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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Help Center Find new research papers in: This is only after the second statement of Subject 1 after the exposition.

During tohe taught harmony at Paris Conservatoire. You are commenting using your Facebook account. AllMusic Featured Composition Noteworthy. Dances of Life and Death. This site uses cookies. He studied organ with Gigoutharmony with Jean Gallonfugue with Caussadeaccompaniment with Estyle and composition with Dukas Views Read Edit View history.

Jann Pasler mentioned in his article: He died anc Louveciennes near Paris inaged This restatement serves as the closing gesture of Section B. Debussy’s idea of ‘arabesque’ is reflected in this piece by juxtaposing contrasting sections, undulating melodies, and unconventional way of fugal writing. Organ Technique, Modern and Early, ed. Skip to main content. The Vichy Commissions “, pp. They married on 15 September The left hand and the pedal punctuates the motive with chords.

Ritchie and George B.

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

Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. The fragment of Subject 2 is used in counterpoint against Subject 1 to build tension towards the climax of the work. Zwei thematische Elemente sind hier im Spiel: Changing modes between sections reinforces the contrast between the Section A and the Section B. For Section A, he employed aeolian modes and major keys, and for Section B, he prepude lydian mode.


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This Gregorian-based melody is in lydian mode and moves in stepwise motion. By using this site, you agree to the Terms of Use and Privacy Policy.

Alain volunteered to return to France: He arranged and combined the two subjects fuuge on their contrasting character. Cambridge University Press, Please enable JavaScript in your browser to use the site fully. The site is also available in several languages. The development suggests duruflee radiant smile before the scherzo returns, contrapuntally worked to a brilliant climax of great power. Istvan Marta — Doom. Alain was among many French fighters evacuated from the Dunkirk beaches alongside the British Expeditionary Forces, whom they had been assisting.

Sexy Trippy All Moods. Enter the email address you signed up with and we’ll email you a reset link. His organ works show impressionistic characteristics leading him to be described as the Debussy of the organ.

Measure have the same type of closing gesture. 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.

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

The Man and His Music”. 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. From Tournemire he inherited a mystical reverence of plainsong and an understanding of modal harmony. The fugue subject takes as its starting peelude the five-note figure which provided the figuration of the first movement.


At the end of the prelude actually directly quotes the Lianties theme. The descending line finally arrives at low C. From the YouTube comments: Historic Organs of Boston. 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 allain, and the whole ends in a blaze of glory.

Summer Organists such as Charles TournemireJehan Ans and Olivier Messiaen composed with their own musical style outside of the romantic symphonic tradition. The double fugue is a stunning example of contrapuntal writing.

He later suggests the use of a solo stop with for the melody in section B 8′ flute with principal, Cornet or Oboe. Eulenberg Books, He was promoted to an Officier de la Legion d’honneur in