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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libitum, but one or more string instruments in every movement): published in 1961; For the same vocal forces and piano (unpublished) Quatre Motets sur des thèmes grégoriens op. 10 for choir a cappella (1960): Ubi caritas et amor; Tota pulchra es; Tu es Petrus ...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]
Three flats may refer to: E-flat major, a major musical key with three flats; C minor, a minor musical key with three flats; Triplex (building), a house plan with ...
3 Spirituals for four-part mixed choir and piano; Messe brève for soprano solo, three-part women's (children's) choir and organ (Strube) Christmas song phrases; Soli with Instruments. Canti mariani four Marienmotetten for mezzo-soprano, countertenor and orchestra (organ version) Requiem for 3 male voices and string sextet
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.
But Rougier returned to his favourite instrument, the pipe organ and, after an experience as assistant at the Church of Saint-Sulpice and as appointed organist at the Dominicains convent of the rue du Faubourg-Saint-Honoré in Paris [5] he became a titular in several parishes in Lyon such as Saint-Irénée, Saint-Polycarpe and Saint-Pothin.
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