Album insights
Duruflé's father, an architect, mentioned to Maurice Emmanuel, a music history professor at the Paris Conservatoire, that his 17-year-old son was an organist at the Church of Notre-Dame in Louviers. Emmanuel suggested training with Tournemire to prepare Duruflé for the organ class entrance exam at the Conservatoire in the fall of 1920. Duruflé realized before the exam that Tournemire's approach did not align with his ideas, switching to Vierne. Reflecting on this, he noted Vierne's stricter formal approach compared to Tournemire's, finding the blend of liberty and discipline beneficial. This duality echoes in his Requiem, showcasing contrasting influences.
The basis for a Requiem using Cantus-planus melodies likely originated from Tournemire. Duruflé vividly recounted Tournemire's improvisations at Sainte-Clotilde's Cavaillé-Coll organ. The experiences with Tournemire profoundly influenced Duruflé's emotional range in the Requiem, mirroring Sainte-Clotilde's varied settings for Tournemire's evocative performances.
During a period, most likely at the start of World War II, Duruflé grappled with composing an organ suite on chorale themes. He realized the challenge of separating music from text, appreciating the gregorian lines' flexibility and lightness. Tasked with a symphonic poem by the Vichy government, he ultimately convinced them to accept his evolving Requiem instead, indicating shifting preferences post-war.
Composer Fauré's Requiem likely influenced Duruflé's work, resonating in thematic choices and structure. Duruflé adapted the gregorian chants, infusing a modern harmonic approach exceeding Fauré's while retaining modal elements. Duruflé intertwined old themes with contemporary techniques, balancing traditional elements and sophisticated harmonies seamlessly.
Poulenc's compositional journey was impacted by external events, leading to a return to his Catholic upbringing amid personal tragedies and political unease. Koechlin's teachings shaped Poulenc's musical development, emphasizing his innate harmonic sensibility over traditional contrapuntal approaches.
In the repentance motets, Poulenc tackled the Latin texts with nuanced musical responses, leading to dynamic shifts and alluring dissonances. The contrasting dynamics and textures in these motets echo his earlier depth in compositions like Tel jour telle nuit. These contrasting elements culminated in poignant musical expressions, highlighting the emotive power of Poulenc's skillful handling of tension and release.
The motets, sung by Les Petits Chanteurs à la Croix de Bois for the first time on Good Friday in 1939, marked a significant chapter in Poulenc's compositional journey amid personal introspection and political turmoil.