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. Maurice Duruflé was a French composer, organist, and teacher. Contents. 1 Life and career Prélude et fugue sur le nom d’Alain op. 7 (); Prélude sur. Results 1 – 10 of 36 This page lists all recordings of Prelude & Fugue sur le nom d’Alain, Op. 7 by Maurice Duruflé ().
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Maurice Duruflé – Wikipedia
Section 1 Example 2. He had begun composing the work infollowing a commission  from the Vichy regime.
Duruflé: Prelude & Fugue sur le nom d’Alain, Op. 7 (page 1 of 4) | Presto Classical
He formed his original style by employing impressionism and Gregorian chant in his music. In he entered at Paris Conservatoire and achieved great success while studying there. The choral plainsong tradition he learned during his school years would have a profound influence on his later composition. A slight increase in tempo and a new theme in semiquavers bring an increase in tension, and this new theme is gradually combined with the first.
Notify me of new comments via email. For Section A, he employed aeolian modes and major keys, and for Section B, he used lydian mode. This is the same procedure as Maurice Ravel did for his Menuet sur le nom d’Haydn for piano solo. Coming around a curve, and hearing the approaching tread of the Germans, he abandoned his motorcycle and engaged the enemy troops with his carbine, killing sixteen of them before being killed himself.
He was posthumously awarded the Croix de Guerre for his bravery and was buried by the Germans with full military honours.
From Vierne he learned forms and structures as well durufke organ’s capability.
The fugue subject takes as its starting point the five-note figure which provided the figuration of the first movement.
Historic Organs of Boston. Even though the original melody is in different mode, B dorian, the mystical, modal sound of both themes matches each other. Another type of transition between sections happens at measure You are commenting using your Facebook account.
The two fugue subjects are expounded separately in compound time: Impressionism and Symbolism London: I do not seek to take sides in that particular debate and ask that you please refrain from stirring up further controversy.
Mobilized in Augustprelure fought in Flanders, participated in the evacuation of Dunkirk, and was killed in action near Saumur inaged 29, leaving behind some works. The French Romantic organ featured a colorful and powerful ensemble sound, ther result of joining warm, singing foundation stops with durufpe, fiery reeds. Ignatius Loyola, New York City. Changing modes between sections reinforces the contrast between the Section A orelude the Section B. Summer, 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.
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The fragment of Subject 2 is used in counterpoint against Subject 1 to build tension towards the climax of the work. Wachet auf, ruft uns die Stimme. Zwei thematische Elemente sind hier im Spiel: From the YouTube comments: The prelude is somewhat nervy in character and maintains an almost constant triplet movement. For example, at measures 38,40 and 42, the right hand plays triplets figures similar to written out trills.
Hyperion offers both CDs, and downloads in a number of formats. Oxford University Press, ], The Complete Argo Recordings. Dances of Life and Death. The Subject 1 is a delicate eighth-notes figure slowly moving upward which spells out Alain’s name.
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