The works of Maurice Durufle (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 Prelude, Adagio, et Choral varie, Op. 4, and a late choral composition, Quatre Motets, Op. 10. Durufle'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 Durufles 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 Prelude, Adagio, et Choral varie and Quatre Motets demonstrate that, throughout his career, Durufle derives his compositional language from a range of stylistic periods, including French late Romanticism, neoclassicism, and impressionism.
展开▼
机译：莫里斯·杜鲁弗（Maurice Durufle，1902--1986年）的作品包括一小部分但意义重大的神圣音乐和风琴作品，但它们并未受到严重的分析关注。本研究检查了早期的器官工作，序曲，Adagio等合唱曲，作品。 4，后期合唱作品《 Quatre Motets》（作品）。 10.研究了Durufle对形式，音调区域，对位，和声和音调类集合的处理方式，并使用了格里高利圣咏片段和坚固的Cantus。 Durufles独特的个人音乐语言的元素包括将格里高利圣歌移植到三次和四次/三次谐波环境中，使用全音和八音系列以及教堂模式，以及音调中心普遍以三音或三音移动。 《前奏曲》，《 Adagio》等《合唱曲》和《 Quatre Motets》表明，在他的整个职业生涯中，Durufle的创作语言源于多种风格，包括法国晚期的浪漫主义，新古典主义和印象派。
展开▼
