Maurice Duruflé : Requiem.
Maurice Duruflé (11th January 1902 to 16th June 1986) is not well-known, but his Requiem is popular in the repertoire due to its intriguing musical basis, and the passion of composition in the themes of the contemplation of mortality. As a boy he was a chorister at Rouen Cathedral where he also began to study Piano and Organ. The ‘Gregorian’ Plainchant of the Catholic liturgy remained with him as a core musical foundation. He continued his studies on moving to Paris in 1919 and the following year entered the Paris Conservatoire, where he won prizes for his playing and for composition. In these years he was assistant organist at Basilique Ste-Clotilde, and later at Notre-Dame. In 1927 he became head organist at St-Étienne-du-Mont and held this position for the rest of his life. There were further prizes, and in 1939 he gave the premier of Poulenc’s Organ Concerto. He was appointed Professor of Harmony at the Conservatoire in 1943 and held this post until 1970. He was highly self-critical with his composing and although he is known to have written many more works, only 14 were published in his life-time.
The Requiem was written between 1941 and 1947. The relatively simple tones and structures of Plainchant are evident throughout, but in many places the addition of multiple layers of impassioned harmonic texture build an intensity in which those roots are all but obscured. In his own notes on the piece Duruflé stated :
“This Requiem . . . . reflects, in the immutable form of the Christian prayer, the agony of man faced with the mystery of his ultimate end. It is often dramatic, or filled with resignation, or hope or terror, just as the words of the Scripture themselves, which are used in the liturgy. It tends to translate human feelings before their terrifying, unexplainable or consoling destiny”.
Duruflé experienced both World Wars in France, and the layers of musical intensity in parts of the piece might reflect the terrifying maelstrom of 20th century war. The successive building consonants of Kyrie and Christe in the Kyrie Eleison plead for, and almost demand, mercy, while the complex climax in the Sanctus is best experienced live to appreciate its visceral impact.
Maurice Duruflé, Quatre Motets sur des Thèmes Grégoriens.
Maurice Duruflé wrote these 4 motets in 1960. He returned to his ideas for the earlier Requiem, and based the musical style on Gregorian Plainchant, adding polyphonic harmonies in the four voices.
1. Ubi Caritas. ‘Ubi cáritas et amor, Deus ibi est.’ mean ‘Where charity and love are, God is there.’
The hymn speaks of the love of God, the love of Christ, and the love of Christians for God and Christ, and for each other.
These words are most commonly used in churches on Maundy Thursday, in Holy Week, during a service celebrating the events of the Last Supper.
2. Tota Pulchra es. This is a sung prayer which starts by asserting the beauty of Mary (the mother of Jesus) : ‘You are all beautiful’, and praising her in many ways, and goes on to ask her help in pleading for mercy from Jesus.
3. Tu es Petrus. Tu es Petrus, et super hanc petram aedificabo ecclesiam meam.’
This translates as : You are Peter, and upon this rock I will build my church.
These words are taken from the Gospels : Matthew 16, verse 18, and John 1, verse 42.
4. Tantum Ergo. Tantum Ergo is a motet in praise of the holy sacrament (the bread and wine, or body and blood, at the Roman Catholic Mass), and also of God, Father (begetter), Son (begotten), and Holy Spirit (who proceeds from Father and Son).
It might be fair to say that all anyone needs to know about these motets is that Maurice Duruflé was the Professor of Harmony at the Paris Conservatoire, from 1943 to 1970, so he had some ability in this area.
Ralph Vaughan Williams – Five Mystical Songs
Ralph Vaughan Williams (1872–1958) composed Five Mystical Songs between 1906 and 1911, setting the spiritual words of the 17th-century Anglican priest and poet George Herbert (1593–1633) to music. The work is scored for baritone solo and choir,blending Vaughan Williams’ characteristic English pastoral lyricism with a deep sense of introspection and mysticism.
Despite Vaughan Williams’ personal agnosticism, Five Mystical Songs exudes warmth, reverence, and an innate understanding of Herbert’s devotional texts. The cycle moves through moments of reflection, joy, and triumph, reflecting both the personal and universal aspects of faith.
The Songs:
- Easter – A reflective baritone opening builds into an exultant choral celebration of Christ’s resurrection.
- I Got Me Flowers – A gentle, introspective piece depicting the poet’s journey to Christ’s tomb.
- Love Bade Me Welcome – The most poignant of the songs, with a tender baritone solo and hushed choral backdrop, evoking humility and divine acceptance.
- The Call – A simple yet profound setting of one of Herbert’s most famous texts, offering a direct and heartfelt spiritual invitation.
- Antiphon (Let All the World in Every Corner Sing) – A triumphant finale, with bold choral writing and resounding accompaniment, affirming universal praise.
Vaughan Williams’ Five Mystical Songs showcases his deep appreciation of English choral tradition, his sensitivity to text, and his ability to convey profound emotion through music. The work remains a staple of the choral repertoire, resonating with both religious and secular audiences through its beauty, depth, and sincerity.
Program notes by Jonathan Douglas