Title: Requiem, Op.

9
Composer: Maurice Duruflé (1902-1986)
Date of Composition: 1944-1947
First Performance: The first performance of the Requiem was broadcast to a national (not merely a Parisian) audience
over French radio, on November 2, 1947, on the observance of All Souls Day, the day on which the Roman Catholic
Church prays for the dead in purgatory.

Instrumentation: The full orchestra version is scored for 3 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet,
2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, cymbals, bass drum, tamtam, celesta, harp, organ, and strings

The reduced orchestra version is scored for 3 trumpets, timpani, harp, organ, and strings. The organ part used in the
reduced version is different from the organ part used in the version for choir and organ.

Style: Nearly all the thematic material in the work comes from chant. Requiem is generally restrained and subtle, allowing
the texts to speak for themselves. Like Fauré, Duruflé makes greater use of the soft dynamic levels to create a more
reflective setting. However, Duruflé does utilize the full spectrum of sound- from triple piano (ppp) to triple forte (fff). In
the insert to the Robert Shaw recording of this work, Nick Jones supposes “the powerful moments have greater effect
precisely because they ate so sparingly employed.” The simplest description of Duruflé's style would primarily mention
the substantial influence of chant upon his compositions, Duruflé's concept of chant was developed through listening to
music in service not in the concert hall in visits to monasteries.

Structure:
1. Introit (Requiem Aeternam)
2. Kyrie eleison
3. Offertory (Domine Jesu Christe)
4. Sanctus and Benedictus
5. Pie Jesu
6. Agnus Dei
7. Communion (Lux aeterna)
8. Libera me
9. In Paradisum

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. Duruflé's omission of this text and inclusion of others (Pie Jesu, Libera me, In Paradisum,
from the burial service, mirroring Fauré), 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.

Historical Context: Maurice Duruflé, born January 11, 1902 in Louviers, France, became indoctrinated in sacred music
early in life. When he was ten, his father enrolled him in the choir school at the cathedral of Rouen where he studied piano
and organ. Cathedral training introduced Duruflé to church music including Gregorian chant and this education sparked an
interest that would lead him to a lifetime career of performance and composition.

In 1919, be traveled regularly to Paris to study with composer/organist Charles Tournemire (1870-1939), focusing on the
entrance examinations of the Conservatorie National de Musique de Paris, which required the improvisation upon
Gregorian chant themes. Duruflé also assisted Tournemite with his duties as organist at the church of St. Clotilde and
gained an appreciation for the use of chant. To continue his preparations for the conservatory, Duruflé studied with
organist/ composer Louis Vieme (1870-1937) and worked as his assistant at the cathedral of St. Etienne-du-Mont
beginning in 1920. At the conservatory, Duruflé won several of the Premiere Prix: in organ, harmony, fugue,
accompaniment, and composition.

After the death of Vierne in 1929, Duruflé assumed his position as the organist at St. Etienne-du-Mont, a position he kept
for the rest of his career. He also taught harmony at the conservatory from 1943 until 1973. While teaching, Duruflé met
conservatory student Marie Madeleine Chevalier (1921.1999), and they married in 1953, the same year she joined him as
co-organist at St. Etienne-du-Mont. Later they would tow together extensively throughout Europe and America. In 1975, a
car travelling at 93 mph hit the Duruflé's in their car, injuring both Duruflé and his wife. Both of his legs were broken as
he was thrown from the car by the impact. Recovery was slow, and his career as an organist was virtually over. Only one
more composition emerged after the accident, a French setting of the Lord's Prayer (Notre Pere. op. 14) in 1976. He died
in Paris on June 16, 1986 at the age of 84.