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. Jeong-Suk Bae Theory Seminar Spring Prélude et Fugue sur le nom d’ Alain, opus 7 At the end of the romantic period in organ music history, which was . Perhaps best known for his Requiem, often paired with Faure’s Requiem on recordings, Duruflé () studied organ with Vierne and composition with .

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Maurice Duruflé

These are the closing gestures of the A Section. Playing with Time and Form, Playing with Time and Form.

His music was influenced by Gregorian chant and Debussy. In other projects Wikimedia Commons. The development suggests a radiant smile before the scherzo returns, contrapuntally worked to a brilliant climax of great power. The couple became a famous and popular organ duo, going on tour together several times throughout the dugufle and early seventies.

Randel, Don Michael, ed. 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. Alain wrote his Three Dances during the last two years of his life, which was terminated at age 29 in a battle near Saumur France; he was posthumously awarded the Croix de guerre. Remember me on this computer.


Ronald Ebrecht The Scarecrow Press: There are two thematic elements at play here: On the other hand, Subject 2 id made of a sixteenth-notes figure moving down.

For instance, the Toccata from Suite, op. Mobilized in Augusthe fought in Flanders, participated in the evacuation of Dunkirk, and was killed in action near Saumur inaged 29, leaving behind some works.

You are commenting using your Twitter account. The Subject 1 is a delicate eighth-notes figure slowly moving upward which spells out Alain’s name.

Changing modes between sections reinforces the contrast between the Section A and the Section B. Eulenberg Books, The two fugue subjects are expounded separately in compound time: For Section A, he employed aeolian modes and major keys, and for Section B, he used lydian mode.

It shows more of the organ’s range than the rest of the suite. In he was appointed in St. Streams Videos All Posts. The opening of this suite sounds ominous, as Houlihan agrees in his notes. It has quiet, lilting melody, with simultaneous high and low notes. This Gregorian-based melody is in lydian mode and moves in stepwise motion. The Man qlain His Music”.


He compsed the fugue with his own color and sense of time that he presented in the prelude. By continuing to use this website, you agree to their use. The Basilica of the National Shrine. Complete Music for Choir and Organ. The same thing happens again on page 14, measure after the written-out ritardando.

Sexy Trippy All Moods. Help Center Find new research papers in: Messe “Cum Jubilo” Op. He arranged and combined the two subjects based on their contrasting character.

Maurice Duruflé – Prélude et fugue sur le nom d’Alain op. 7 () | CLASSICALCOM

Istvan Marta — Doom. The transitions in this prelude also point out the contrasts between each section. Welcome to Hyperion Records, alaun 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.