Scan 165
Grove's Dictionary of Music and Musicians Volume 2, 1927
36 lines. Read by computer on 11 September 2026, twice; the two readings disagreed in places. Printed page 119. See the scan on archive.org.
1he ignored the doctrines laid down by the group as resolutely as they themselves defied academic principles, and he found that his style had become clarified by this temporary aberration and its attendant reaction. The immediate outcome of this phase was a string quartet, to which succeeded, in 1918, the 'Images à Crusoe,' a song-cycle with accompaniment for several instruments to poems by Saint-Léger Léger. Both works represent the composer's art at its best.
3The 'Images à Crusoe' were succeeded by several sets of songs of an idyllic character, including the 'Épigrammes de Théocrite' and the 'Trois Poèmes de Pétrone,' and these were in their turn followed by a string trio. Another important work is 'Le Bestiaire,' where Durey has set a number of diminutive poems on animals by Guillaume Apollinaire with a mixture of irony and poignancy which fits them perfectly.
5In 1921 Durey seceded formally from the group of 'Les Six.' He lives (1923) in comparative seclusion in the south of France, where he continues to write with great deliberation and unconcerned with considerations of success. In 1922 a second string quartet was finished, and in 1923 a sonatina for flute and piano. Among Durey's unpublished works are an opera in one act, based on Mérimée's L'Occasion, incidental music for Hebbel's Judith, 'Eloges' for solo voices, chorus and orchestra, a 'Pastorale' for orchestra, a quartet for wind instruments, and several sets of songs and piano pieces.
7The art of Durey is modern, not from any aggressive repudiation of established rules, but from a natural taste and a feeling for form which enable him to dispense with them. Although he does not shrink from harmonic harshness and rhythmic complexities when he requires them, his music is often almost classical in its simplicity and balance. Where he is at his best, his sensitive restraint is engaging and even touching, but it is sometimes carried to such lengths as to produce a feeling of emotional aridity. The undoubted poetry of his work is often ultra-refined and precious, and cannot appeal to humanity at large, but Durey's limitations are at any rate those of a distinctive personality.
9D'URFEY, THOS., see URFEY, D'. one of two readings
10D'URFEY, THOS., see Urfey, D'. one of two readings
12DURÓN, SEBASTIÁN (b. Brihuega, New Castille, mid. 17th cent.; d. ? Cambó, Pyrenees, after Aug. 1716), one of the earliest Spanish composers of opera. (He is not to be confused with José Durán, a composer who was for some years a pupil of DURANTE at Naples and afterwards maestro de capilla at Barcelona cathedral, for which he composed numerous oratorios: nor yet with Juan Durán who was maestro de capilla at Santiago in 1525.) one of two readings
13DURÓN, SEBASTIÁN (b. Brihuega, New Castille, mid. 17th cent.; d. ? Cambó, Pyrenees, after Aug. 1716), one of the earliest Spanish composers of opera. (He is not to be confused with José Durán, a composer who was for some years a pupil of Durante at Naples and afterwards maestro de capilla at Barcelona cathedral, for which he composed numerous oratorios: nor yet with Juan Durán who was maestro de capilla at Santiago in 1525.) one of two readings
15Sebastián Durón received his first appointment at Las Palmas, Canary Islands, where a portrait of him is said to exist in the church of SS. Justo y Pastor. In 1691 he was summoned to be master of the Chapel Royal, Madrid, which office he held until the death of Charles II. of Spain in 1700. Durón supported the unsuccessful claimant, the Archduke Charles of Austria; and when the war of the Spanish Succession turned in favour of the Bourbons, he seems to have gone into exile. His will is dated Bayonne, 1715; and a codicil was added at Cambó in the August of the following year.
17Durón has been accused by a Spanish moralist (Feijoo) of having introduced Italian music and violins into Spain. Neither of these statements is strictly true. Violins (though violines perhaps here means 'viols') had been in use in the Chapel Royal since 1633; and Durón's works for the stage seem rather more Spanish than Italian in character. Sometimes with spoken dialogue, sometimes apparently without it, they are primitive indeed when compared with those of his Italian contemporaries, especially Alessandro Scarlatti. The melodies seem much influenced by the rhythms of Spanish song; and Durón has a passion for odd turns of phrase and unexpected syncopation. Specimens of his work are printed by Pedrell (Teatro lírico español), and Mitjana (Encl. de musique: Espagne). Genuine Italian opera made its first appearance in Madrid in 1703, under the Bourbon Philip V.; the company was only saved from ruin by the personal interest of the king, while the public flocked to hear Spanish zarzuelas in the style of Durón, in which political allusions were easily detected between the lines of an apparently mythological story. At Barcelona, however, the Archduke Charles and his followers supported the Italian opera (see ASTORGA). one of two readings
18Durón has been accused by a Spanish moralist (Feijoo) of having introduced Italian music and violins into Spain. Neither of these statements is strictly true. Violins (though violines perhaps here means 'viols') had been in use in the Chapel Royal since 1633; and Durón's works for the stage seem rather more Spanish than Italian in character. Sometimes with spoken dialogue, sometimes apparently without it, they are primitive indeed when compared with those of his Italian contemporaries, especially Alessandro Scarlatti. The melodies seem much influenced by the rhythms of Spanish song; and Durón has a passion for odd turns of phrase and unexpected syncopation. Specimens of his work are printed by Pedrell (Teatro lírico español), and Mitjana (Encl. de musique: Espagne). Genuine Italian opera made its first appearance in Madrid in 1703, under the Bourbon Philip V.; the company was only saved from ruin by the personal interest of the king, while the public flocked to hear Spanish zarzuelas in the style of Durón, in which political allusions were easily detected between the lines of an apparently mythological story. At Barcelona, however, the Archduke Charles and his followers supported the Italian opera (see Astorga). one of two readings
20The National Library at Madrid contains the following works of Durón in MS.:
22(M. 1365.) 'Muerte en amor es la ausencia. Comedia en 3 jornadas puesta en musica,' por M. Duron. (Text by Zamora; performed Nov. 17, 1697.)
23(M. 2208.) 'Apolo y Dafne.' Zarzuela en 3 jornadas del Maestro Duron.
24(M. 2211.) Zarzuela yntitulada 'Selva encantada de Amor,' compuesta por Dr. Sebastian Duron a los Años del Exmo Sr Conde de Oñate. (Text by Zamora. d. 1744.) Also two ballets.
25(M. 2276.) Zarzuela armonica yntitulada 'Las nuebas armas de Amor.' M. Duron.
26(M. 2277.) 'Loa con clar8 y violines de la comedia de Jupiter.' (Not signed, but in same hand and style as the preceding.)
27(M. 2278.) 'Opera scenica deduzida de la Guerra de los Jigates' (=gigantes) a 4 con v8 y clar8 . . . M. Duron.
28(M. 2283.) Fiesta que se hizo a sus Magdes se intitula Salir el amor del mundo,' del Maestro Don Sebastian Duron.
30The Chapel Royal, Madrid, possesses sacred music by Durón, including a Requiem (8v.) and a Litany (8v.).
32DUŠEK (DUSCHEK), (1) FRANTIŠEK XAVER (b. Chotěboř, Bohemia, Dec. 8, 1731 1; d. Prague, Feb. 12, 1799), pianoforte teacher, performer and composer. Count Spork had him educated in the Jesuits' seminary at König- one of two readings
33DUŠEK (Duschek), (1) FRANTIŠEK XAVER (b. Chotěboř, Bohemia, Dec. 8, 1731 1; d. Prague, Feb. 12, 1799), pianoforte teacher, performer and composer. Count Spork had him educated in the Jesuits' seminary at König- one of two readings
351 Hostinsky and Borecky both give 1731 as date of birth.
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