The works of Maurice Duruflé (1902–1986) comprise a small but significant body of sacred music and compositions for organ, yet they have received little serious analytical attention. The present study examines an early organ work, the Prélude, Adagio, et Choral varié, Op. 4, and a late choral composition, Quatre Motets, Op. 10. Duruflé's treatment of form, tonal regions, counterpoint, harmony, and pitch-class collections are investigated, along with use of Gregorian chant fragments and cantus firmi. Elements of Duruflés uniquely personal musical language include the transplantation of Gregorian chant into tertian and quartal/quintal harmonic environments, the use of whole-tone and octatonic collections along with church modes and the prevalent movement of pitch centers by tritone or third. The Prélude, Adagio, et Choral varié and Quatre Motets demonstrate that, throughout his career, Duruflé derives his compositional language from a range of stylistic periods, including French late Romanticism, neoclassicism, and impressionism.
|School:||University of Louisville|
|School Location:||United States -- Kentucky|
|Source:||MAI 48/06M, Masters Abstracts International|
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