The mute cornett is known as the cornetto muto or cornetto sordino in Italian, stiller Zink in German and cornet muet or cornet sourdine.
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Synonyms include avec sourdine and sans sourdine (French); mit Dämpfer and ohne Dämpfer (German). Ample time must be given to allow players to add and remove the mute, though some mutes can be engaged and disengaged quickly. For hand muting that changes over time, o is used above the music for open (unmuted) and + for closed (muted). For dampening on percussion or harp, the étouffé symbol (resembling a coda symbol) or a diamond-shaped notehead is used.
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The French version of the word is feminine, and is sometimes used in music notation also: sourdine, plural sourdines. Other languages' versions are also feminine: Spanish has sordina, plural sordinas; Portuguese has surdina, plural surdinas.
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210 Only "Mandoline" and part of "En sourdine" were composed in Venice. The idea of creating a cycle seems to have come to Fauré only after his return to Paris on 20 June. The rest of the songs were completed in Paris by September 1891. The cycle was published by Hamelle that year, dedicated to Singer.
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Highlights include engagements with, among others, the Boston Symphony Orchestra and Paavo Berglund, the National Symphony Orchestra Washington and Leonard Slatkin, the Chicago Symphony Orchestra and Manfred Honeck, the Berlin Philharmonic Orchestra and Bernard Haitink, the Philharmonia Orchestra and Wolfgang Sawallisch and the Bavarian Radio Symphony Orchestra and Mariss Jansons. In February 2003, Frank Peter Zimmermann and the Berlin Philharmonic Orchestra conducted by Peter Eötvös gave the world premiere of the violin concerto ‘en sourdine' by the German composer Matthias Pintscher.
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In 1883 Duez moved into a studio on boulevard Berthier, close to that of John Singer Sargent on the same street. Singer painted portraits of Duez and his wife in 1884–6. His wife, Amélie Duez, was a well-known amateur singer, and was the first to perform Gabriel Fauré's newly composed songs "Mandoline" and "En sourdine" (the first two songs of Cinq mélodies "de Venise"), while Fauré and the couple were staying as guests of the Princesse de Polignac in Venice in 1891. Duez's circle also included the painters Paul-Albert Besnard, Jacques- Émile Blanche and Roger-Joseph Jourdain.
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After the huge success of the play in 2009 she started a tour in the whole of France in 2010. In 2011, she played in the low- budget movie "Crimes en sourdine" with Annick Alane, Ginette Garcin, and Patrick Préjean. The same year she was back in a studio with an original album : "Ca me plaît pourvu que ça vous plaise..." in which she sang songs written for her by artists such as Charles Aznavour or Alice Dona. In 2012, she had the leading role in the TV Movie "Je retourne chez ma mère", starring also Rufus and Katia Tchenko.
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"En sourdine" and "Clair de lune" are almost completely rewritten. The musicologist Roger Nichols writes that they display "a far more adventurous harmonic palette" than the composer had developed at the time of the first settings, "blending modality and chromaticism in equal measure". Nichols describes "Fantoches" as energetic and sparkling, contrasting with the first and third songs, which "float timelessly, allowing us to savour the famous 'musicality' of Verlaine’s poetry". The analyst Susan Youens writes that the outer songs are the " inward, melancholy visions of those who already sense, even in the midst of seeming love and luck, that 'la vie opportune' has passed".
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