Works
instrumentation
: mezzo soprano and piano
instrumentation: mezzo soprano and piano ♦ Diepenbrock got acquainted with Goethe’s poetry around the age of 15. The author plays an important part throughout his oeuvre. In 1910 Diepenbrock called Goethe a great genius in a letter to the poet…
instrumentation: mezzo soprano and piano ♦ At a recital in the Amsterdam Concertgebouw on 12 February 1912 the Hungarian alto/mezzo-soprano Ilona Durigo sang three songs by Diepenbrock: besides Clair de lune (Moonlight, RC 43) and Mandoline (M…
instrumentation: mezzo soprano and piano ♦ 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,…
instrumentation: mezzo soprano and piano ♦ En sourdine (Muted) for mezzo-soprano and piano on a text by Paul Verlaine occupies a unique place in Diepenbrock’s oeuvre as it is a fairly strict copy of an existing model: the eponymous song by Deb…
instrumentation: mezzo soprano and piano ♦ Diepenbrock dedicated the months May and June 1911 to a radical revision of his symphonic song Im grossen Schweigen (In the Great Silence, RC 67). After its completion on 8 July, Hölderlin’s poetry fo…
instrumentation: mezzo soprano and piano ♦ After setting five texts by Novalis to music in 1897-1899 (RC 37, 45, 47, 49 and 50), it took ten years before Diepenbrock used another poem by the German early Romantic poet and philosopher, who died…
instrumentation: mezzo soprano and piano ♦ Days after completing his Berceuse for mezzo-soprano, cello and piano (RC 111), Diepenbrock made a copy of the work for Johanna Raphael-Jongkindt, who had brought the inspiring poem by van Lerberghe t…
instrumentation: mezzo soprano and piano ♦ On 13 September 1916 the mezzo-soprano Marie Versteegh (1884-1953) visited Diepenbrock at his home in Laren, where she sang through Beiaard (Carillion, RC 129) and the only just completed Belges, debo…
