Claude Debussy wrote Mandoline, for voice and piano, L 29 around 1883. It is one of the first Paul Verlaine texts that Debussy set to music. Mandoline is one of the comparatively few songs that the composer wrote for male voice, conceived when he was dividing his time between the conservatory and entourage of Mme. von Meck, his Russian patron. This song was one of perhaps hundreds of small character pieces that were not meant to survive along with Debussy's final legacy. The intent of these small works was to amuse von Meck, who was the composer's lifeline to financial stability. He was not from an affluent family, and not on good terms with many of the decision-makers at the Conservatoire. Young Debussy had the disadvantage of being both a genius and slow to realize the direction of his sublime musical vision. He needed time to mature, he needed money, and to that end it was necessary to keep his patron amused. Mandoline is a work of juvenilia—he was somewhere between 19 and 21—but in Debussy's case it is fascinating body of work to hear. He had become a master of writing enjoyable trifles of striking contrast from one another; the longer he could keep von Meck amused, the more time he had to find himself as an artist.

Verlaine's text is precisely the sort of subject matter that would please von Meck. It is a courtier's rather light-hearted, romantic serenade to ladies of like station. Brisk and coy, Mandoline pokes fun at wild exchanges of vows, and luxuriates in a good lifestyle. Debussy's own amorous ventures were well-noted among the affluent musical circle surrounding his patron. He thrived under the aristocratic preconceived notions of artistic genius; his clumsy social skills and strong musical opinions were recognized as attributes of artistic complexity. Mandoline would most likely have been received as a particularly clever irony because of his position among von Meck's circle. He was a guest, but in light of his age and familial background, not really a social equal. Neither a servant nor a peer, any comments he had regarding his host's world had to be tendered with great care. Debussy was not in a position to compromise his relationship with his generous patron, and boring her with groveling or tentative conduct probably would have ended their relationship. He was determined to play the courtier's game and, by all historical accounts, he succeeded admirably. His time with von Meck was probably the only financially secure period of his life.

Mandoline, as a record of courtier conduct, is both lofty and involved. No one is denigrated, but the song seems to be sharing an account of what goes on directly with the matron of ceremonies, Debussy's employer. The composer's own well known exploits in this context, involve him in the eyes of those who count, and therefore no one is in a position to feel belittled. Lively, human, and elegant, the carryings on in court are made not only fun, but also life affirming; the energy of the pursuit is not predatory, it is reaction to instincts that are far from desperate. Debussy was not in the business of making any enemies in court. He was better suited to that in the music world. In 1884 he won the Prix de Rome, and took up residence in Italy for two years, never to return to von Meck. Life was never again idyllic, but his music got better. The songs from 1880-83 are a valuable and entertaining testament of musical diplomacy.

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