Maurice Durufle (1902 - 1986) developed an interest in the organ
and Gregorian chant during his days as a choirboy in the Rauen
cathedral. At the Paris Conservatoire he was a student of Gigout
and Dukas. He continued his organ study under Vierne and
Tournemire.
He was appointed organist of St. Etienne-du-Mont in 1930 and gave
numerous recitals throughout the world. In 1943 he was appointed
professor in harmony at the Paris Conservatoire, a position he held
for more than thirty years.
His organ compositions include the following:
Scherzo, op.2
Prelude, Adagio et Choral varie sur le theme du "Veni
Creator", op.4
Suite, op.5
Prelude et Fugue sur le nom d'Alain, op.7
Prelude a !'Introit de l'Epiphanie
Fugue sur le theme du carillon des heures de la Cathedrale de
Scissons
Durufle's organ works were directly influenced by Gregorian
plainchant, the Impressionism and his teachers Vierne and
Tournemire. Indirect influences were the traditions of the
nineteenth-century French organ school, contributions of important
nineteenth-century composers and developments in the art of organ
building. In his organ works Durufle uses a variety of textures. His melodies
reveal both lyrical and dramatic qualities. Tonality freely mixed
with modality, pentatonic scales and Impressionistic harmonies are
important characteristics of his music. Other important features in
this regard are the succession of unrelated keys and chords and the
use of colourful and expressive chromaticism.
Durufle treats the aspect of rhythm in a traditional way, although
some of his organ works contain many changes of metre. Being a Neoclassicist,
he made extensive use of traditional forms. His
judicious and poetic approach to registration clearly reveals his
interest in timbre. Although his organ works were written for a
large French Romantic organ, he included alternative arrangements
for smaller instruments. Despite the fact that Durufle's organ
works are technically difficult, he can be regarded as a highly
idiomatic composer.
As a performer, conductor, lecturer and composer Durufle made an
enormous contribution to the music of the twentieth century. Being
the only Impressionistic Neo-classicist, Durufle's contribution is
unique and although his oeuvre of organ works is small, it has
certainly enriched the literature of the instrument.
Maurice Durufle (1902 - 1986) het reeds tydens sy studiejare aan
die Rouen-katedraal se koorskool 'n besondere liefde vir die orrel
en Gregoriaanse gelyksang ontwikkel. Hy het aan die Paryse
Konservatorium onder Gigout en Dukas studeer. sy orrelstudie is
aangevul met !esse by Vierne en Tournemire.
Durufle is in 1930 as hooforrelis van die st. Etienne-du-Mont-kerk
aangestel en het orreluitvoerings dwarsoor die wereld gegee. Sedert
sy aanstelling in 1943 was hy vir meer as dertig jaar professor in
harmonie aan die Paryse Konservatorium. Hy het die volgende orrelwerke nagelaat:
Scherzo, op.2
Prelude, Adagio et Choral varie sur le theme du "Veni
Creator" op.4
Suite, op.S
Prelude et Fuga sur le nom d'Alain, op.7
Prelude a !'Introit de l'Epiphanie
Fugue sur le theme du carillon des heures de la
Cathedrale de Scissons
burufle se orrelwerke is direk deur Gregoriaanse gelyksang, die
Franse Impressionisme
beinvloed. Indirekte
en sy leermeesters Vierne en Tournemire
invloede was die tradisies van die
negentiende-eeuse Franse orrelskool, die bydraes van belangrike
negentiende-eeuse komponiste en die verbetering in orrelbou.
Durufle gebruik 'n groat verskeidenheid van teksture wat veral deur
aspekte soos melodie, harmonie en ritme beinvloed word. Die mees
opvallende eienskappe van Durufle se melodiek is 'n sterk modale
inslag, 'n natuurlike lirisisme en 'n tradisionele hantering van
melodiese dissonante.
Die aspekte van tonaliteit en harmonie openbaar Durufle as 'n
oorgangskomponis. Modali tei t, heel toon- en pentatoniese toonlere en
impressionistiese harmoniee is prominent in sy musiek. Durufle se
modulasieprosedures is konvensioneel, alhoewel hy soms onverwante
toonsoorte en akkoorde direk langs mekaar plaas. Die gebruik van
kromatiek verleen kleur en uitdrukkingskrag aan sy musiek.
Durufle se hantering van ritmiek en metrum is tradisioneel, hoewel
daar in sommige van sy orrelwerke heelwat metrumwisselings voorkom. Hy was egter nie aangetrokke tot Messiaen se eksperimente op die
gebied van ri tme nie. Sy orrelwerke se vormstrukture openbaar
Durufle as 'n Neo-klassisis. Hy maak hoofsaaklik van tweeledige,
drieledige en rondo-tipe vormstrukture gebruik. Die verskillende
seksies is dikwels nie duidelik afgebaken nie, maar skakel gladweg
aaneen.
Durufle se orrelwerke is vir 'n groot Franse Romantiese orrel
bedoel. Hy het egter die ui tvoeringspraktyk in ag geneem deur
al ternatiewe registrasie-aanduidings vir kleiner instrumente te
verskaf. Ten spyte van 'n konvensionele benadering ten opsigte van
registrasie, is sy aanduidings verbeeldingryk en toon duidelik 'n
tipies Impressionistiese belangstelling in verskillende klankkleure.
Oor die algemeen stel Durufle se orrelwerke hoe eise aan die
uitvoerende kunstenaar. Die moeilikheidsgraad word verhoog deur die
pianistiese en orkestrale skryfstyl wat hy soms gebruik. Ten spyte
hiervan het hy 'n besondere begrip vir idiomatiek gehad.
As uitvoerende kunstenaar, dirigent, dosent en komponis het Durufle
'n enorme bydrae tot die twintigste-eeuse musiek gelewer. Sy bydrae
tot die orrelliteratuur is uniek aangesien hy die enigste Impressionistiese
Neo-klassisis was. Daar kan met reg beweer word dat
geen orrelis se twintigste-eeuse repertorium sender sy werke
volledig kan wees nie.
