Notre Dame de Rouen. The façade of the Gothic Church in France. Photographer: Hippo1947. Licence: SHUTTERSTOCK.

Tuesday, 1 October 2024

Maurice Duruflé (1902-1986). Requiem Op. 9. (1947, Organ Solo Version 1961). IV. Sanctus.

 


Maurice Duruflé: “Requiem”.
Op. 9 - IV. Sanctus.
Available on YouTube

Maurice Duruflé (1902-1986).
Requiem Op. 9 (1947, Organ solo version 1961).
IV. Sanctus.
Wiener Singakademie.
Pier Damiano Peretti, Organ.
Heinz Ferlesch, Conductor.
Courtesy of www.konzerthaus.at
Cover: St. Etienne Du Mont, Paris (circa 1880).

4 comments:

  1. Thank you, Zephyrinus, for this beautiful tribute to the great Requiem of Maurice Durufle. One of the reasons for writing the Requiem, of course, was for all the French dead of World War I and World War II. Originally begun in 1942, the first version, the version for organ, wasn’t finished till September 1947. It was first performed publicly November 2, 1947 with organ and choir, at the Salle Gaveau Concert Hall in Paris. (Source: Author James Frazier, “Maurice Durufle, The Man and His Music”).

    As Zephyrinus knows, Durufle incorporates numerous citations of chant from the traditional Latin funeral Mass, which gives its modality and timeless “feel” —but above all it conveys a profound sense of transcendent serenity and peace. “Reviewers have described it as softly luminous, sumptuous, suffused with a tender radiance, of a noble and restrained eloquence and a sweet and serene light, a work of scrupulous craft and exquisite sensibility, having beautiful unity and real grandeur.” -Frazier).

    Durufle suffered greatly during the liturgically and spiritually catastrophic 1960s and argued that the Vatican II document Sacrosanctum Concilium was not properly followed. He fiercely criticized the influx of banal low grade contemporary “church” music (which we all know so well, and of which practically none has survived even to today) into the New Liturgy. For this, the great composer, who was so highly self-critical (He was known for tearing up many of his own compositions because he didn’t think they were of a sufficiently high-quality of what he demanded of himself) was branded as a “reactionary” and ostracized. He died in 1986 and did not live long enough to see the recognition of the high quality of all his works, but especially the Requiem, as being his finest gift to music and to the Catholic Church.

    Thank you for drawing attention to this extraordinary work, which anyone who has suffered loss of loved ones—that is all of us—can listen to and find a sense of Christian Hope and inner calm. -Comment by Dante P

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    Replies
    1. An outstanding and enlightening Comment from our Organ Correspondent, Dante P, for which we are truly grateful.

      Dante P's recitation on Duruflé greatly enhanced Zephyrinus's appreciation and knowledge of this great French Composer.

      As mentioned, the reason for such a glorious composition, to be utilised in the Requiem Mass, was to pay homage to all the fallen of the French soldiery during World War I and World War II. “Requiescant in pace”.

      “Reviewers have described it as softly luminous, sumptuous, suffused with a tender radiance, of a noble and restrained eloquence and a sweet and serene light, a work of scrupulous craft and exquisite sensibility, having beautiful unity and real grandeur.” - Frazier. One could not ascribe these beautiful words to “Kumbaya”, that well-known “pièce de résistance” of Post-Vatican II culture and enlightenment.

      Isn't it amazing that “Kumbaya” is no longer heard in today's “Modern” Mass. One wonders why.

      As Dante P correctly points out in relation to Duruflé’s composition: “. . . this extraordinary work, which anyone who has suffered loss of loved ones—that is all of us—can listen to and find a sense of Christian Hope and inner calm”.

      Thank You, Dante P.

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    2. Zephyrinus, thank you for your kind comments on those of this poor observer; but a couple of other short observations on Duruflé and the Requiem:

      The initial published version of the Requiem was for organ (with a possible soloist only for the “Pie Jesu” and perhaps the “Libera Me):”. Like Gabriel Faure, Duruflé only selected parts of the “Dies Irae” for the 9 musical settings of the Requiem (the “Libera Me” is another excerpt, which also appears in the burial service), because both composers wanted to feature calmness, acceptance, comfort, and peace.

      But doing so with an organ solo version is very practical, because arranging for a full choir for a funeral is not an easy accomplishment on short notice and may not be financially within the reach of many families of those who have passed away. The simplified organ version is very beautiful, and the music is not inaccessible, even to an organist of moderate ability. Duruflé thought of everything in this magnum opus.

      Duruflé only gave opus numbers to about nine of his pieces. His wife, Marie Madeleine Duruflé, who was also a fine organist, often said he was so self-critical that many other compositions she admired that he had worked on he unfortunately destroyed as not being up to his standards, as mentioned above.

      But fortunately, after so many years, now the recognition of this piece is rightfully getting its proper attention. And thank you, Zephyrinus, for featuring it in your most excellent blog. -Note by Dante P

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    3. Another fascinating contribution from Dante P on the fine French Composer, Duruflé.

      It is rumoured abroad that Zephyrinus's Organ Correspondent Dante P's Articles, on this Blog, are fast becoming the “Go-To Nexus”, when one is researching the history of World-famous Church Organ music.

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