MAURICE DURUFLÉ (1902-1986) MAURICE DURUFLÉ (1902-1986) Gregorian chant antiphonally in two groups, or responsorially by a cantor alternating with a COMPLETE CHORAL WORKS Maurice Duruflé’s worldwide fame rests upon larger chorus. his reputation as a brilliant organist and the composer of a handful of finely crafted works, Like Duruflé’s better known Requiem, the notably his widely-performed setting of the instrumental accompaniment was originally Messe “Cum Jubilo” pour chœur de Requiem pour soli, chœurs et orgue, Op. 9 Requiem. In his methods, he followed the composed for orchestra and organ, with barytons et orgue, Op. 11 q Introit [3.36] habits of his teacher, Paul Dukas, constantly subsequent arrangements calling for a smaller 1 Kyrie [3.43] w Kyrie [3.46] refining and polishing what little music he wrote. instrumental ensemble and organ, or organ 2 Gloria [6.15] e Domine Jesu Christe [8.34] alone as it is heard in this performance. The Eduardo Tercero baritone r Sanctus & Benedictus [3.06] Messe “Cum Jubilo,” Op. 11 (1966) general simplicity of the musical texture and the 3 Sanctus [3.52] t Pie Jesu [3.15] 4 Benedictus [2.03] Cecilia Duarte mezzo-soprano economy of forces make the Mass “Cum Jubilo” Eduardo Tercero baritone Norman Fischer cello Duruflé’s Mass “with rejoicing,” as it is subtitled an ideal piece of liturgical service music, 5 Agnus Dei [4.07] y Agnus Dei [3.47] in Gregorian chant anthologies, is based upon available for wide use by choirs of varying u Lux aeterna [4.15] the first of several plainchant settings used in sizes and abilities. Quatre Motets sur des thèmes grégoriens i Libera me [5.34] masses for feast days celebrating aspects in pour chœur a cappella, Op.10 o In Paradisum [2.47] the life of the Blessed Virgin Mary. While the The three-part “Kyrie eleison” is sung quietly 6 Ubi caritas [2.49] vocal line takes its cue from the actual by the full chorus, with a running figure in the 7 Tota pulchra es [2.08] Total timings: [68.49] plainchant melody and its constantly shifting organ part that periodically imitates the 8 Tu es Petrus [1.01] meter, Duruflé’s modern setting embraces a beginnings or endings of vocal phrases during 9 Tantum ergo [2.38] much broader tonal spectrum than the original interludes between them. The “Gloria” is a medieval modal scales. much bolder piece, beginning with a forceful 0 Notre Père pour chœur a cappella [1.31] introduction by the organ and full-throated The choral ensemble is streamlined to very singing by the male chorus throughout the simple dimensions: a unison ensemble of divine praises. After a quiet moment during baritone voices, with a baritone soloist featured the “Gratias agimus tibi,” the first section rises HOUSTON CHAMBER CHOIR in various sections of the work. In that solo/choral to a climactic ending, then quickly gives way ROBERT SIMPSON FOUNDER AND ARTISTIC DIRECTOR arrangement, it simulates the monastic practice to a quiet set of running notes that introduce KEN COWAN ORGAN of alternately singing phrases or verses of the central petitions sung by the soloist. These www.signumrecords.com - 3 - pleas for mercy are underscored by subtle Quatre Motets sur des thèmes grégoriens, “Tota pulchra es” employs the texts of three Notre Pére pour chœur a cappella, Op. 14 (1978) melodic imitations between the vocal line and Op. 10 (1960) antiphons from the Second Vespers for the the organ. An animated tempo accompanies the Ubi caritas Feast of the Immaculate Conception. The Duruflé’s unaccompanied four-voice setting of closing section, climaxed by a much-repeated Tota pulchra es opening text alternates as a refrain between The Lord’s Prayer is his only sacred choral work choral “Amen.” Tu es Petrus the other two verses, forming a five-section in the vernacular French language. It was Tantum ergo ABACA structure. It is set in three voice parts originally set in a simple chordal style, with a later The final three movements gently lead the for subdivided sopranos and undivided altos, arrangement by his wife for unison congregational listener deeper and deeper into complex tonal Duruflé dedicated these four short motets with an occasional expansion to four female singing, with an organ accompaniment. implications. Given the bright Lydian-mode to Auguste Le Guennant, the director of the voice parts. In contrast to the strict chordal scale patterns of the “Sanctus” and “Agnus Gregorian Institute in Paris. All four of them harmony of “Ubi caritas,” this motet blends Requiem, Op. 9 (1947) Dei” plainchants, it is surprising to find Duruflé are based on melodies from the Benedictine contrapuntal and chordal styles. moving its melodic phrases to higher or lower monastery of Solesmes, which issued the official, Duruflé completed his Requiem in 1947, issuing tonal areas, while harmonizing them with most widely recognized edition of Gregorian chant. The short text for “Tu es Petrus” is taken from its original version for soloists, chorus, full unrelated chordal sequences in the organ part. The texts for the first three motets are antiphons the gospel of St. Matthew, as used in the final orchestra and organ. Later, he reduced the The jubilant text of the “Sanctus” movement is taken from the liturgies of the mass or vesper antiphon of the First Vespers for the Feast of instrumental part for organ alone, as heard also delivered at a subdued volume level, rising services, while the closing “Tantum ergo” is the Holy Apostles, Peter and Paul. The on this recording. In 1961 he arranged a third to its loudest choral singing only in the climactic from the hymn, “Pange lingua gloriosa,” set to plainchant melody is set polyphonically for all version employing a small orchestra and organ. “Hosannas” toward the end. a text originally composed by St. Thomas four voice parts and the music rises to its most Aquinas for the Feast of Corpus Christi. forceful climax at the very end of the motet. The consoling spirit of the work and its Latin The “Benedictus” is sung by the soloist, and text closely follow the Requiem of Gabriel Fauré, the complex harmonies of the thrice-repeated “Ubi caritas,” an antiphon taken from the Mass The text of “Tantum ergo” is set polyphonically omitting the tract and the terrifying sequence, “Agnus Dei” are gently intoned by the chorus for Maundy Thursday, begins and ends with only for all four voices, with the plainchant melody “Dies Irae.” Like Fauré, Duruflé also set the in the midst of ever-softer, ever-more-relaxed the darker choral sound of the altos, tenors and carried in the soprano line, and freely imitated two prayers belonging to the burial service organ interludes, ultimately resolving themselves basses. Each phrase of the text is repeated and in the tenor part. Just as the melody is repeated following the mass, “Libera me, Domine” and in the final chord. the altos alternate singing them in two separate in the second verse of the plainchant version, “In paradisum.” choirs. The tenors are subdivided into two voice the entire polyphonic setting is repeated in parts in order to maintain four-part chordal harmony. Duruflé’s motet version. Its nine movements begin with the traditional After the sopranos enter for the exultant central plainchant Introit melody, “Requiem aeternum,” section, the harmonic structure increases to five parts. sung quietly in unison by the men over a running

- 4 - - 5 - organ accompaniment with intervening wordless In contrast to most of the preceding movements, The entire work is laid gently to rest during I am indebted to essays collected and edited vocalises from the women. Sopranos and altos words or phrases in the text are repeated the closing “In Paradisum” intoned in a serene by Ronald Ebrecht in the anthology, Maurice alternate on the central psalm verse, then extensively during the “Agnus Dei.” The sopranos unison soprano melody over a diaphanous Duruflé, the Last Impressionist, for much repeat the opening text in a free chorale setting, and tenors alternate in unison statements of organ setting and completed by the choir, information in this article. gradually supported by the tenors and basses. the first two invocations, with an instrumental which gradually subdivides into seven voice The plainchant “Kyrie” melody is polyphonically melody accompanying the vocal chant, as in parts as its settles upon the final cadence. © 2016, Carl R. Cunningham adapted for the four voices over a long-note the preceding movement. Gradually, the other “cantus firmus” version of the melody stated on voices join in, bringing the movement to a rich the trumpet stop. four-part choral finale. The Communion prayer, “Lux aeterna,” makes use of instrumental The Offertory prayer, “Domine Jesu Christe,” preludes and interludes, and wordless vocal Messe “Cum Jubilo” is given a more elaborate dramatic setting, harmonies under the chant in the soprano line. 1 with little organ meditations on the opening Its concluding “Requiem aeternam” verse is Kyrie Kyrie eleison, Lord have mercy on us, phrase of its chant surrounding the vocal sung to a straight psalm tone by the altos Christe eleison. Christ have mercy on us. verses. The chorus rises to urgent declamatory and basses, and then the last three lines Kyrie eleison. Lord have mercy on us. pleas for divine mercy; then the women and of the text are reiterated in a brief but eventually the baritone soloist utter quieter, peaceful codetta. 2 more lyrical prayers asking eternal life for Gloria Gloria in excelsis Deo Glory to God in the highest, the deceased. The “Sanctus” and “Benedictus” Momentary terror of divine punishment et in terra pax hominibus bonæ voluntatis. and on earth peace to people of good will. plainchants are harmonized quietly for a three- overwhelms the “Libera me, Domine,” as the Laudamus te, benedicimus te, We praise Thee, we bless Thee, part women’s chorus over a running organ chorus proceeds to the prayers at the burial adoramus te, glorificamus te, we adore Thee, we glorify Thee, accompaniment, with the men joining in for service. But calm is restored as the sopranos gratias agimus tibi propter magnam we give Thee thanks an exultant “Hosanna” at the center of the intone its soft, consoling “Requiem aeternam” gloriam tuam, for Thy great glory, movement. The mezzo-soprano soloist utters text at the center of the movement. The initial Domine Deus, rex cælestis, Lord God, heavenly King, a simple but quite heartfelt plea for eternal fear is modified by a quiet sense of hope as Deus Pater omnipotens. O God, almighty Father. rest in the “Pie Jesu,” with an accompanying the chorus repeats the “Libera me” antiphon in Domine Fili unigenite, Jesu Christe, Lord Jesus Christ, Only Begotten Son, melody by a solo cello. a four-part choral setting. Domine Deus, Agnus Dei, Filius Patris, Lord God, Lamb of God, Son of the Father, qui tollis peccata mundi, who takest away the sins of the world,

- 6 - - 7 - miserere nobis; have mercy on us; Quatre Motets sur des themes grégoriens qui tollis peccata mundi, who takest away the sins of the world, suscipe deprecationem nostram. receive our prayer. 6 Ubi caritas Qui sedes ad dexteram Patris, Thou art seated at the right hand of the Father, Ubi caritas et amor, Deus ibi est. Where charity and love are, God is there. miserere nobis. have mercy on us. Congregavit nos in unum Christi amor. Christ’s love has gathered us into one. Quoniam tu solus sanctus, tu solus Dominus, For Thou alone art holy, Thou alone art the Lord, Exsultemus, et in ipso jucundemur. Let us rejoice and be pleased in Him. tu solus altissimus, Thou alone art the most high, Timeamus, et amemus Deum vivum. Let us fear, and let us love the living God. Jesu Christe, cum Sancto Spiritu: Jesus Christ, with the Holy Spirit, Et ex corde diligamus nos sincero. And may we love each other with a sincere heart. in gloria Dei Patris. Amen. in the glory of God the Father. Amen Ubi caritas et amor, Deus ibi est. Where charity and love are, God is there.

3 - 4 Sanctus and Benedictus 7 Tota pulchra es Sanctus Dominus Deus Sabaoth, Holy, Lord God of hosts. Tota pulchra es, Maria You are completely beautiful, Mary, pleni sunt coeli Full are the heavens and the earth et macula originalis non est in te. and the original stain is not in you. et terra gloria tua. of Thy glory. Vestimentum tuum candidum quasi nix, Your clothing is white like snow, Hosanna in excelsis! Hosanna in the highest! et facies tua sicut sol. and your face is like the sun. Benedictus, qui venit Blessed is He Who cometh Tota pulchra es, Maria, You are completely beautiful, Mary, in nomine Domini. in the name of the Lord. et macula originalis non est in te. and the original stain is not in you. Hosanna in excelsis! Hosanna in the highest! Tu gloria Jerusalem, tu laetitia Israel, You are the glory of Jerusalem, you are the joy of Israel, tu honorificentia populi nostri. you are the honored of our people. 5 Agnus Dei Tota pulchra es, Maria. You are completely beautiful, Mary. Agnus Dei, qui tollis peccata mundi, O Lamb of God, who takest away the sins of the world, miserere nobis. have mercy upon us. 8 Tu es Petrus Agnus Dei, qui tollis peccata mundi, O Lamb of God, who takest away the sins of the world, Tu es Petrus et super hanc petram You are Peter, and upon this rock miserere nobis. have mercy upon us. aedificabo ecclesiam meam. I will build my church. Agnus Dei, qui tollis peccata mundi, O Lamb of God, who takest away the sins of the world, dona nobis pacem. grant us thy peace. 9 Tantum Ergo Tantum ergo Sacramentum Hence so great a Sacrament veneremur cernui: let us venerate with heads bowed et antiquum documentum and let the old practice

- 8 - - 9 - novo cedat ritui: give way to the new rite; Requiem praestet fides supplementum let faith provide a supplement sensuum defectui. for the failure of the senses. q Introit Genitori, Genitoque to the Begetter and the Begotten, Requiem aeternam Eternal rest laus et jubilatio, be praise and jubilation, dona eis, Domine, give to them, O Lord, salus, honor, virtus quoque hail, honor, virtue also, et lux perpetua luceat eis. and let perpetual light shine upon them. sit et benedictio: and let blessing be too: Te decet hymnus, Deus in Sion, A hymn, O God, becometh Thee in Zion, procedenti ab utroque to the One proceeding from Both et tibi reddetur and a vow shall be paid to Thee ompar sit laudatio. let there be equal praise. votum in Jerusalem; in Jerusalem; Amen. Amen. exaudi orationem meam, O Lord, hear my prayer, ad te omnis caro veniet. all flesh shall come to Thee. 0 Notre Père Requiem aeternam Eternal rest Notre Père, qui es aux cieux, Our Father, who art in Heaven, dona eis, Domine, give to them, O Lord, Que ton nom soit sanctifie, hallowed be Thy name. et lux perpetua luceat eis. and let perpetual light shine upon them. Que ton règne vienne, Thy kingdom come; Que ta volonte soit faite Thy will be done on earth as it is in Heaven. w Kyrie Sur la terre comme au ciel. Give us this day our daily bread, Kyrie eleison, Lord have mercy on us, Donne-nous aujourd’hui notre pain de ce jour and forgive us our trespasses Christe eleison. Christ have mercy on us. Pardonne-nous nos offenses, as we forgive those Kyrie eleison. Lord have mercy on us. Comme nous pardonnons aussi à ceux who trespass against us. qui nous ont offenses And lead us not into temptation, e Domine Jesu Christe Et ne nous soumets pas à la tentation, but deliver us from evil. Domine Jesu Christe, rex gloriae, O Lord Jesus Christ, King of glory, Mais delivre-nous du mal. libera animas omnium fidelium deliver the souls of all the faithful defunctorum de poenis inferni departed from the pains of hell et de profundo lacu. and from the deep pit; Libera eas de ore leonis, Deliver them from the lion’s mouth ne absorbeat eas tartarus, lest hell engulf them, ne cadant in obscurum. lest they fall into darkness.

- 10 - - 11 - Sed signifer sanctus Michael But let Michael, y Agnus Dei repraesentet eas the holy standard bearer, Agnus Dei, qui tollis Lamb of God, Who takest away in lucem sanctam, lead them into the holy light, peccata mundi, the sins of the world: quam olim Abrahae promisisti which Thou once didst promise Abraham dona eis requiem sempiternam. grant them eternal rest. et semini eius. and his seed. Hostias et preces tibi, Domine, Sacrifices and prayers of praise, O Lord, u Lux aeterna laudis offerimus. We offer Thee; Lux aeterna luceat eis, Domine, May light eternal shine on them, O Lord, Tu suscipe pro animabus illis, accept them for those souls cum sanctis tuis in aeternum, with Thy saints forever, quarum hodie whom we this day quia pius es. for Thou art merciful. memoriam facimus, commemorate; Requiem aeternam Eternal rest fac eas, Domine, make them, O Lord, dona eis, Domine, give to them, O Lord, de morte transire ad vitam to pass from death to life, et lux perpetua luceat eis. and let perpetual light shine on them. quam olim Abrahae promisisti which Thou once didst promise et semini eius. to Abraham and his seed. i Libera me Libera me, Domine, Deliver me, O Lord, r Sanctus and Benedictus de morte aeterna, from eternal death Sanctus Dominus Deus Sabaoth, Holy, Lord God of hosts. in die illa tremenda, on that fearful day pleni sunt coeli Full are the heavens and the earth quando coeli when the heavens et terra gloria tua. of Thy glory. movendi sunt et terra, and the earth shall be moved, Hosanna in excelsis! Hosanna in the highest! dum veneris judicare when Thou shalt come Benedictus, qui venit Blessed is He Who cometh saeculum per ignem. to judge the world by fire. in nomine Domini. in the name of the Lord. Tremens factus sum ego et timeo I am made to tremble and I fear, Hosanna in excelsis! Hosanna in the highest! dum discussio venerit till the judgement come upon us, atque ventura ira, and the coming wrath, t Pie Jesu quando coeli when the heavens Pie Jesu Domine, Merciful Lord Jesus, movendi sunt et terra. and the earth shall be moved. dona eis requiem sempiternam. grant them eternal rest. Dies illa, dies irae, That day, day of wrath, calamitatis et miseriae, of calamity, of misery, dies magna the great day,

- 12 - - 13 - et amara valde. and most bitter. HOUSTON CHAMBER CHOIR Requiem aeternam Eternal rest dona eis, Domine, give to them, O Lord, Soprano Alto Tenor Bass et lux perpetua luceat eis. and let perpetual light shine upon them. Daniela D’Ingiullo Jennifer Crippen L. Wayne Ashley Casey Carruth Libera me, Domine, Deliver me, O Lord, Kammi Estelle Clipper Hamrick Jack Byrom Rameen Chaharbaghi de morte aeterna, from eternal death Stacey Franklin Monica Isomura Jeffrey Ragsdale Patrick Schneider in die illa tremenda, on that fearful day Stephanie Handal Marianna Parnas-Simpson Alphonso Seals Jeffrey Van Hal quando coeli when the heavens Briana Kerner Lauren Pastorek Randolph Wagner movendi sunt et terra, and the earth shall be moved, Kelli Lawless Ryan Stickney Joshua Wilson dum veneris judicare when Thou shalt come Elizabeth Tait saeculum per ignem. to judge the world by fire. Founded in 1995 by Artistic Director Robert include Psalmi ad Vesperas (1694) (“This is one o In Paradisum Simpson, the Houston Chamber Choir is the recording that Baroque music lovers will need to In Paradisum In Paradise recipient of Chorus America’s Margaret Hillis have in their collection” [Fanfare]), Ravishingly deducant Angeli may the angels receive thee; Award for Choral Excellence and the American Russian (“Ravishing is right” [Gramophone], in tuo adventu suscipiant te Martyres at thy arrival may the martyrs receive thee Prize, Professional Choir Division. The choir’s “The singing is top-of-the-line” [American Record et perducant te in civitatem sanctam Jerusalem. and lead thee into the holy city Jerusalem. travels have taken it on tour in the United Guide]) and soft blink of amber light (“This States and Mexico. It made its New York City release is an unabashed winner on every count, Chorus Angelorum te suscipit May the chorus of angels receive thee, debut at Trinity Church Wall Street on a tour and deserves to be part of your music collection; et cum Lazaro quondam paupere and with Lazarus, once a poor man, that included a concert and masterclass at urgently recommended” [Fanfare Magazine]). aeternam habeas requiem. may thou have eternal rest. Yale University. The choir’s collaboration with Grammy Award- winning artist Kim Kashkashian and Da At home as “one of the jewels of the Camera Houston resulted in the release of city’s cultural scene” (Houston Chronicle), the Rothko Chapel: Morton Feldman, Erik Satie, Houston Chamber Choir has commissioned John Cage, a collaboration on the ECM label, works from leading composers, including noted produced by Grammy Award-winner Judith jazz bassist Christian McBride, David Ashley Sherman (one of the “Best Classical Recordings White, Dominick DiOrio, Jocelyn Hagen, and of 2015,” according to The Chicago Tribune). Christopher Theofanidis. It’s previous recordings

- 14 - - 15 - Robert Simpson Ken Cowan

Robert Simpson is founder and artistic director Ken Cowan is one of North America’s finest of the Houston Chamber Choir, and Canon concert organists. Praised for his dazzling for Music at historic Christ Church Cathedral artistry, impeccable technique and imaginative (Episcopal), Houston, Texas. He also serves programming by audiences and critics alike, on the faculty of the Rice University Shepherd he maintains a rigorous performing schedule School of Music. Mr. Simpson is the recipient which takes him to major concert venues and of Chorus America’s Michael Korn Founders churches in America, Canada, Europe, and Asia. Award for the Development of the Professional Choral Art and the American Prize in Feature performances have included appearances Choral Conducting. at Segerstrom Center for the Arts in Costa Mesa California, Philadelphia’s Verizon Invitations to present concerts and masterclasses Hall, Spivey Hall, and Walt Disney Concert have taken him throughout the United States, Hall, as well as concerts in Germany and Korea. Europe and China. His choirs have appeared at national conventions of the American Guild Mr. Cowan received the Master’s degree and of Organists, the American Choral Directors Artist Diploma from the Yale School of Music/ Association, and been heard on CBS and Institute of Sacred Music, studying organ with ABC television and National Public Radio. Thomas Murray. Prior to attending Yale, he graduated with a Bachelor of Music degree An honors graduate of Brown University and the from the Curtis Institute of Music in Philadelphia School of Sacred Music at Union Theological where he studied with John Weaver. His major Seminary, New York City, Mr. Simpson continued teacher during high school years was James his education at the Conservatory of Music, His teachers include organists Barclay Wood, Bingham, Organist/Choirmaster at Holy Trinity In 2012 Mr. Cowan joined the keyboard faculty Cologne, Germany. He earned the S. Lewis Robert Baker and Michael Schneider and Lutheran Church, in Buffalo, NY, which is not far of the Shepherd School of Music at Rice Elmer Award from the American Guild of conductors Peter Neumann, Eric Ericson and from his hometown Thorold, Ontario, Canada. University as Associate Professor and head of Organists for attaining the highest scores on Gustaf Sjorkvist. the organ program. the professional certification exams in 1989.

- 16 - - 17 - Cecilia Duarte Norman Fischer

Praised by The New York Times as “A creamy Norman Fischer has concertized on five voiced mezzo-soprano,” Mexican born, Cecilia continents and in 49 of the 50 United States. is a versatile singer who has performed around His 1983 New York solo debut of the Bach Six the world performing different music styles, Suites in one evening was hailed by The New from jazz, to classical and contemporary music. York Times as “inspiring”. Mr. Fischer was cellist with the Concord String Quartet through Cecilia has been recognized for creating the its 16-year career and winner of the Naumburg role of Renata in the first Mariachi Opera Chamber Music Award, two Grammy nominations Cruzar la Cara de la Luna with the famous and an Emmy. Mr. Fischer’s chamber music Mariachi Vargas de Tecalitlán. This opera expertise has led to performances with major was commissioned by Houston Grand Opera, festivals and collaborations with the American, and Cecilia has toured with it nationally and Audubon, Axelrod, Bair, Cavani, Chester, Chiara, internationally on stages including Châtelet Ciompi, Cleveland, Dover, Ensø, Emerson, Theatre in Paris, France; Chicago Lyric Opera, Jasper, Juilliard, Mendelssohn, Schoenberg and Teatro Nacional Sucre, in Quito, Ecuador, and Telegraph string quartets. New York City Opera. Cecilia has created other roles for world premieres of chamber Mr. Fischer is the cellist with the Fischer Duo, operas and new works, such as Jessie Lydell in a group with pianist Jeanne Kierman that was A Coffin in Egypt, (HGO and the Wallis founded in 1971 and specializes in both the Annenberg Center in L.A.); Gracie in A Way classical masterworks of Beethoven, Brahms and Home (HGO and Opera Southwest); and Alma Cecilia is also active in the world of early Schumann as well as music of our own time. Teacher Chair and is Head of Chamber Music in Houston Grand Opera’s first web opera series music, having performed with The Oregon at the Tanglewood Music Center, where he Star-cross’d. Bach Festival, the Fesitvalensemble in Stuttgart, Mr. Fischer is currently Herbert S. Autrey has been on the summer faculty since 1985. Germany, and the Festival de Música Barroca Professor of Cello and Director of Chamber de San Miguel de Allende, México. Music at the Shepherd School of Music at Rice University in Houston. Mr. Fischer also holds the Charles E. Culpepper Foundation Master

- 18 - - 19 - Eduardo Tercero Special Thanks

Eduardo Alberto Tercero, tenor, a native of Shepherd School of Music, Rice University Panama, is described as a “dashing” performer Robert Yekovich, Dean by the Houston Chronicle. His credits include Gary Smith, Associate Dean the world premiere of Nicholas of Myra by Robert Nelson (Marcus) and the Houston Dennis Keene premiere of Handel’s Il Trionfo del Tempo e della Verita (Piacere).

UNDERWRITERS Mr. Tercero’s musical theatre credits include Music Box’s production of Godspell (John Irving Schweppe Adele and Tony Gorody Monica and Eiki Isomura the Baptist/Judas), the Houston premiere of Janice Barrow Jay Jackson Lannis Kirkland Adam Guettel’s Myths and Hymns, and as lead Letitia L. Knapp Nancy Younger Kruka and Veet Kruka Lauren Pastorek ensemble member of the premier of Defying Karen and Harry Pinson Frank Busch Patrick Schneider Gravity: A Stephen Schwartz Songbook. He Fairfax and Risher Randall Marilyn and Theodore Flick Briana and Kevin Kerner Jeanie and Martus Miley Rameen Chaharbaghi can also be heard on the Newport Classics’ Judy and Charles Tate Sharon Prince Martha Frances recording of Cassanova’s Homecoming by Sally and Michael Clark Jack Byrom Stacey Franklin Dominick Argento and is the tenor soloist for Mandy and William McKenzie Barbara and Will Hamilton Carol and Jerry Gruber the Houston Chamber Choir’s world premiere Anne Bushman Phyllis Harris Kathleen Ruhleder recording of Giovanni Paolo Colonna’s Psalmi Frank Hood Kathy and Andre Jackson Anne Schnoebelen ad Vesperas 1694. Charlotte Jones Dorothy and Joe McLemore Ryan Stickney Nick Shumway and Robert Mayott Martha Palmer Catherine and Dana Whitney Jim Murdaugh and Gary Smith Elizabeth Tait L. Wayne Ashley Carol and Andy Vickery Lynn Lamont and William Anderson Kelli and Scott Lawless Nell Richardson and Sidney Buchanan Jeffrey Ragsdale Sonia Sheely and Randolph Wagner Denise and Steve Godowns Daniela D’Inguillo Carol and Paul Lutz Jenny and Jeff Van Hal

- 20 - - 21 - Recorded at The Edythe Bates Old Recital Hall and Grand Organ, Rice University, USA from 13th to 16th June 2017

Producer – Blanton Alspaugh Recording Engineer & Editor – John Newton

Cover Image – iStock Design and Artwork – Woven Design www.wovendesign.co.uk

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- 22 - - 23 - ALSO AVAILABLE on signumclassics

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- 20 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN Customer SignumClassics MAGENTA YELLOW Catalogue No.SIGCD571 BLACK Job Title: Durufle SIGNUM CLASSICS

SIGCD571 MAURICE DURUFLÉ (1902-1986)

COMPLETE CHORAL WORKS DURUFLÉ: COMPLETE CHORAL WORKS HOUSTON CHAMBER CHOIR

Messe “Cum Jubilo” pour chœur de Requiem pour soli, chœurs et orgue, Op. 9 barytons et orgue, Op. 11 q Introit [3.32] 1 Kyrie [3.45] w Kyrie [3.47] 2 Gloria [6.13] e Domine Jesu Christe [8.35] Eduardo Tercero baritone r Sanctus & Benedictus [3.06] 3 Sanctus [3.53] t Pie Jesu [3.15] 4 Benedictus [2.00] Cecilia Duarte mezzo-soprano Eduardo Tercero baritone Norman Fischer cello 5 Agnus Dei [4.04] y Agnus Dei [3.48] u Lux aeterna [4.14] Quatre Motets sur des thèmes grégoriens i Libera me [5.34] pour chœur a cappella, Op.10 o In Paradisum [2.47] 6 Ubi caritas [2.48] 7 Tota pulchra es [2.06] Total timings: [68.42] 8 Tu es Petrus [1.02] 9 Tantum ergo [2.39]

0 Notre Père pour chœur a cappella [1.30]

HOUSTON CHAMBER CHOIR ROBERT SIMPSON FOUNDER AND ARTISTIC DIRECTOR HOUSTON CHAMBER CHOIR CHAMBER DURUFLÉ: COMPLETE CHORAL WORKS HOUSTON KEN COWAN ORGAN

LC15723

Signum Records Ltd, Suite 14, 21 Wadsworth SIGCD571 Road, Perivale, Middx UB6 7JD, United Kingdom. P 2019 Signum Records DDD SIGCD571 © 2019 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 05712 4 SIGNUM CLASSICS