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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University Rochester Press, I do not seek to take sides in that particular debate and ask that you please refrain from stirring up further controversy. Playing with Time and Form. Another type of transition between sections happens at measure Playing with Time and Form, French Romantic Organ Music. The pieces don’t sound all that dancelike to be, though Houlihan says Alain was influenced by Jazz, Moroccan and Indian music.
Maurice Duruflé – Prélude et fugue sur le nom d’Alain op. 7 () | CLASSICALCOM
L’ Organiste Parisien, Bibliography Ebrecht, Ronald, ed. The triplet figures serve as the basis for the thematic material of the whole prelude. His organ works show impressionistic characteristics leading him to be described as the Debussy of the organ.
Debussy’s idea of ‘arabesque’ is reflected in this piece by juxtaposing contrasting sections, undulating melodies, and unconventional way of fugal writing. The descending line finally arrives at low C. Surprisingly, Subject 1 enters again with the second statement of Answer 2. Enter the email address you signed up with and we’ll email you a reset link. Etienne-du-Mont as an organist and he held the position for the rest of his life.
Leave a Reply Cancel reply Enter your comment here The Sicilienne, a pastoral form sometimes thought of as a slow gigue, though actually not usually considered a dance, is lovely. 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.
For Section A, he employed aeolian modes and major keys, and for Section B, he used lydian mode.
PrÃ©lude et Fugue sur le nom d’Alain, Op 7 – Hyperion Records – CDs, MP3 and Lossless downloads
Between many of the sections, there is aain free alternation between different rhythms, harmonies, melodies, and instrumental combinations Ritchie and George B.
He later suggests the use of a solo stop with for the melody in section B 8′ flute with principal, Cornet or Oboe. On 20 Junehe was assigned to reconnoitre the German advance on the eastern side of Saumur, and encountered alani group of German soldiers at Le Petit-Puy. In other projects Wikimedia Commons. The final section is required to be played “brutally.
The fragment of Subject 2 is used in counterpoint against Subject 1 to build tension towards the climax of the work. Therefore, the contrast between the two sections by using different registrations is another way to help determine the form. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. The Complete Organ Music; Vierne: Summer, Changing modes between sections reinforces the contrast between the Section A and the Section B.
Ignatius Loyola, New York City. Alain volunteered to return to France: There are two thematic elements at play here: Eulenberg Books, These subjects are presented separately in the beginning. The two fugue subjects are expounded separately in compound time: He was posthumously awarded the Croix de Guerre for his bravery and was buried by the Germans with full military honours. The site is also available in several languages.
Alain was among many French fighters evacuated from the Dunkirk beaches alongside the British Expeditionary Forces, whom they had been assisting. Streams Videos All Posts.
During tohe taught harmony at Paris Conservatoire. Notify me of new posts via email. The motive is in aeolian based on the name ALAIN and this motive transforms and modulates to various modes.
Remember me on this computer. They married on 15 September The double fugue is a stunning example of contrapuntal writing. The Vichy Commissions “, pp.