It's not British, but...Maurice Duruflé: Complete Organ Music

Whenever I encounter a CD purporting to offer a composer’s “Complete” works, I make a point of checking whether that claim holds up. In the case of this disc, the answer is: yes - and no - it depends. All Duruflé’s published organ music is indeed present, following the sequence established in Durand’s Oeuvres pour orgue, which effectively defines the core repertoire. To this, Roberto Marini has added three further pieces now widely accepted as part of the canon. However, several early student efforts remain unpublished and are therefore missing. Notably, are Duruflé’s transcriptions of other composers’ works and, more significantly, the Trois Improvisations, which he later reconstructed from recordings made by him at Notre-Dame.

An effective way to begin exploration of Maurice Duruflé’s opus is with the Prélude et Fugue sur le nom d’Alain, op.7 (1942). It was dedicated to fellow organist and composer, Jehan Alain, who had been killed near Saumur in the Loire Valley. Alain is often regarded as the single greatest loss to French music sustained during the Second World War. Any performance must point up the dichotomy between the sadness and reflection of the impressionistic Prelude and the gradual build up to a fine peroration in the Fugue. Roberto Marini’s account fits the bill with its equilibrium of triumph and meditation.

The Scherzo, op.2, written as a student exercise in 1926 and dedicated to Charles Tournemire, is anything but academic. Since then, it has taken its rightful place as “a prime example of the 20^th century organ repertoire.” It explores Duruflé’s harmonic imagination and technical skill. A miniature rondo, it opens with quiet string stops before launching into intricate, filigree figures. Chorale-based episodes offer contrast, while shifting moods and modulations sustain interest. Its mystical atmosphere and structural clarity make it one of the most captivating numbers on the disc. The magic is certainly present in this recording.

The Prélude, Adagio et Choral varié sur le thème du “Veni Creator,” op.4, dedicated to Louis Vierne, won first prize from Les Amis de l’Orgue in 1930. Drawing on the Gregorian theme for Pentecost, it characterises the musical language that defined Duruflé’s style. The liner notes suggest that this theme is explored “in all its expressive potential and reworked in a synthesis of traditions and modernity.” The Prélude introduces chant fragments in shimmering textures; the Adagio offers a concentrated, meditative chromatic unfolding; and the Choral varié presents the full theme followed by four increasingly intricate variations, culminating in a glowing coda.

The Suite pour orgue, op.5 dating from 1933 concluded with one of Duruflé’s most often performed pieces – the final Toccata, which is technically demanding, and surges with rhythmic energy and contrapuntal brilliance. The opening Prelude is at first brooding and funerial, before a “melancholic recitative” is explored and the opening material returns. The Sicilienne is impressionistic and tender by comparison. Any performance of this Suite must fuse Gregorian modality with Impressionism and sheer virtuosity. Roberto Marini finds this balance in his fascinating account.

The Chant donné (1953) is a short tribute - just over two minutes - offered to his former teacher Jean Gallon on his retirement. It was part of a festschrift, (Soixante-quatre Leçons d’harmonie offertes en hommage à Jean Gallon par ses élèves) devised by sixty-four of his former pupils. Out of interest, a Chant Donné is an exercise in which a tune is to be harmonized.

The Fugue sur le thème du Carillon des heures de la Cathédrale de Soissons, op.12 (1962) may not be the most significant piece on this disc, but the transformation of a pealing bell motif from the eponymous church, into a radiant, rhythmically intricate organ fugue is satisfying.

The Prélude sur l'Introït de l'Épiphanie, op 13 (1961), commissioned by Norbert Dufourcq for his volume Preludes à l’introït, timelessly honours the Gregorian tradition.

Written in 1964 but published posthumously, the Méditation pour orgue, opus posthume shares a spiritual kinship with the Agnus Dei from the Messe cum jubilo (1966). This likely began life as an improvisation. It unfolds through two principal themes: a chant-like opening motif and a more introspective passage voiced on the flute stops. Gradually, the music slows, dissolving into a series of lingering suspensions.

The Stahlhuth/Jann organ at the Church of St Martin of Dudelange, Luxembourg, is a majestic Romantic instrument shaped by the traditions of Germany, France, and England. It was commissioned in 1912 and rebuilt/restored in 2002. Its remarkable versatility now includes four manuals, seventy-eight speaking stops, two swell divisions, and commanding a Chamade, (a set of powerful reed pipes in a pipe organ that are mounted horizontally,) two 32-foot pedal stops, and a rich palette of solo voices.

Born in Italy, Roberto Marini studied under Fernando Germani and Lionel Rogg, gaining top prizes at the Geneva Conservatory. He is especially celebrated for his performances of Max Reger, having recorded the composer’s complete organ works in a monumental 17-CD set for Brilliant Classics. Marini’s discography also includes the complete organ works of Schumann and Brahms, as well as recordings of Liszt, Reubke, and Flor Peeters. He has performed at major international festivals, and his broadcasts have been given on Vatican Radio and other media outlets. A professor at both the Pontifical Institute of Sacred Music in Rome and the Pescara Conservatory, Marini also serves as artistic director of several organ festivals and is the titular organist of Teramo Cathedral.

The liner notes, provided by the soloist, give all the information required for enjoyment of this music. There are illustrations of the organ and recitalist, as well as the all-important organ specification.

This new recording offers a rewarding exploration of Maurice Duruflé’s published organ works, enriched by sensitive and commanding performances and a great recording. Roberto Marini’s interpretations, supported by the imposing Stahlhuth/Jann organ, illustrate both the technical brilliance and spiritual depth of this repertoire. For seasoned admirers and curious newcomers alike, it is a compelling and dignified tribute to one of the greatest French organ composers.

Track Listing:
Maurice Duruflé (1902-86)
Scherzo, op.2 (1926)
Prélude, Adagio et Choral varié sur le thème du “Veni Creator,” op.4 (1930)
Suite pour orgue, op.5: I. Prélude; II. Sicilienne; III Toccata (1933)
Prélude et Fugue sur le nom d’Alain, op.7 (1942)
Chant donné (Hommage à Jean Gallon) (1953)
Fugue sur le thème du Carillon des heures de la Cathédrale de Soissons, op.12 (1962)
Prélude sur l'Introït de l'Épiphanie, op 13 (1961)
Méditation pour orgue, opus posthume (1964)
Roberto Marini (organ)
rec. 6-7 November 2024, Church of St Martin, Dudelange, Luxembourg.
Brilliant Classics 97665
With thanks to MusicWeb International where this review was first published.