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Ballade du désespéré, op. 61, lyrical poem for tenor solo and piano, orchestrated 1943; Three improvisations for organ (Notre-Dame-de-Paris, November 1928), transcribed 1954: Marche épiscopale; Méditation; Cortège; Maurice Duruflé: Requiem, op. 9, for voices and piano (1947) Charles Tournemire
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. The thematic material is mostly taken from the Mass for the Dead in Gregorian chant. The Requiem was first published in 1948 by Durand in an organ version.
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]
This recording of "The Christmas Song" has also been included on numerous compilation albums of Christmas pop standards (for example, WCBS-FM's Ultimate Christmas Album Volume 3). An alternate take of the 1961 recording, featuring a different vocal and missing the solo piano on the instrumental bridge, appears on the Deluxe Edition of the 2014 ...
Elena Firsova – Requiem, Op.100 (Text by Anna Akhmatova) Dmitri Kabalevsky – War Requiem (Text by Robert Rozhdestvensky) Sergei Taneyev – Cantata John of Damascus, Op.1 (Text by Alexey Tolstoy) Chinese. Tyzen Hsiao – Ilha Formosa: Requiem for Formosa's Martyrs, 2001 (Text by Min-yung Lee, 1994) Fan-Long Ko – 2-28 Requiem, 2008. (Text ...
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 ...
The music has been described as "rich in subtle harmonies, well-written for voices, and reminiscent of impressionism". [4] A reviewer notes: "Here Duruflé shows his particular genius for invoking the spiritual element of plainsong in a polyphonic context, achieving a suppleness of rhythm alongside strong characterization of each text."
According to the sheet music published at Musicnotes.com by Sony/ATV Music Publishing, the song is set in the time signature of common time. It is composed in the key of G Major with Roger Daltrey's vocal range spanning from G 3 to A 4. [4] The song makes repeated use of suspended fourth chords that resolve to triads.
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