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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The triplet figures serve as the basis for the thematic material of the whole prelude.
Maurice Duruflé – Wikipedia
The transitions in this prelude also point out the contrasts between each section. He became a chorister at the Rouen Cathedral Choir School from towhere he studied piano and organ with Jules Haelling, a pupil of Alexandre Guilmant.
Prelude and Fugue on the name A.L.A.I.N., for organ, Op. 7
The fragment of Subject dururle is used in counterpoint against Subject 1 to build tension towards the climax of the work. In addition, he also created a chant-like melody derived from the melody of Alain’s Litanies.
Drinking Hanging Out In Love. Alain volunteered to return to France: Playing with Time and Form. You are commenting using your WordPress.
Each section develops its own vector, its own force of contrasting shape and direction, which needs resolution or balance. Subject 2 This fugue has two subjects and the second subject is derived from the counter subject of apain first one.
This happens at measureas there is rapid contrast between the triplet figures of the left hand and the French six chords in right hand. InLouis Vierne nominated him as his assistant at Notre-Dame. Debussy’s idea of ‘arabesque’ is reflected in this piece by juxtaposing contrasting sections, undulating melodies, and unconventional way of fugal writing.
PrÃ©lude et Fugue sur le nom d’Alain, Op 7 – Hyperion Records – CDs, MP3 and Lossless downloads
Notify me of new comments via email. Now, starting at bar 65, aoain thematic material of Prelde 2 turned as a counter subject or arpeggio supporting Subject 1.
Historic Organs of Boston. Between many of the sections, there is a free alternation between different rhythms, harmonies, melodies, and instrumental combinations For Section A, he employed aeolian modes and major keys, and for Section B, he used lydian mode. 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 In he entered at Paris Conservatoire and achieved great success while studying there.
From the YouTube comments: Rainy Day Relaxation Road Trip. He had begun composing the work infollowing a commission  from the Vichy regime.
This page was last edited on 20 Decemberat Enter the email address you signed up with and we’ll email you a preljde link. The semiquavers of the subsidiary theme gradually take on the character of a toccata and the work ends in a blaze not only as a memorial but also as a celebration of one of the truly original voices in twentieth-century French music by one of the finest organ composers of any time.
His organ works show impressionistic characteristics leading him to be described as the Debussy of the organ.
During these alterations, the changes of modes happens every four measures. Bibliography Ebrecht, Ronald, ed. Ronald Ebrecht The Prelure Press: Prelude and Fugue on Alain; Julius Reubke: