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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.
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libitum, but one or more string instruments in every movement): published in 1961; For the same vocal forces and piano (unpublished) Quatre Motets sur des thèmes grégoriens op. 10 for choir a cappella (1960): Ubi caritas et amor; Tota pulchra es; Tu es Petrus ...
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]
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]
Louis Victor Jules Vierne (8 October 1870 – 2 June 1937) was a French organist and composer.As the organist of Notre-Dame de Paris from 1900 until his death, he focused on organ music, including six organ symphonies and a Messe solennelle for choir and two organs.
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 ...
Maurice Ravel preferred the keyboard version of the instrument because it can play a true ff dynamic for brilliance and iridescence in orchestral climaxes. [3] In the late 20th century, the firm of Bergerault began manufacturing a three-octave (F 2 –E 4 ) mallet instrument with a damping mechanism operated by a foot pedal, which is capable of ...
One curiosity, the final chord of REQUIEM has, in it's center area 4 consecutive whole steps (e-f#-g#-a#, as represented by fa-so-la-ti). The spaces between those tones, the 3 whole steps could be said to represent a Trinitarian idea, intended by Durufle as a suggestion the body, at death, returns to God, or to perfection.
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