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In 1943 he became Professor of Harmony at the Conservatoire de Paris, [3] where he worked until 1970; among his pupils were the revered organists Pierre Cochereau, Jean Guillou and Marie-Claire Alain. [2] In 1947 he completed probably the most famous of his few pieces: the Requiem op. 9, for soloists
The Requiem, Op. 9, is a 1947 (revised 1961) setting of the Latin Requiem by Maurice Duruflé for a solo baritone, mezzo-soprano, mixed choir, and organ, or orchestra with organ.
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]
The three-hand effect (or three-hand technique) is a means of playing on the piano with only two hands, but producing the impression that one is using three hands. Typically this effect is produced by keeping the melody in the middle register, with accompanying arpeggios in the treble and bass registers.
Made the world premiere recording of the two-piano arrangement of Grieg's Concerto in A minor, written by Grieg and Károly Thern. Also the first recording of Grieg's piano version of the "Homage March" from Sigurd Jorsalfar. [12] They have recorded the piano duet version of Chopin's 2nd Piano Concerto in F minor (arr. Chopin and Carl Mikuli ...
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]
In a 2014 recording entitled Music for Remembrance, O'Donnell combined Duruflé's Requiem, in the orchestral version, with choral works written in memory of those fallen in the World Wars, including Three Prayers of Dietrich Bonhoeffer set by Philip Moore and The peace that surpasseth understanding by John Tavener, performed by soloists ...
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.