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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Alain volunteered to return to France: Complete Organ Works; Motets; Requiem. Impressionism and Symbolism London: To oj out more, including how to control cookies, see here: By modulating through various keys on top of the descending pedal tones from dominant to tonic, this section increases tension up to the big entrance at bar The double fugue is a stunning example of contrapuntal writing.
You are commenting using your WordPress. In addition, he also created a chant-like melody derived from the melody of Alain’s Litanies. Romantic Evening Sex All Themes. Debussy’s idea of ‘arabesque’ is reflected in this piece by alaain contrasting sections, undulating melodies, and unconventional way of fugal writing.
Prelude and Fugue on the name A.L.A.I.N., for organ, Op. 7
The choral plainsong tradition he learned during his school years would have a profound influence on his later composition. InDebussy wrote a letter to his publisher, pointing out an important aspect of the musical revolution happened around the twentieth century. Bibliography Ebrecht, Ronald, ed. Remember me on this computer. Log In Sign Up. Now, starting at bar 65, the thematic material of Subject 2 turned as a counter subject or arpeggio supporting Subject 1.
Prelude and Fugue on the name… | Details | AllMusic
Another type of transition between sections happens at measure The Cambridge Companion to the Organ .
Introspection Late Night Partying. He formed his original zlain by employing impressionism and Gregorian chant in his music. Streams Videos All Posts. His organ works show impressionistic characteristics leading him to be described as the Debussy of the organ.
I do not seek to take sides in that particular debate and ask that you please refrain from stirring up further controversy. His music was influenced durrufle Gregorian chant and Debussy. Alain was among many French fighters evacuated from the Dunkirk beaches alongside the British Expeditionary Forces, whom they had been assisting.
Notify me of new comments via email. Therefore, the contrast between the two sections by using different registrations fuguue another way to help determine the form. The couple became a famous and popular organ duo, going on tour together several times throughout the sixties and early seventies. You are commenting using your Facebook account.
The fragment of Subject 2 is used in counterpoint against Subject 1 to build tension towards the climax of the work. Notify me of new posts via email.
These are the closing gestures of the A Section. He published only a handful of works and often continued to edit and change pieces after publication. Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.
University Rochester Press, After the first recapitulation of Section A, there is a juxtaposed series of very short fragments starting at bar A slight increase in tempo and a new theme in semiquavers bring an increase in tension, and this new theme is gradually combined with the first.
Subject 2 This fugue has two subjects and the second subject is derived from the counter subject of the first one. Concerto en Sol Majeur; Alain: The left hand plays the extended melody from the B section.
PrÃ©lude et Fugue sur le nom d’Alain, Op 7 – Hyperion Records – CDs, MP3 and Lossless downloads
At the end of the prelude actually directly quotes the Lianties theme. He was posthumously awarded the Croix de Guerre for his bravery and was buried by the Germans with full military honours.
In he was appointed in St. Nicholas Thistlethwaite and Geoffrey Webber Cambridge: The prelude is somewhat nervy in character and maintains an almost constant triplet movement. The Man and His Music. Oxford University Press, ], The fermata on the rests at measure 63 and 65, especially the second one, are the rhetorical gestures13 which marks the end of the B Section before the recapitulation of Section A. The site is also available in several languages.
The Complete Organ Music; Vierne: They married on 15 September Jann Pasler mentioned in his article: Summer 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.