'n stylkritiese studie van Maurice Durufle se orrelwerke

Abstract

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.