Maurice Durufle: Sämtliche Orgelwerke (CD)

Maurice Durufle (1902-1986)

John Scott

CD

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Scherzo op. 2; Prelude, Adagio & Choral op. 4; Suite op. 5; Prelude & Fugue op. 7; Prelude sur l'introit de l'Epiphanie; Fuge op. 12

Artists:: John Scott / Orgel St. Paul's Cathedral London
Label:: Hyperion
Year of recording ca.:: 1989
UPC/EAN:: 0034571154756
Release date:: 2.5.2014
Series:: Helios

Product-Information:

Maurice Duruflé (1902–1986) was born in Louviers. Between 1910 and 1918 he attended Rouen Cathedral Choir School. Rouen produced Marcel Dupré (1886–1971) and is also the home of the magnificent Cavaillé-Coll organ at St Ouen installed by the builder between 1888 and 1890. Duruflé could hardly have failed to have been influenced by that instrument and those who played it; his attraction to the organ and his love of Gregorian chant were established when the composer was a chorister. In 1919 he moved to Paris in order to study the organ with Charles Tournemire, whose deputy he later became at Ste Clothilde, and Louis Vierne, who was then organist at the Cathedral of Notre Dame. That study was in preparation for his admission to the Paris Conservatoire, which he entered in the following year, where he studied organ with Eugène Gigout, who was by then in his seventy-sixth year. There is no doubt that his exposure to the genius of both Tournemire and Vierne in their respective organ lofts had a formative influence; Duruflé was to retain his admiration for these two masters for the rest of his life.

Rezensionen

'Brilliantly played' (CDReview)

'Recordings and performances are splendid. Scott's playing is technically immaculate and his interpretations are intense and moving' (Gramophone)

'Consummate phrasing, perfectly judged crescendos and bags of atmosphere. His playing is magisterial in its sheer elegance, discriminating taste, and devotion to the music' (BBC Music Magazine)

Reviews

A. Beaujean in stereoplay 11/90:"Die Begeg- nung mit dieser Musik ist um so interessan- ter, als John Scott ihr auf der Riesenorgel der Londoner Paulskathedrale alles, was nur an klanglichen Raumperspektiven, an raffinier- ten Schwellmixturen, dynamischer Bandbreite, koloristischer Brillanz möglich ist, freigie- big angedeihen läßt. Und der Klangtechnik ge- lang es, trotz des Raumhalls, das alles unge- mein differenziert einzufangen."