Natasha 1
Natasha Michella Da Costa
Research Essay
Ms Pang Jin
15 July 2016
Interpretation and Performance of Mandoline
Claude Debussy was born in France on August 22 1862. A highly respected composer
from the late 19th century to early 20th century, he was seen as the founder of musical
impressionism. His interest in musical impressionism came about when he attended the Paris
Exposition in 1878. The Exposition brought many instruments from around the world
together and this was when Debussy thought of making music that create impressions of
different instruments. In 1883, not long after the exposition, Debussy wrote the piece
Mandoline, one of the first Paul Verlaine texts that he put into his music. As a singer, I can
interpret the performance style of the piece through the voice and accompaniment, the text
and the dynamics of the piece.
In Debussys Mandoline, both the voice and accompaniment contribute to his
impressionistic style of composing. In the opening section, Debussy wrote it in such a way
that the accompaniment has a very unique harmonic ambiguity that shapes much of this
piece. The accompaniment starts off with an octave grace note to a held G that follows by a
strumming chords of G, D, A. The three notes happen to be the lowest notes in a mandolin as
seen in Example 1.1.
Example 1.1: Debussy, Mandoline, Opening Section, bar 1-4.
Natasha 2
Debussy chose to write about the mandolin as that era was the Golden Age of the
mandolin. The mandolin has a unique color and timbre, he wanted to show this feature in the
piece. Thus, he wrote the right hand accompaniment on a slightly higher range of the piano.
The voice then enters in a delicate dissonant yet suitable accompaniment with the
melody that advocates d minor before an unforeseen G# entry. The piece brings me into a
challenging journey of narrating it with a certain character that fits the characteristic of
impressionistic music - avoidance of traditional harmonic progressions. Since the opening
section imitates the light sounds of the mandolin, it allows me to comprehend that the
beginning of the voice section should be sung lightly, with visible short phrases following the
flow of the piano part. I can show the short phrases by breathing more frequently and take in
short breaths as these breaths can refer to the start of new phrases. The same key continues in
bars 13 - 22 as shown in Example 1.2.
Example 1.2: Debussy, Mandoline, bar 13 - 22.
Natasha 3
There is a key change in (bar 23) which changes the whole mood and interpretation of the
piece. The key changes to E major temporarily (bar 23 - 34), as shown in Example 1.3.
Example 1.3: Debussy, Mandoline, short section of the key change, bars 24-29 .
Natasha 4
The key change gives a different feeling for me to perform this part. The melody has changed
to E major and in which there is a stronger effect of expressing the piece in greater
deliverance. In this section, Debussy also marked an ottava on the right hand piano part for
the accompaniment to sound more romantic. This gives another detail for me to understand
his intention to sing more expressively through facial expression or by having longer breaths,
following the shape of the accompaniment. Hence, the melody and harmony play a huge role
in helping me interpret the ideas the composer has written.
As a French composer, Debussy has taken the text of the piece from Paul Verlaines
poem into his music. He composed Mandoline to amuse von Meck, his lifeline to financial
stability (Keillor, 2016). Verlaines text is the type of subject matter that would entertain her
and is a rather beau romantic serenade he has written for von Meck. It is essential to
understand the meaning of the text given by the composer to be able to deliver the correct
Natasha 5
story to the audience. Mandoline is a notably musical text, with its references to serenades,
beautiful clothings, singing branches and the mandolin itself. There are also bucolic name in
reference to the outdoor-like theme of the text such as Tircis (bar 17), Clitandre (bar 20-22),
Aminte and Damis as shown in Example 2.1 (bar 15-22).
Example 2.1: Debussy, Mandoline, bar 15-22.
The piece is about a narrator (role of the singer) who talks and describes about the small
party. The text shows the lively atmosphere of the Idle Talks and people showing their
elegance and joy. I can depict that the general emotion of this piece is full of excitement
and happiness, shown in Example 2.2 (bar 39-40).
Example 2.2: Debussy, Mandoline, bar 39 & 40.
Natasha 6
I have divided the emotions into three main important parts that need to be sung with
different emotions. Based on the text, the four stanzas of the poem are distinctly delineated in
ABCA form. The A section shows the beginning section that talks about the serenaders with
beautiful listeners, having their idle talks under the singing branches. As the narrator of the
piece, I have to create an alluring feeling to attract the audience into the situation and
atmosphere of the music. With the unique accompaniment, it is necessary to continue the
same feeling when I sing the first line. This feeling continues to linger until bar 26 in which
section B enters with different interpretations of the feelings and performance style.
In section B, the narrator narrates about the pretty clothings the people wear to the
party. From these different descriptions of the third stanza, I sing it more delicately; with
larger breathing indications to add the feeling of being in awe. In the whole of section C,
Debussy wrote only La la la as a closing in C major before going back to Section A. I
believe that he wrote it as such to give more freedom for singers to end the piece freely. I
personally feel that with his impressionistic style of writing, the La la la is representing the
melody of the mandolin. See example 2.3 (bar 50-56)
Example 2.3: Debussy, Mandoline, bar 50-56
Natasha 7
The text and its meaning provide me help in interpreting Debussys motive when I perform
this piece. With the help of the meaning of the text, there is a basic understanding of the piece
which makes it easier and clearer for me to use as a point of reference when I interpret the
piece.
For a piece that is Allegretto vivace - fairly quick and lively, Debussy has written
many dynamic markings in it. It is mandatory as a singer, to look at these small details that
the composer has given and perform these markings to the audience. At the start of
Mandoline, Debussy wrote Sforzando piano with an immediate decrescendo to pianissimo as
shown in Example 3.1 (bar 1-2).
Example 3.1: Debussy, Mandoline, bar 1-2
Natasha 8
From this example, I know that I have to start singing in (pp) as I have to maintain the exact
sound from the accompaniment to the voice section. I can interpret from this that Debussy is
trying to convey the mysterious feeling of the party from the beginning. Towards the middle
of the piece, there are parts in which I can build up the happiness due to the increase in
dynamics shown in bars 41-42 in example 3.2.
Example 3.2: Debussy, Mandoline, bar 41-43
The crescendo and diminuendo leads to the suspension the audience get as the voice part goes
higher and lowers down in range. The La la la maintains at pianissimo as perhaps it is the
closest dynamic marking to imitate how soft the mandolin is. I have to take note of this
Natasha 9
specifically as it is one of the characteristics of impressionistic music; irregular phrases and
dynamics. Hence, dynamic changes are important to take note to add more into clearer
interpretations and performance of the piece.
In conclusion, Debussy has written a magnificently intricate piece of impressionistic
music. It is not an easy task for me to interpret this piece. However, with the musical
elements of the piece, they have given me a clearer understanding of his intentions in writing
this piece. Moreover, the socio historical of Debussys life gives a better insight of his
situation back then. The two factors allow the performance of Mandoline to be more
exuberant, in appreciation of the composer, Claude Debussy.
Natasha 10
Bibliography
Keillor, John. "Claude Debussy: Mandoline." AllMusic. Complex Music, n.d. Web. 12 Sept.
2016. <http://www.allmusic.com/composition/mandoline-les-donneurs-de-s%C3%A9r
%C3%A9nades-song-for-voice-piano-l-29-mc0002373786>.
Meconi, Honey. "Claude Debussy Mandoline." The Choral Singer's Companion. The Choral
Singer's Companion, n.d. Web. 12 Sept. 2016.
<http://thechoralsingerscompanion.com/debussy-mandoline.php>.
"Impressionism." Impressionism. N.p., n.d. Web. 12 Sept. 2016.
<http://www.academic.muohio.edu/mus189/impressionism/.>.
"Italian Musical Terms." Italian Musical Terms. Take Note Publishing Ltd, n.d. Web. 12 Sept.
2016. <http://www.musictheory.org.uk/res-musical-terms/italian-musical-terms.php>.
"A Psychological Journey: Dream, Illusion, and Reality in Schubert's Winterreise." Music
242 Spring 2014. N.p., n.d. Web. 12 Sept. 2016. <http://pages.stolaf.edu/music242spring2014/portfolio/a-psychological-journey-dream-illusion-and-reality-in-schubertswinterreise/>.
