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 Eleven - Professor of Harmony at the Paris Conservatoire
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 was affiliated with the Paris Conservatoire, in one capacity or another, for fifty years, beginning in 1920 when he entered the organ class, and ending in 1970 when he resigned as professor of harmony. Even during the hiatus of approximately ten years between his last student exam and the first class he taught in harmony, he served on Conservatoire juries, performed with the Conservatoire orchestra, and was a substitute organ teacher.
Duruflé's earliest experience as a teacher at the Paris Conservatoire was in his unofficial capacity as substitute for Marcel Dupré in the organ class. In 1942 he filled in for Dupré and taught a number of soon-to-be-prominent organists, including Suzanne Chaisemartin, Marie-Claire Alain, Pierre Cochereau, and Marie-Madeleine Chevalier.
In his memoirs Duruflé wrote about his relationship with Dupré. The elder Man
bore an almost familial affection for me, for both of us were Normans… . He followed the course of my studies ever since my time at the maîtrise… .
I did not lose an occasion, of course, to attend all the concerts of this prestigious organist. I would encounter him often in the hallways of the Conservatoire, where he always favored me with a nice smile. One day, in 1942, I believe, he made me an unexpected proposal. “My dear Duruflé,” he said to me, “I must soon leave again for the United States for a tour of six months. Would you agree to substitute for me in my organ class during my absence?” I was at once astonished and very flattered. Indeed, I was not his student. I did not feel myself worthy to accept this honor. At his insistance, I had to accept.
Dupré's students particularly enjoyed playing the Franck works for Duruflé because he had studied them with Tournemire, a student of Franck. They studied his own compositions with him as well, and valued the times when he was substituting. Marie-Claire Alain wrote that by accepting their questions and comments Duruflé was less intimidating than Dupré.
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- Maurice DurufléThe Man and His Music, pp. 76 - 80Publisher: Boydell & BrewerPrint publication year: 2007