Maurice Duruflé viewed composing as a time-consuming, meticulous process involving numerous revisions. Throughout his career, he released only 14 works with opus numbers, reflecting his extreme self-criticism. Unlike other composers of his time, he favored a more traditional approach and eschewed avant-garde experimentation. He found his inspiration primarily in Gregorian chant and the works of prominent French composers. He was particularly devoted to organ and orchestral music.
When he received the commission for his Requiem, Duruflé was able to seamlessly integrate existing sketches for organ pieces. This composition, based on Gregorian melodies, is characterized by a timeless and contemplative spirituality. Duruflé's work respectfully echoes Fauré's Requiem while simultaneously imbuing it with his own distinctive musical voice. Through the skillful combination of various elements, such as Gregorian themes, contrapuntal techniques, and harmonic structures, he achieved remarkable originality.
The extraordinary fusion of Gregorian elements with harmonies in the tradition of Debussy and Ravel lends his compositions an expressive and rhythmically free quality. The Requiem radiates a spiritual serenity and hopeful mood, enhanced by emotional tonalities and modal harmonic progressions. Each section of the work is meticulously crafted and characterized by melodic richness and emotional depth.
The Pie Jesu forms the emotional climax of the Requiem, followed by the Agnus Dei and the haunting Libera me. With his skillful use of countermelodies and harmonic structures, Duruflé creates a profound and spiritual atmosphere. The impressive structure of the Requiem culminates in a peaceful and timeless conclusion with the In Paradisum.
The "middle version" of the Requiem, published in 1961, demonstrates Duruflé's ability to combine intimacy with dramatic depth. This version, with its reduced orchestral forces and emphasis on the organ, offers a well-balanced sound. The accompanying motets are in no way inferior to the Requiem in terms of quality and underscore Duruflé's masterful command of Gregorian chant within a polyphonic context.
In 1960, Duruflé published the Quatre Motets, which serve as an ideal complement to the Requiem. Each motet is based on Gregorian themes and reveals Duruflé's refined and inspired musical talent. These works condense the essence of Duruflé's musical language in a thoughtful and inspired manner.