Book contents
- Frontmatter
- Dedication
- Contents
- List of Illustrations
- Foreword, by Jesse Eschbach
- Preface
- Acknowledgments
- A Note to the Reader on Terminology
- Introduction
- Chapter One Duruflé's Childhood and Early Education
- Chapter Two Life at the Cathedral Choir School
- Chapter Three Lessons with Charles Tournemire
- Chapter Four Lessons with Louis Vierne
- Chapter Five The Conservatoire Student
- Chapter Six Duruflé's Distinctions
- Chapter Seven The Contested Successions at Notre-Dame and Sainte Clotilde
- Chapter Eight Duruflé's Performing Career
- Chapter Nine The Orchestral Musician
- Chapter Ten The Orchestral Musician
- Chapter Eleven Professor of Harmony at the Paris Conservatoire
- Chapter Twelve Marie-Madeleine Chevalier
- Chapter Thirteen Marie-Madeleine Chevalier
- Chapter Fourteen Duruflé's Compositions: Their Genesis and First Performances
- Chapter Fifteen Duruflé's Role in the Plainsong Revival
- Chapter Sixteen The Vichy Commissions
- Chapter Seventeen The Requiem
- Chapter Eighteen The Musical History of Saint Étienne-du-Mont
- Chapter Nineteen The Organs at Saint Étienne-du-Mont
- Chapter Twenty Duruflé as Organist and Teacher
- Chapter Twenty-One Duruflé and Organ Design
- Chapter Twenty-Two The Church in Transition
- Chapter Twenty-Three The North American Tours
- Chapter Twenty-Four The Man Duruflé
- Appendix A Maurice Duruflé
- Appendix B Discography
- Appendix C Stoplists of Organs Important to the Careers of Maurice and Marie-Madeleine Duruflé
- Notes
- Bibliography
- Index
- Eastman Studies in Music
Chapter Eight - Duruflé's Performing Career
Published online by Cambridge University Press: 10 March 2023
- Frontmatter
- Dedication
- Contents
- List of Illustrations
- Foreword, by Jesse Eschbach
- Preface
- Acknowledgments
- A Note to the Reader on Terminology
- Introduction
- Chapter One Duruflé's Childhood and Early Education
- Chapter Two Life at the Cathedral Choir School
- Chapter Three Lessons with Charles Tournemire
- Chapter Four Lessons with Louis Vierne
- Chapter Five The Conservatoire Student
- Chapter Six Duruflé's Distinctions
- Chapter Seven The Contested Successions at Notre-Dame and Sainte Clotilde
- Chapter Eight Duruflé's Performing Career
- Chapter Nine The Orchestral Musician
- Chapter Ten The Orchestral Musician
- Chapter Eleven Professor of Harmony at the Paris Conservatoire
- Chapter Twelve Marie-Madeleine Chevalier
- Chapter Thirteen Marie-Madeleine Chevalier
- Chapter Fourteen Duruflé's Compositions: Their Genesis and First Performances
- Chapter Fifteen Duruflé's Role in the Plainsong Revival
- Chapter Sixteen The Vichy Commissions
- Chapter Seventeen The Requiem
- Chapter Eighteen The Musical History of Saint Étienne-du-Mont
- Chapter Nineteen The Organs at Saint Étienne-du-Mont
- Chapter Twenty Duruflé as Organist and Teacher
- Chapter Twenty-One Duruflé and Organ Design
- Chapter Twenty-Two The Church in Transition
- Chapter Twenty-Three The North American Tours
- Chapter Twenty-Four The Man Duruflé
- Appendix A Maurice Duruflé
- Appendix B Discography
- Appendix C Stoplists of Organs Important to the Careers of Maurice and Marie-Madeleine Duruflé
- Notes
- Bibliography
- Index
- Eastman Studies in Music
Summary
Duruflé began his career as a touring recitalist at a fairly young age. Among the earliest signs that his career had promise were the recitals he presented in 1923, when he was twenty-one years old, at the cathedral of Saint Pierre in Lisieux, at the college of Saint François de Sales in Évreux (1925), at Notre-Dame in Orbec (1928), and at Saint Taurin in Évreux (1929). In the ensuing years he developed a wide range of professional relationships with his colleagues and with performing organizations in Paris.
On April 20, 1928 he played what can probably be counted his Paris debut recital, at the Institut des jeunes aveugles, in a series of four recitals sponsored between February and May of that year by Les Amis de l’Orgue. Though billed as a private performance for the association, the recital was reviewed in the press. His program featured the premieres of the Molto adagio from Suite No. 35 of Tournemire's L’Orgue mystique and the Paraphrase from the third Suite. The review appeared in Le Courrier musical et théâtral: “M. Maurice Duruflé proved himself a brilliant and sensitive performer of Frescobaldi, Grigny, J. S. Bach, Franck, Vierne, and Tournemire. He demonstrated the benefits that a strong school education can confer in broadening one's innate gifts of taste and feeling.”
His touring assumed a more ambitious scale in 1931, when he toured the south of France, performing on March 3 at the cathedral in Monaco, on March 4 at the cathedral in Nice, and, on March 6 at Sacré-Coeur in Menton. In Nice, and probably in the two other cities as well, he played the Prélude, adagio et choral varié sur le Veni Creator. It was surely through Duruflé's friendship with Louis Vierne and Madeleine Richepin that this brief tour was arranged. Richepin's mother had a villa near Menton, on the French Riviera, and Vierne vacationed there.
Among Duruflé's many professional associations, the earliest (apart from Les Amis de l’Orgue) was with the Société nationale de musique, founded in 1871 by Camille Saint-Saëns and Romain Bussine, whose aim was to promote French music. Dubbed “the cradle of the magnificent renewal of our French music,” the society routinely extended calls for scores from the composers among its membership, of works that had not already been performed publicly.
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- Maurice DurufléThe Man and His Music, pp. 55 - 64Publisher: Boydell & BrewerPrint publication year: 2007