Works
unfinished works
instrumentation: solo voice and piano ♦ The only comment Diepenbrock made about Victor Hugo (1802-1885) that we know of, is about the novel Notre-Dame de Paris (The Hunchback of Notre-Dame). In a letter he wrote to his wife-to-be in 1895 he…
instrumentation: soprano or tenor and orchestra ♦ At the end of May 1910, a month after Princess Juliana’s first birthday, she was to be presented to the citizens of Amsterdam. The programme included a festive tour through the capital, whereby the Co…
instrumentation: solo voice and piano ♦ In the early summer of 1910, from 22 May to 8 July, Johanna Jongkindt was staying in the Netherlands. Diepenbrock composed En sourdine (Muted, RC 104) for her birthday on 23 May and he also visited he…
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: solo voice and piano ♦ At the end of October 1912 Johanna Raphael-Jongkindt sent Diepenbrock van Lerberghe’s poem Berceuse. It lead to the creation of a fine song in two versions (see RC 111 and 112). Expecting that this Be…
instrumentation: solo voice and piano ♦ File 15 of the Diepenbrock archive contains a loose leaf with fifteen measures for voice and piano. It bears no date. At some point Diepenbrock has carefully crossed out the title De torens (The Tower…
instrumentation: orchestra ♦ The autumn of 1916 was a busy and emotional time for Diepenbrock. His Missa in die festo (RC 27) had been premiered, although the performance had been mediocre. However, the performance of two of his …
instrumentation: solo voice and piano ♦ It was Berthe Seroen who, in the summer of 1918, introduced Diepenbrock to the poetry by Albert Samain (1858-1900). The singer sent him Samain’s posthumously published collection Aux Flancs du Vase, s…
instrumentation: solo voice and piano or orchestra ♦ On 6 July 1918, the day after making a brief attempt to set Samain’s La grenouille (The Frog, RC 143*) to music, Diepenbrock turned to another poem from the collection Aux Flancs du Vase (The Vase’s S…
