DURUFLE PRELUDE FUGUE ALAIN PDF

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. Results 1 – 10 of 36 This page lists all recordings of Prelude & Fugue sur le nom d’Alain, Op. 7 by Maurice Duruflé (). The four most important organ works of Maurice Duruflé are the Scherzo op. 2, the Prélude 5 and the Prélude et fugue sur le nom d’Alain, op. 7. They were.

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Prélude et Fugue sur le nom d’Alain, Op 7 – Hyperion Records – CDs, MP3 and Lossless downloads

On 20 Junehe was assigned to reconnoitre the German advance on the eastern side of Saumur, and encountered a group of German soldiers at Le Petit-Puy. Don’t show me this message again. Summer, Email required Address never made public. Click here to sign up.

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

Organ Technique, Modern and Early, ed. 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 Impressionism and Symbolism London: The Cambridge Companion to the Organ []. Introspection Late Night Partying.

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Notify me of new posts via email. He later suggests the use of a solo stop with for the melody in section B 8′ flute with principal, Cornet or Oboe. French Romantic Organ Music. For instance, the Toccata from Suite, op.

Thistlethwaite, Nicholas, and Geoffrey Webber, ed. 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. Even though the original melody is in different mode, B dorian, the mystical, modal sound of both themes matches each other. The Vichy Commissions “, pp. Changing modes between sections reinforces the contrast between the Section A and the Section B. This page was last edited on 20 Decemberat Therefore, the contrast between the two sections by using different registrations is another way to help determine the form.

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Prelude and Fugue on the name A.L.A.I.N., for organ, Op. 7

Bibliography Ebrecht, Ronald, ed. L’ Organiste Parisien, His music was influenced by Gregorian chant and Debussy. Phillip Truckenbrod Concert Artists. The two fugue subjects are expounded separately alakn compound time: InLouis Vierne nominated him as his assistant at Notre-Dame. During these alterations, the changes of modes happens every four measures. The double fugue is a stunning fgue of contrapuntal writing. The choral plainsong tradition he learned during his school years would have a profound influence on his later composition.

He was made a Chevalier de la Legion d’honneur in The two fugue subjects are expounded separately in compound time: These subjects are presented separately in the beginning.

The fugue subject takes as its starting point the five-note figure which provided the figuration of the first movement. Surprisingly, Subject 1 enters again with the second statement of Answer 2. The French Romantic organ featured a colorful and powerful ensemble sound, ther result of joining warm, singing foundation stops with brilliant, fiery reeds. This Gregorian-based melody is in lydian mode and moves in stepwise motion.

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University Rochester Press, 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. The development suggests a radiant smile before the scherzo returns, contrapuntally worked to a brilliant fuguue of great power.

Share on facebook twitter tumblr. Views Read Edit View history. Concerto en Sol Majeur; Alain: In other projects Wikimedia Commons. Measure have the same type of closing gesture. The fragment of Rugue 2 is used in counterpoint against Subject 1 to build tension towards the climax of the work.

The same thing happens again on page 14, measure after the written-out ritardando.

Ronald Ebrecht The Scarecrow Press: 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. He arranged and cugue the two subjects based on their contrasting character. He studied organ with Gigoutharmony with Jean Gallonfugue with Caussadeaccompaniment with Estyle and composition with Dukas