Prelude, Recitatif et Variations, op. 3
Composer M. Duruflé (1902-1986）
Performers 陳麗妤（長笛）Li-yu Chen / Fl
黃宥融（中提琴）Yu-jung Huang / Vla
陳凱翔（鋼琴）Kai-Hsiang Chen / Pn
Year 1928
French composer and organist Duruflé was raised in a Catholic choir school, and his musical style was profoundly shaped by religious influences. In contrast to Messiaen, known for his modern compositions during the mid to late 20th century, Duruflé's work is considered more traditional, primarily utilizing counterpoint and fugue techniques. Many contemporary music critics describe his style as "a misfit who is out of tune with the times."
This composition, written in 1928 as a single-movement piece, is dedicated to the French publisher Jacques Durand. It is structured into three distinct sections: "Prelude," "Recitative," and "Variations." The piano begins the prelude by blending vertical chords with horizontal arpeggios, then introduces the viola's main melody amid the flowing broken chords, creating a serene and fluid atmosphere. Following this, a flute solo emerges, accompanied by a series of vertical chords from the piano. The use of triplets and staccato establishes a lively rhythm, infusing the music with vibrant energy.
In the latter part of the prelude, the flute and viola intricately weave together through irregular sound patterns, featuring six tuplets and sixteenth notes intertwined. The addition of the piano's harmony enriches the overall sound, creating a dynamic clash of notes that results in a chaotic yet powerful effect, delivering a striking auditory experience of entirely different sounds to the listener. The shorter segment, "Recitative," serves the essential purpose of linking the "Prelude" and "Variations," showcasing a dialogue between the flute and viola. The viola evokes a melancholic tone through a slow, half-tone madrigal melody in a minor key. The flute then carries this melody forward, altering the tempo and rhythm, thus creating two distinct yet harmoniously integrated colors as they transition into the variation section of the theme.
In "Variations," the principal flute theme draws inspiration from Gregorian chants, showcasing Du's religious musical roots. Unlike the twelve-note series compositions that were prevalent during that period, the third variation employs traditional techniques of counterpoint and fugue. Each instrument enters the theme sequentially, engaging in a dialogue of questions and answers. While the melodies remain distinct, they harmoniously coexist without clashing. The transition from the third to the fourth variation presents a significant tempo shift, adding a layer of technical difficulty. Besides mimicking the flute's timbre, the piano's clear articulation of high and low registers, along with the interplay between the left and right hands, highlights the performer's mastery of timbre and flexibility. Connecting the rapid note groups on the piano, particularly the melody in the latter part of the phrase, becomes a substantial test of the performer's intuitive understanding and technical skill.
In this composition, the viola often features a melody based on a complete fifth interval. This interval can hinder melodic progression in string playing, as the performer must consistently use the same fingers across the strings, which demands a high level of technique. The Coda serves as the piece's climax, with each section utilizing motives from earlier parts to intensify the energy. The three instruments continuously shift the master-slave dynamic, engaging with one another. Musical material frequently overlaps and reappears across the different sections, escalating the tension to its peak. Ultimately, the piano concludes the piece with a decisive, swiftly leaping interval.