Talk:Maurice Duruflé

Untitled
We still need to check up on Vierne - I think that Durufle did give the 1st perf. of Vierne's 6th symphony (for organ?), but I need a bit more evidence. David Martland 20:37 Dec 7, 2002 (UTC)

I believe it is established (no source, sorry) that Duruflé completed Vierne's final concert when the organist died at the console.68.160.19.23 04:26, 1 June 2007 (UTC)JTLawton

Requiem Op. 9,
"The Requiem has some similarities with Fauré's, though it also shows the strong influence of Gregorian chant and Renaissance music. For example, the opening theme in Introit-Kyrie is borrowed from Duarte Lobo's Missa pro defunctis."

This misses the point that the main melodic theme of every movement of the Requiem Op. 9 is closely modelled on the corresponding chant from the standard Gregorian 'Missa pro defunctis". I don't know the Lobo.  Does the Durufle reference features that were not derived from the chant?

Also, it would be of interest to have some specifics on its similarities with the Faure.

BTW - I see your article has been copied without attribution on a number of sites. Does this happen often with Wikipedia articles?

Countersubject 15:29, 16 January 2006 (UTC)

I agree that the melodic ideas in Durufle's Requiem are based, almost exclusively, on the Liber Usualis version of the Gregorian chant for the "Missa pro defunctis" (ie, that developed/reconstructed/restored/interpreted by the Benedictine monks at Solemses Abbey). Like you, I don't know the Lobo; however, it would seem a reasonable assumption for an early 17th century Portuguese composer to continue the use of plainchant in polyphony choral settings (as used by 16th century composers like Palestrina, Lassus and the Spaniard Victoria, who incidentally also wrote a Requiem which includes the use of Gregorian chant). So we can reasonably conclude that Durufle was not quoting Lobo, but both were quoting the original plainchant (or a version of the plainchant, since different versions have existed down the ages). Unless anyone objects, I think the reference to the Lobo should be removed or at least reworded.

Turning to the Faure, I believe the points that the author was trying to make were: 1. Both Faure & Durufle only set part of the text of the Requiem Mass (in fact Durufle broadly set exactly the same text as Faure had set 60 years earlier): neither include the "Day of Judegment" texts ("Dies irae" et seq.) that are such a feature of certain other composers' Requiems (eg, Mozart, Berlioz or Verdi); 2. Both Faure and Durufle wrote a separate movement, "Pie Jesu", for soloist; 3. Both Faure & Durufle "borrow" the "Libera me" and the "In paradisum" texts from the Burial Service (not strictly part of the Requiem Mass); 4. Both Faure's & Durufle's music retain a restrained lyricism, arising from the melodic and rhythmic inspiration (in Faure's case) or melodic and rhythmic borrowings (in Durufle's) from plainchant; and 5. Both works are intimate in style and (generally) are understated (compare Mozart, Berlioz, Verdi and Britten). Again, if no-one objects, these points could usefully be made. 195.217.52.130 20:06, 27 February 2006 (UTC)

I wonder if there's citation for the Requiem being one of his most famous works; while short, the motet "Ubi caritas" may be better known, at least in America. The organ piece "Prélude, Adagio et Choral Varié" is also beloved by many (I can only cite personal experience, however).68.160.19.23 04:24, 1 June 2007 (UTC)JTLawton

Musical Style
This article is an interesting inroduction to Durufle. It would be good to see it taken further in a number of ways, not the least a discussion of the characteristics and sources of Durufle's musical style. For example: harmony; orchestration; the role of plainsong; education, belief and other influences. I'm nowhere near a music library, so can't help with a first cut. Are there any music students or academics out there who would like to attempt a summary, with references, at a level that's aimed at the educated layman? Countersubject 01:08, 23 January 2006 (UTC)

Requiem
There is a contradictionon this page and the Durufle Requiem page.

This page clearly states that there are three versions:

* Version with Organ (1948) * Version with Orchestra (1950) * Version with small Orchestra (1961)

while the page on the Durufle Requiem page clearly says that there are the following three versions:

one for organ alone, one for organ with string orchestra, and one for organ and full orchestra.

I have a recording of the Requiem with full orchestra (but no organ).... so, which page is correct?

- SuperOctave, 5 December 2006


 * No contradiction, both orchestral versions include organ parts. --FordPrefect42 14:38, 2 December 2007 (UTC)

Is this what was used in Michael Jackson's "Little Suzie"?

Recordings?
Is there a way to work in a mention of his recording of the Poulenc Concerto? Despite the rather, shall we say, questionable intonation, it is an incredibly exciting rendition. Did he make other recordings, either of his own music or of others? Should there be a discography? --Wspencer11 (talk to me...) 21:30, 6 April 2007 (UTC)
 * Sure. If he has recorded then add a discography section. --Mperry 03:39, 9 April 2007 (UTC)

Saint-Sulpice organ, Daniel Roth plays Duruflé Suite Prélude (April 2016)
This is quite an interesting video. Could it be linked? Martinevans123 (talk) 22:06, 2 August 2017 (UTC)

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