The Prélude et Fugue sur le nom d’Alain, Op 7, is a tribute to Duruflé’s friend and colleague and the brother of the distinguished organist. Maurice Duruflé was a French composer, organist, and teacher. Contents. 1 Life and career Prélude et fugue sur le nom d’Alain op. 7 (); Prélude sur. Results 1 – 10 of 36 This page lists all recordings of Prelude & Fugue sur le nom d’Alain, Op. 7 by Maurice Duruflé ().
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PrÃ©lude et Fugue sur le nom d’Alain, Op 7 – Hyperion Records – CDs, MP3 and Lossless downloads
Notify me of new posts via email. Messe “Cum Jubilo” Op. This restatement serves as the closing gesture of Section B. Organ Technique, Modern and Early, ed.
At the same time, the F on the final eighth note at bar 42 and G on the next measure, changes the mode into lydian toward the B Section. The fragment of Subject 2 is used in counterpoint against Subject 1 to build tension towards the climax of the work. This happens at measureas there is rapid contrast between the triplet figures of the left hand and the French six chords in right hand.
The couple became a famous and popular organ duo, going on tour together several times throughout the sixties and early seventies. Between many of the sections, there is a free alternation between different rhythms, harmonies, melodies, and instrumental combinations By continuing to use this website, you agree to their use.
Cambridge University Press, The same thing happens again on page 14, measure after the written-out ritardando. Jann Pasler mentioned in his article: The triplet figures serve as the basis for the thematic material of the whole prelude.
This is the same procedure as Maurice Ravel did for his Menuet sur le nom fufue for piano solo. AllMusic Featured Composition Noteworthy. Virtuoso Organ Music, Vol.
Randel, Don Michael, ed. Therefore, the contrast between the two sections by using different registrations is another way alzin help determine the form. In he completed probably the most famous of his few pieces: The composer uses the first fugue subject in inversion and stretto; the tension is heightened by closing the distance between the subject entries of the stretto, and the whole ends in a blaze of glory.
Click here to sign up. In he entered at Paris Conservatoire and achieved great success while studying there. Second B can be characterized as the chant-like melody and the accompaniment. Summer Mobilized in Augusthe fought in Flanders, participated in the durufls of Dunkirk, and was killed in action near Saumur inaged 29, leaving behind some works. He was promoted to an Officier de la Legion d’honneur in At the end of the prelude actually directly quotes the Lianties theme.
Wachet auf, ruft uns die Stimme. He had begun composing the work infollowing a commission  from the Vichy regime. These are the closing gestures of the A Section. His music was influenced by Gregorian chant and Debussy. In other projects Durufel Commons. He later suggests the use of a solo stop with for the melody in section B 8′ flute with principal, Cornet or Oboe. The double fugue is a stunning example of contrapuntal writing. Help Center Find new research papers in: Section 1 Example 2.
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The fugue subject takes as its starting point the five-note figure which provided the figuration of the first movement. Dances of Life and Death. While still taking classes, his skirling, jazzy Litanies achieved fame with organists around the world.
There are two thematic elements at play here: InDebussy wrote a letter to his publisher, pointing out an important aspect of the musical revolution happened around the twentieth century.
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Prelude and Fugue on the name A.L.A.I.N., for organ, Op. 7
The Man and His Music. First section A can be described as perpetual motion in triplets. Bibliography Ebrecht, Ronald, ed. Skip to main content.
Ignatius Loyola, New York City. Organists such as Charles TournemireJehan Alain and Olivier Messiaen composed with their own musical style outside of the romantic symphonic tradition. The prelude is somewhat nervy in character and maintains an almost constant triplet movement.