[ 1 ] The three cryptograms in order of use are:
Of such, one reads: "A musical cryptogram is a cryptogrammatic sequence of musical notes, a sequence which can be taken to refer to an extra-musical text by some 'logical' relationship, usually between note names and letters." Also "[A], E♭, C, B♮, B♭, E(♮), G (= [A], S, C, H, B, E, G) for Arnold Schoenberg (A. Schönberg), set 6-Z44," D," E♭, C, B (= D, S, C, H) for Dmitri Shostakovich (D. Schostakowitsch)" (from "Musical Cryptogram," Wikipedia article, n. d. The last is a simple substitution done in Java script, and not referring to tradition uses for such cryptograms, via an entertaining online generator created by Mike Su at CodePen . In other works, I have used other musical cryptograms which more closely align with that "naming" tradition as can be seen even beyond Maurice Duruflé's tribute to a friend and colleague.
Graphics of the associated cryptograms for this work "title-in-picture" each section as they appear in a first statement.
In addition to cryptograms which have generated other works, sometimes a theme thought about after attending a performance of rehearsal sparks musical thought. As regards both the dedicatee but also composers, other such works notably for organ include a Little Fugue on the Scala enigmatica after a rehearsal of Verdi's Ave Maria (from the Quattro Pezzi Sacri) at Berlin's Philharmonie, a Contrapunctus on a Theme of Wagner after a 2015 performance of Die Meistersinger at the Staatsoper thinking on the quote from the third act, as well as the Variations and Fugue on a Theme of Webern , after a 2012 performance of Webern's Passacaglia by the Staatskapelle under Barenboim.