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The full-orchestra version is scored for 3 flutes (2nd and 3rd doubling piccolo), 2 oboes (2nd doubling 2nd English horn), English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 French horns, 3 trumpets, 3 trombones, tuba, timpani, cymbals, bass drum, tamtam, celesta, harp, organ, and strings (violins, violas, cellos, and double basses).
For the same vocal forces, organ and (reduced) orchestra (several instruments ad libitum, but one or more string instruments in every movement): published in 1961; For the same vocal forces and piano (unpublished) Quatre Motets sur des thèmes grégoriens op. 10 for choir a cappella (1960): Ubi caritas et amor; Tota pulchra es; Tu es Petrus ...
Mark Rochester of Gramophone writes of the 'highly polished, virtually flawless sound of the Houston Chamber Choir' on the project. [6] James Manheim of AllMusic writes 'The album presents all of Duruflé's choral music, which fits conveniently on one CD, and it offers both distinctive performances and really superb recording of an impressive organ.'. [7]
Maurice Duruflé composed the four motets in 1960, based on Gregorian themes, as he had done before in his Requiem of 1948. He set Latin texts, scored for unaccompanied voices: a mixed choir in Nos. 1, 3 and 4, and a women's choir in No. 2. [1] Duruflé dedicated the work to Auguste Le Guennant, the director of the Gregorian Institute of Paris. [2]
[3] and is currently a visiting professor of organ and choral conducting there. [1] He was artist-in-residence at the Yale School of Music in 2010 and in 2023 was appointed Professor in the Practice of Organ and Sacred Music at the Yale Institute of Sacred Music. [1] [3] [6] [10] He served as President of the Royal College of Organists from ...
Some of the Piano Quintet's themes were originally intended for his Requiem, [16] which was sketched out together with the Piano Quintet. [17] Schnittke called the Requiem an "offshoot" [18] or the "waste matter" [19] of the Piano Quintet and that the latter work turned out "rather different" than he had anticipated. [20] He completed it in ...
This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.
Professor of the History of the Church at the University of Oxford Diarmaid MacCulloch's recent 1,200-page doorstop "Christianity: The First Three Thousand Years" describes this work as actually having been commissioned and composed earlier, during the État Français period by Durufle, which fact was "conveniently shrouded in obscurity" after the end of the war.