Maurice & Marie-Madeleine Duruflé in Concert at Notre-Dame in Paris |
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Presentation
The names of the composers who appear here, musicians quite often having a place of honour on the Duruflés’ programmes, couldbe written in capital letters in the family tree of the French organ, a relation linking the ‘founding fathers’ to the generations active upuntil the post-war years.
Alongside Marie-Madeleine’s perfectly mastered interventions, those of Maurice Duruflé are distinguished by options fully in agreement with what he professed: sobriety, a sense of the architecture and progressions, respect for the large line, expression that is sensitive yetdevoid of any sentimentality, and a striving for balance. These same qualities affect besides his music that sometimes offers glimpses ofthe ideal garden that, far from ordinary violence, he patiently cultivated.
François Sabatier
Alongside Marie-Madeleine’s perfectly mastered interventions, those of Maurice Duruflé are distinguished by options fully in agreement with what he professed: sobriety, a sense of the architecture and progressions, respect for the large line, expression that is sensitive yetdevoid of any sentimentality, and a striving for balance. These same qualities affect besides his music that sometimes offers glimpses ofthe ideal garden that, far from ordinary violence, he patiently cultivated.
François Sabatier
Track list
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1.
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Charles Tournemire | Improvised Choral on “Victimae Paschali” | |
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2.
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Charles Tournemire | Improvised Fantasy on “Ave maris stella” | |
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3.
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César Franck | Choral for Organ No. 1 in E Major, FWV 38 | |
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4.
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Louis Vierne | Symphony No. 6 in B Minor, Op. 59: II. Aria | |
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5.
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Marcel Dupré | Variations sur un vieux noël, Op. 20 | |
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6.
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César Franck | Fantasy in A Major, FWV 35 | |
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7.
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Maurice Duruflé | Prelude and Fugue on the name of A.L.A.I.N., Op. 7 |
Press
(Res Musica)