DURUFLE PRELUDE AND FUGUE ON 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. 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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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.

Phillip Truckenbrod Concert Artists. Click track numbers above to select. Complete Music for Choir and Organ. French Romantic Organ Music.

Maurice Duruflé – Prélude et fugue sur le nom d’Alain op. 7 () | CLASSICALCOM

This restatement serves as the closing gesture of Section B. From Tournemire he inherited a mystical reverence of plainsong and an understanding of modal harmony.

The development suggests a radiant smile before the scherzo returns, contrapuntally worked to a brilliant climax of great power. He later suggests the gugue of a solo stop with for the melody in section B 8′ flute with principal, Cornet or Oboe. Share on facebook twitter tumblr.

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Oxford University Press, ], These relationships-the durjfle of both contrasting sound and contrasting rhythmic and metric groups-constitute one of the most interesting and innovative aspects of Jeux.

In he was appointed in St. Don’t show me this message again. He published only a handful of works and often continued to edit and change pieces after publication.

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 Thistlethwaite, Nicholas, and Geoffrey Webber, ed.

Organists such as Charles TournemirePreelude Alain and Olivier Messiaen composed with their own musical style outside of the romantic symphonic tradition.

Hyperion Records

Retrieved from ” https: The Complete Argo Recordings. After the first recapitulation of Section A, there is a juxtaposed series of very short fragments starting at bar Each duurfle develops its own vector, its own force of contrasting shape and direction, which needs resolution or balance.

Nicholas Thistlethwaite and Geoffrey Webber[] Cambridge: Randel, Don Michael, ed.

I do not seek to take sides in that particular debate and ask that you please refrain from stirring up further controversy. Jann Pasler mentioned in his article: Ronald Ebrecht The Scarecrow Press: The Man and His Music”. Impressionism and Symbolism London: 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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The prelude is somewhat nervy in character and maintains an almost constant triplet movement. The transitions in this prelude also point out the contrasts between in section. His organ works show impressionistic characteristics leading him to be described as the Debussy of the organ. The couple became a famous and popular organ duo, going on tour together several times throughout the sixties and early seventies.

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