Maurice Duruflé was known for his extremely self-critical approach and published only a small portion of his works. Unlike his rigorously perfectionist teacher, Paul Dukas, he avoided avant-garde movements and instead drew on traditional music, with Gregorian chant and French models being particularly influential. Although he composed throughout his life, he focused primarily on orchestral and organ music; he felt less comfortable in other genres, such as piano or string quartet.
While working on a suite for organ, Duruflé received the important commission for a Requiem based on Gregorian themes, distinguished by its timeless, meditative atmosphere. He drew inspiration from Fauré, adopting similar structures and atmospheric characteristics. His particular strength lay in the fusion of Gregorian melodies with harmonic elements from important composers, which gave his works a distinctive character.
The motets he composed in 1960 ideally complement the Requiem, as they are closely linked to Gregorian chant. These compositions demonstrate Duruflé's ability to integrate sacred chants into complex polyphonic structures. The Quatre motets are characterized by a spiritual depth and interconnectedness that can also be found in other liturgical works by the composer.
The Mass "Cum jubilo" demonstrates Duruflé's preference for clarity and restraint by favoring simple homophony and using only the lower male voices in the choir. In contrast to some of the more opulent works of his time, the Mass, with its simple structure and the refined incorporation of Gregorian motifs, enhanced by the organ accompaniment, underscores Duruflé's distinctive compositional style.