Classical The best music site on the web there is where you can read about and listen to blues, jazz, classical music and much more. This is your ultimate music resource. Tons of albums can be found within. Sat, 26 Nov 2022 10:55:28 +0000 Joomla! 1.5 - Open Source Content Management en-gb Maurice Durufle - Requiem - Messe "Cum Jubilo" – Motets (1999) Maurice Durufle - Requiem - Messe "Cum Jubilo" – Motets (1999)

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for soloist, chorus, orchestra & organ, Op. 9
01.  1. Introit  [03:59]
02.  2. Kyrie  [04:29]
03.  3. Domine Jesus Christe  [05:25]
04.  Hostias  [03:22]
05.  4. Sanctus  [04:08]
06.  5. Pie Jesu  [04:04]
07.  6. Agnus Dei  [04:27]
08.  7. Lux aeterna  [04:12]
09.  8. Libera me  [06:16]
10.  9. In Paradisum  [03:33]

Missa "Cum Jubilo"
for baritone, baritone chorus, orchestra & organ, Op. 11
11.  1. Kyrie  [03:41]
12.  2. Gloria  [05:24]
13.  3. Sanctus  [03:56]
14.  4. Benedictus  [01:55]
15.  5. Agnus Dei  [04:31]

4 Motets on Gregorian Themes, for chorus, Op.10
16.  1. Ubi caritas (4 voix mixtes)  [03:02]
17.  2. Tota pulchra es (3 voix de femmes)  [02:22]
18.  3. Tu es Petrus (4 voix mixtes)  [00:59]
19.  4. Tantum ergo (4 voix mixtes)  [02:59]

20.  Notre Père (2 versions), for chorus a cappella Op. 14  [01:36]

Anne Sofie von Otter - mezzo-soprano
Thomas Hampson - baritone
Marie-Claire Alain - organ

Choeur et Orchestre du Capitoled de Toulouse
Michel Plasson – conductor


This is the 1947, full-orchestra version of Maurice Duruflé's Requiem, one of the 20th century's most beloved choral works. It's the first of three versions the composer made of the piece. Despite the enhanced intimacy of the smaller-scale versions, the original offers a rich orchestral tapestry, especially compelling in the performance by Michel Plasson's forces, without diminishing the work's radiant beauties or its spiritual depths. Those virtues are enhanced by the singing of Anne Sofie von Otter and Thomas Hampson. The chorus, a weak element in the Requiem, shines brighter on the rest of the disc, which gathers all of Duruflé's choral music. The Mass is more assertive than the Requiem and should be heard more often. It gets a powerful performance here, as do the miniature Motets, intense in their restrained beauties. --Dan Davis,

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]]> (bluesever) Durufle Maurice Mon, 22 Sep 2014 15:45:39 +0000
Maurice Duruflé – Requiem - Suite for Organ (2005) Maurice Duruflé – Requiem - Suite for Organ (2005)

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Requiem For Soloists, Choirs, Orchestra And Organ, Op.9 
1 - Introit et Kyrie
2 - Domine Jesu Christe 		
3 - Sanctus 		
4 - Pie Jesu 		
5 - Agnus Die 		
6 - Lux Aeterna 		
7 - Libera Mei 		
8 - In Paradisum

Suite for Organ Op. 5
9 - Prelude
10 – Sicilienne
11 – Toccata

Kaaren Erickson - Soprano 
Arthur J. Jr. Fiacco - Cello
Nancianne Parrella – Organ
Choir of St. Ignatius Loyola
Kent Tritle - Conductor, Organ


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 optional trumpets, harp and timpani, 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.


Duruflé's Suite, Op. 5 represents one of the high points in the composer's substantial output for the organ. As with his other works for the instrument, it makes considerable demands on the player. The first movement, a Prelude in E flat minor, is constructed as a large arch. It opens with a funereal theme that exploits the organ's darkest, most brooding colors. As the movement progresses, the brighter organ stops slowly overcome the darkness of the opening until the grand sound of the full instrument bursts forth. From this great expanse of sound, Duruflé gradually returns to the contemplative mood of the opening.

The second movement is a graceful Sicilienne. The plaintive theme is isolated in various solo stops, accompanied by an eighth note figuration; these episodes alternate with a chordal texture played on string stops. The final Toccata, one of the most difficult pieces in the organ literature, is a sonic whirlwind that eschews the sort of consistent pattern of fast notes that characterizes many French organ toccatas; rather, it unfolds in a more improvisatory spirit. --- Darren Wong, Rovi

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]]> (bluesever) Durufle Maurice Tue, 18 Jan 2011 10:14:26 +0000