fifth. The fragment ends there. Many pages later, we can see Diepenbrock’s next step - made on 5 August - towards the definite form of the song, in the key of C-sharp major, which he wrote down in neat in the back of the same sketchbook. In this version the striking theme in the piano gives unity to the composition. In later years he shortened the conclusion of the song in three phases. …more >

Mandoline (incipit)


The first sketch of Diepenbrock’s setting of Verlaine’s Mandoline (Mandolin) dates from 7 June 1909. On p. 16 of sketchbook C-10 the contours of the opening melody of the voice, in the key of D major, has been outlined, but as yet without the characteristic octave leap and the graceful triplet on “sérénades” (serenades). The sentence “C’est Tircis et c’est Aminte” (It is Tircis and it is Aminte) on the top of p. 17 is already based on an ascending fifth. The fragment ends there. Many pages later, we can see Diepenbrock’s next step - made on 5 August - towards the definite form of the song, in the key of C-sharp major, which he wrote down in neat in the back of the same sketchbook. In this version the striking theme in the piano gives unity to the composition. In later years he shortened the conclusion of the song in three phases.

Diepenbrock composed Mandoline for the French singer Julie Hekking-Cahen, who he admired for her diction. On 30 July 1909 he played to her Puisque l’aube grandit (Since Dawn Awoke, RC 97), which he has also composed for her. She immediately sang it from sight almost without any mistakes and promised to perform the piece together with some other songs by Diepenbrock. (BD VI:130) This inspired Diepenbrock to write Mandoline, which he characterised as a virtuoso piece. (BD VI:169) Indeed, the singer needs a supple technique to handle this graceful, light-footed song with its octave leaps, tumbling triplet figures, trills and fast scale passages.

Accompanied by Evert Cornelis, Julie Hekking premiered Mandoline in the Recital Hall of the Concertgebouw on 23 November 1909, alongside Puisque l’aube grandit. She also sang Écoutez la chanson bien douce (Hear the Sweetest Song, RC 40) and songs by Fauré, Chausson, Duparc, Franck, Debussy, Chabrier and Bruneau.

The Hungarian mezzo-soprano Ilona Durigo (1881-1943) was the one to introduce Mandoline to a larger audience and make it popular. On 12 February 1912 she gave a concert in Amsterdam with Evert Cornelis, featuring Mandoline, Clair de lune (Moonshine, RC 43) and the premiere of Diepenbrock’s Liebesklage (Love’s Lament, RC 95). It was repeated in Rotterdam, Utrecht and The Hague. Critic W.N.F. Sibmacher Zijnen praised Mandoline as a masterpiece of musical depiction. (BD VII:584)

Berthe Seroen (1882-1957) included Mandoline in her repertory too. When she presented the song, also accompanied by Evert Cornelis, on 19 February 1917, Matthijs Vermeulen waxed lyrical about it: This Mandoline by Diepenbrock is witty, gentle, melancholic and ironic, composed with a mastery of colour and melody. (BD IX:550)

As we can read in a letter of 29 May 1917, Diepenbrock even considered orchestrating Mandoline for Seroen, but he never got round to it.

Ton Braas



Les donneurs de sérénades
Et les belles écouteuses
Echangent des propos fades
Sous les ramures chanteuses.

C'est Tircis et c'est Aminte,
Et c'est l'éternel Clitandre,
Et c'est Damis qui pour mainte
Cruelle fait maint vers tendre.

Leurs courtes vestes de soie,
Leurs longues robes à queues,
Leur élégance, leur joie
Et leurs molles ombres bleues

Tourbillonnent dans l'extase
D'une lune rose et grise,
Et la mandoline jase
Parmi les frissons de brise.

 

 


  • B-1(3) Mandoline (“Les donneurs de sérénades”)

    • 1
    • 2
    • 3
    • 4
    • 5
    • 6
    • 7

    B-1(3) in C Major, dated on the last page 18 Aug 1909

    • 1909-08-18 00:00:00.0
    • location: Diepenbrock Archief Laren
    • pages: 7
  • A-79(1) Mandoline (“Les donneurs de sérénades”)

    semi-autograph A-79(1) in C Major, dated on the last page 18 Aug 1909

    • 1909-08-18 00:00:00.0
    • location: Diepenbrock Archief Laren
    • pages: unknown
  • A-8(4) Mandoline (“Les donneurs de sérénades”)

    A-8(4) in C Major, dated on the first page Aug 1909 and on the last page Laren 18 Aug 1909

    • 1909-08-18 00:00:00.0
    • location: Diepenbrock Archief Laren
    • pages: unknown
  • A-81(3) Mandoline (“Les donneurs de sérénades”)

    semi-autograph A-81(3) in B Major, dated on the first page 18 Juli [sic] 1909 and with dedication A Mad. Julie Hekking

    • 1909-07-18 00:00:00.0
    • dedication: A Mad. Julie Hekking
    • location: Diepenbrock Archief Laren
    • pages: unknown
  • B-18(5) Mandoline (“Les donneurs de sérénades”)

    semi-autograph B-18(5) in C Major, dated on the last page Laren 18 Aug 1909 and with dedication on the title page A Madame Julie Hekking Denancy / en souvenir d’une belle journée d’Août 1909 passée à Laren

    • 1909-08-18 00:00:00.0
    • dedication: A Madame Julie Hekking Denancy / en souvenir d’une belle journée d’Août 1909 passée à Laren
    • location: Diepenbrock Archief Laren
    • pages: unknown
  • B-7(5) Mandoline (“Les donneurs de sérénades”)

    semi-autograph B-7(5) in C Major, dated on the last page Laren 18 Aug 1909 and with dedication on the title page A Mad. Julie Hekking-Denancy

    • 1909-08-18 00:00:00.0
    • dedication: A Mad. Julie Hekking-Denancy
    • location: Diepenbrock Archief Laren
    • pages: unknown
  • C-10(61-69) Mandoline (“Les donneurs de sérénades”)

    C-10(61-69) in C♯ Major, dated on the first page 15 Aug 1909 and on the last page 18 Aug 1909

    • 1909-08-15 00:00:00.0 – 1909-08-18 00:00:00.0
    • location: Diepenbrock Archief Laren
    • pages: unknown
  • HGM 189/23d Mandoline (“Les donneurs de sérénades”)

    semi-autograph HGM 189/23d (NMI, archive Berthe Seroen, Diepenbrock Album)

    • location: Nederlands Muziek Instituut, archive Berthe Seroen
    • pages: unknown
  • Map XI Mandoline (“Les donneurs de sérénades”), vocal part

    vocal part Map XI in C♯ major

    • location: Diepenbrock Archief Laren
    • pages: unknown
  • MH 70d Mandoline (“Les donneurs de sérénades”)

    semi-autograph MH 70d in B Major, used as Stichvorlage, now lost

    • location: Sine Loco
    • pages: unknown

  • click to enlarge

    Anniversary Edition 6

    cd Et'cetera KTC 1435 CD6
    Alexander, Roberta ♦ Jansen, Rudolf ♦ Nes, Jard van ♦ Holl, Robert ♦ Prégardien, Christoph ♦ Pfeiler, Christa ♦ Doeselaar, Leo van ♦ McFadden, Claron ♦ Ameling, Elly ♦ Meer, Richte van der ♦ Baldwin, Dalton

    Tracks: 1 = RC 79; 2 = RC 68; 3 = RC 117; 4 = 97; 5 = RC 132; 6 = RC 104; 7 = RC 111; 8 = RC 43; 9 = RC 99; 10 = RC 138; 11 = RC 137; 12 = RC 4; 13 = RC 15; 14 = RC 14; 15 = RC 13; 16 = RC 51
  • click to enlarge

    Songs 2

    cd NM Classics
    Alexander, Roberta ♦ Jansen, Rudolf ♦ Nes, Jard van ♦ Holl, Robert ♦ Pfeiler, Christa ♦ Esser, Daniël

    Tracks:

  • Complete Songs for Solo Voice and Piano Vol. 4

    1993 Donemus / Alphons Diepenbrock Fonds Braas, Ton
  • Diepenbrock Album B/M Vol. I

    1952 Reeser, Eduard
  • Mandoline (“Les donneurs de sérénades”)

    1919 De Nieuwe Muziekhandel

19 feb 1917: Diepenbrock woont de uitvoering bij van Mandoline in de Kleine Zaal van het Concertgebouw te Amsterdam door Berthe Seroen met begeleiding van Evert Cornelis. Gezongen worden verder liederen van Fauré, Gibson, Moussorgsky en Ravel; Cornelis is solist in pianowerken van Franck en Ravel. Mandoline is het laatste nummer voor de pauze.

[...] daar was Verlaine's Mandoline, in de muziek van Diepenbrock. De muziek van Diepenbrock...; hebben wij ooit een meester gehad na Jan Pieterszoon Sweelinck, 250 jaar geleden, die zóó victorieus den toets doorstaat met alle buitenlandsche kunst? die zóó overwinnend nog klinkt na de beste Fransche meesters, deze virtuosen der techniek en der emotie? die onze Nederlandsche persoonlijkheid zóó onaantastbaar, onbedriegelijk, origineel en nationaal handhaaft, direct na het overmatige Fransche geluid? Zouden wij zulk een vertegenwoordigend tijdgenoot langzamerhand niet eens dankbaarder gaan eeren dan met een paar kortstondige uitvoeringen per seizoen? Hebben wij niet het recht om dit te eischen van onze uitvoerenden? — Deze Mandoline van Diepenbrock is geestig, teeder, melancholiek en ironisch, gecomponeerd met een maestria van kleur en melodie, zij is ook zeer moeilijk en heeft de virtuositeit noodig van Berthe Seroen. Als wij haar daarom dus huldigen, zouden wij ook nog de vraag willen stellen, waarom zulk eene voortreffelijke zangeres nog niet optrad in het Concertgebouw en wanneer de abonné's dezer instelling tot het besef zullen komen van de onrechtvaardige eenzijdigheid, waarmee men daar alle kunstenaars weert, die geen Duitschers zijn. Weet Mengelberg zóó slecht, wat er leeft in Amsterdam?

De Telegraaf (Matthijs Vermeulen), 20 februari 1917

pdf All reviews for RC 99 Mandoline (“Les donneurs de sérénades”)