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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Introspection Late Night Partying. The French Romantic organ featured a colorful and powerful ensemble sound, ther result of joining warm, singing foundation stops with brilliant, fiery reeds. 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, prellude the whole ends in a blaze of glory.
The Vichy Commissions “, pp. Click here to sign up. Rainy Day Relaxation Road Trip.
He later suggests the use of a solo stop with for the duryfle in section B 8′ flute with principal, Cornet or Oboe. University Rochester Press, Views Read Edit View history. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. The Man and His Music. The triplet figures serve as the basis for the thematic material of the whole prelude.
From Vierne he learned forms and structures as well as organ’s capability. Email required Address never made public. L’ Organiste Parisien, For instance, the Toccata from Suite, op. The descending line finally arrives at low C. The left hand and the pedal punctuates the motive with chords.
Duruflé: Prelude & Fugue sur le nom d’Alain, Op. 7 (page 1 of 4) | Presto Classical
Changing modes between sections reinforces the contrast between the Section A and the Section B. Eulenberg Books, 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.
They married on 15 September The prelude is somewhat nervy in character and maintains an almost constant triplet movement. To find out more, including how to control cookies, see here: Oxford University Press, ], Measure have the same type of closing gesture. The Man and His Music”.
I do not seek to take sides in that particular debate and ask that you please refrain from stirring up further controversy. Messe “Cum Jubilo” Op.
During these alterations, the changes of modes happens every four measures. Etienne-du-Mont as an organist and he held the position for the rest of his life.
Nicholas Thistlethwaite and Geoffrey Webber Cambridge: Randel, Don Michael, ed. The result of this perfectionism is that his music, especially his organ music, tends to be well polished, and is still frequently performed in concerts by organists around the world.
Prelude and Fugue on the name… | Details | AllMusic
Subject 2 This fugue has two subjects and the second subject is derived from the counter subject of the oon one. Therefore, the contrast between the two sections by using different registrations is another way to help determine the form. From Tournemire he inherited a mystical reverence of plainsong and an understanding of modal harmony. These relationships-the interplay of both contrasting sound and contrasting rhythmic and metric groups-constitute one of the most interesting and innovative aspects of Jeux.
Prelude and Fugue on the name A.L.A.I.N., for organ, Op. 7
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. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. Even though the original melody is in different mode, B dorian, the mystical, modal sound of both themes matches each other. Each section develops its own vector, its own force of contrasting shape and direction, which needs resolution or balance.