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The '''Requiem''', op. 9, by ] 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 ] 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 1947 by the French music publisher Durand and is written in memory of the composer's father. The work is for SATB ] with ] and ] ]s. It exists in three ]s: one for ] alone, one for organ with ], and one for organ and full ].


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


==Structure== ==Structure==
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#] #] (Requiem Aeternam Dona eis)
#] #]
#] (]) #] (Domine Jesu Christe Rex Gloriae)
#] – Benedictus #] Dominus – Benedictus qui venit
#] #] Domine
#] #] qui tollis
#] (]) #] (])
#] #]
#] #]

Revision as of 05:45, 24 September 2010

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

Structure

The work is set in nine movements. Like many requiems, Duruflé's omits the Gradual and the Tract. The Dies irae text, perhaps the most famous portion of the Requiem mass, is not set (although the first section of the Dies irae is included in the Libera me.) Duruflé's omission of this text and inclusion of others from the burial service ( It includes the motet Pie Jesu and two texts from the burial service, Libera me and In Paradisum). In this way, structurally Duruflé's Requiem mirrors Fauré's in almost every way.) makes the composition calmer and more meditative than some other settings. 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 performances, some with both soloists, some with only the mezzo-soprano, and some (such as Robert Shaw's Telarc recording) using no soloists at all.


  1. Introit (Requiem Aeternam Dona eis)
  2. Kyrie eleison
  3. Offertory (Domine Jesu Christe Rex Gloriae)
  4. Sanctus Dominus – Benedictus qui venit
  5. Pie Jesu Domine
  6. Agnus Dei qui tollis
  7. Communion (Lux aeterna)
  8. Libera me
  9. In Paradisum

Instrumentation

The full orchestra version calls for piccolo, 2 flutes, 2 oboes (2nd doubling 2nd cor anglais), cor anglais, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, cymbals, bass drum, tamtam, celesta, harp, organ, and the typical string orchestra of violins, violas, cellos, and double basses.

External links

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