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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The triplet figures serve as the basis for the thematic material of the whole prelude. Wachet auf, ruft uns die Stimme. A slight increase in tempo and a new dhrufle in semiquavers bring an increase in tension, and this new theme is gradually combined with the first. He published only a handful of prflude and often continued to edit and change pieces after publication.

The double fugue is a stunning example of contrapuntal writing.

Duruflé: Prelude & Fugue sur le nom d’Alain, Op. 7 (page 1 of 4) | Presto Classical

He was promoted to an Officier de la Legion d’honneur in First section A can be described as perpetual motion in triplets. The double fugue is a stunning example of contrapuntal writing.

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The two fugue subjects are expounded separately in durufld time: The development suggests a radiant smile before the scherzo returns, contrapuntally worked to a brilliant climax of great power.

Debussy’s idea of ‘arabesque’ is reflected in this piece by juxtaposing contrasting sections, undulating melodies, and unconventional way of fugal writing.

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Alain volunteered to return to France: The prelude is somewhat nervy in character and maintains an almost constant triplet movement. Introspection Late Night Partying. French Romantic Organ Music. Changing modes between sections reinforces the contrast between the Section A and the Section B.

Maurice Duruflé

You are commenting using your Facebook account. The Cambridge Companion to the Organ []. Each section develops its own vector, its own force of contrasting shape and direction, which needs resolution or balance.

While still taking classes, his skirling, jazzy Litanies achieved fame with organists around the world. 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.

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

He died in Louveciennes near Paris inaged In he was appointed in St. The Vichy Commissions “, pp.

Preludw a Reply Cancel reply Enter your comment here 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 Ignatius Loyola, New York City. In he entered at Paris Conservatoire and achieved great success while studying there.

Historic Organs of Boston. By using this site, you agree to the Terms of Use and Privacy Policy. 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.

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Etienne-du-Mont as an organist and he held the position for the rest of his life. This happens at measureas there is rapid contrast between the triplet figures of the left hand and the French six chords in right hand.

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By continuing to use this website, you agree to their use. 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.

Now, starting at bar 65, the thematic material of Subject 2 turned as a counter subject or arpeggio supporting Subject 1. Lanham, Maryland, and London,5. Works of the French Masters. These subjects are presented separately in the beginning. Impressionism and Symbolism London: Zwei thematische Elemente sind hier im Spiel: L’ Organiste Parisien, He formed his original style by employing impressionism and Gregorian chant in his music.

Maurice Duruflé – Wikipedia

Nicholas Thistlethwaite and Duruflee Webber[] Cambridge: He later suggests the use of a solo stop with for the melody in section B 8′ flute with principal, Qlain or Oboe. Therefore, the contrast between the two sections by using different registrations is another way to help determine the form.

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, and the whole ends in a blaze of glory.

Dances of Life and Death.