Misplaced Pages

Requiem (Duruflé): Difference between revisions

Article snapshot taken from Wikipedia with creative commons attribution-sharealike license. Give it a read and then ask your questions in the chat. We can research this topic together.
Browse history interactively← Previous editNext edit →Content deleted Content addedVisualWikitext
Revision as of 19:15, 28 May 2007 editTompw (talk | contribs)Extended confirmed users, Pending changes reviewers18,092 edits →Structure: note← Previous edit Revision as of 17:28, 4 June 2007 edit undoStismail (talk | contribs)Extended confirmed users, Pending changes reviewers8,548 edits Fixed errors, elaborated on version differencesNext edit →
Line 2: Line 2:
The '''Requiem''', op. 9, by ] was commissioned in ] by the ] music publisher Durand and is written in memory of the composer's father. The work is for mixed ] with ] and ] ]s. It exists in three ]s: one for ] alone, one for organ with ], and one for organ and full ]. The '''Requiem''', op. 9, by ] was commissioned in ] by the ] music publisher Durand and is written in memory of the composer's father. The work is for mixed ] with ] and ] ]s. It exists in three ]s: one for ] alone, one for organ with ], and one for organ and full ].


At the time the commission arrived, Duruflé was working on an organ suite using themes from ]. Duruflé incorporated his sketches for that work into the Requiem, which uses many themes from the Gregorian "Mass for the Dead". Nearly all of the thematic material in the work comes from chant. At the time the commission arrived, Duruflé was working on an organ suite using themes from ]. Duruflé incorporated his sketches for that work into the Requiem, which uses many themes from the Gregorian "Mass for the Dead." Nearly all the thematic material in the work comes from chant.


The work is set in 9 ] Interestingly, the ] text, perhaps the most famous portion of the ] ], is not set as a movement by itself as usual, but is instead incorporated into the ]. Overall, however, Duruflé chose the calmer and more meditative texts from the requiem. The work is set in nine ]. Interestingly, the ] text, perhaps the most famous portion of the ] ], is not set as a movement by itself as usual. <!-- The Dies irae is not part of the Libera me. but is instead incorporated into the ]. --> Overall, however, Duruflé chose the calmer and more meditative texts from the requiem.

In the full score, the fifth movement, "Pie Jesu," has the only solo for the mezzo-soprano; in addition, even in the "organ-only" version of the Requiem, there is an ''obbligato'' ] solo. The baritone soloist has parts in the third movement, "Domine Jesu Christe," and the penultimate movement, "Libera me."

Duruflé left indications in the score that, for the baritone soloist at least, it was preferable to have the choir sing the solos instead. This has resulted in various forces being used in different recordings, some with both soloists, some with only the mezzo-soprano, and some (such as ]'s Telarc recording) using no soloists at all.


The ] soloist sings the fifth movement, Pie Jesu. The baritone soloist sings in both the third movement, ''Domine Jesu Christe'', and the eighth movement, ''Libera me''. Duruflé said that he himself preferred that the solos be sung by an entire section of the choir and the work is often performed that way.


==Structure== ==Structure==


Duruflé's Requiem is as follows. As usual it omits the ] and the ], but also omits the ] (''Dies irae'', although the text of this appears in the ''Libera me''). It includes the motet '']'' and two texts from the burial service, '']'' and '']''. Like many requiems, Duruflé's omits the ] and the ], but also omits the ''Dies irae'' ]. It includes the motet '']'' and two texts from the burial service, '']'' and '']''.


#] #]
Line 18: Line 21:
#] #]
#] #]
#]
#]
#] #]
#] #]

Revision as of 17:28, 4 June 2007

The start of Movement II, Kyrie, in the composer's own arrangement for choir and organ. The plainchant influence is clearly evident, particularly in the bass lead to this section.

The Requiem, op. 9, by Maurice Duruflé was commissioned in 1947 by the French music publisher Durand and is written in memory of the composer's father. The work is for mixed choir with mezzo-soprano and baritone soloists. It exists in three orchestrations: one for organ alone, one for organ with string orchestra, and one for organ and full orchestra.

At the time the commission arrived, Duruflé was working on an organ suite using themes from Gregorian chants. Duruflé incorporated his sketches for that work into the Requiem, which uses many themes from the Gregorian "Mass for the Dead." Nearly all the thematic material in the work comes from chant.

The work is set in nine movements. Interestingly, the Dies irae text, perhaps the most famous portion of the Requiem mass, is not set as a movement by itself as usual. Overall, however, Duruflé chose the calmer and more meditative texts from the requiem.

In the full score, the fifth movement, "Pie Jesu," has the only solo for the mezzo-soprano; in addition, even in the "organ-only" version of the Requiem, there is an obbligato cello solo. The baritone soloist has parts in the third movement, "Domine Jesu Christe," and the penultimate movement, "Libera me."

Duruflé left indications in the score that, for the baritone soloist at least, it was preferable to have the choir sing the solos instead. This has resulted in various forces being used in different recordings, some with both soloists, some with only the mezzo-soprano, and some (such as Robert Shaw's Telarc recording) using no soloists at all.


Structure

Like many requiems, Duruflé's omits the Gradual and the Tract, but also omits the Dies irae Sequence. It includes the motet Pie Jesu and two texts from the burial service, Libera me and In Paradisum.

  1. Introit
  2. Kyrie
  3. Offertory
  4. Sanctus – Benedictus
  5. Pie Jesu
  6. Agnus Dei
  7. Lux aeterna
  8. Libera me
  9. In Paradisum

External links

Category: