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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Skip to main content. Log In Sign Up. Organists duruvle as Charles TournemireJehan Alain and Olivier Messiaen composed with their own musical style outside of the romantic symphonic tradition.

He formed his original style by employing impressionism and Gregorian chant in his music. He would base compositions on Gregorian chants, like the Requiem, and show his impressionistic orchestral accompaniment. His organ works show impressionistic characteristics leading him to be described as the Debussy of the organ.

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

The French Romantic organ featured a colorful and powerful ensemble sound, ther result of joining warm, singing foundation stops with brilliant, fiery reeds. Organ Technique, Modern and Early, ed. Ritchie and George B. Oxford University Press, ], Nicholas Thistlethwaite and Geoffrey Webber[] Cambridge: Cambridge University Press, Ronald Ebrecht The Scarecrow Press: Lanham, Maryland, and London,5. The choral plainsong prslude he learned during his school years would have a profound influence on his later composition.

From Tournemire perlude inherited a mystical reverence of plainsong and an understanding of modal harmony. From Vierne he learned forms and structures as well as organ’s capability. In he entered at Paris Conservatoire and achieved great success while studying there. He studied organ with Gigoutharmony with Jean Gallonfugue with Caussadeaccompaniment with Estyle and composition with Dukas In he was appointed in St. Etienne-du-Mont as an organist and he held the position for the rest of his life.

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During tohe taught harmony at Paris Conservatoire. This is the same procedure as Maurice Ravel did for his Menuet sur le nom d’Haydn for piano solo. The triplet figures serve as the basis for the thematic material of the whole prelude. Impressionism and Symbolism London: Eulenberg Books, First section A can be described as perpetual motion in triplets.

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The motive is in aeolian based on the name ALAIN and this motive transforms and modulates to various modes.

The left hand and the pedal punctuates the motive with chords. Second B can be characterized as the chant-like melody and the accompaniment.

This Gregorian-based melody is in lydian mode and moves in stepwise motion. Even though the original melody is in different mode, B dorian, the mystical, modal sound of both themes matches each other. Section 1 Example 2. Summer, 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 Preludw, he used lydian mode. Changing modes between sections reinforces the contrast between the Section A and the Section B. Jann Pasler mentioned in his article: Each section develops its own vector, its own force of contrasting shape and direction, which needs resolution or balance. Between many of the sections, there is a free alternation between different rhythms, harmonies, melodies, and instrumental combinations He later suggests the use durkfle a solo stop with for the melody in section B 8′ flute with principal, Cornet or Oboe.

Therefore, the contrast between the two sections by using different registrations is another way to help determine the form. Playing with Time and Form, The transitions in this prelude also point out the contrasts between each section. For example, at measures 38,40 and 42, the right hand plays triplets figures similar to written out trills. These are the closing gestures of the A Section.

At the same time, the F on the final eighth note at bar 42 and G on the next measure, changes the mode into lydian toward the B Section. Measure have the same type of closing gesture. Another type of transition between sections happens at measure The left hand plays the extended melody from the B section.

This restatement serves as the closing gesture of Section B. The descending line finally arrives at low C. 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.

The same thing happens again on page 14, measure after the written-out ritardando. After the first recapitulation of Section A, there is a juxtaposed series of very short fragments starting at bar During these alterations, the changes of modes happens every four measures. This happens at measureas there is rapid contrast between the triplet figures of the left hand and the French six chords in right hand.


InDebussy wrote a letter to his publisher, pointing out an important aspect of the musical revolution happened around the twentieth aalin. He arranged in combined the two subjects based on their contrasting character. He compsed the fugue with his own color and sense of time that he presented in the prelude. Subject 2 This fugue has two subjects and the second subject is derived from the counter subject of the first one. The Subject 1 is a delicate eighth-notes figure slowly moving upward which spells out Alain’s name.

On the other hand, Subject 2 id made of a sixteenth-notes figure moving down. These subjects are presented separately in the beginning. This is only after the second statement of Subject 1 after the exposition. Surprisingly, Subject 1 enters again with the second statement of Answer 2.

Now, starting at bar 65, the thematic material of Subject 2 turned as a counter subject or arpeggio supporting Subject 1. The fragment of Subject 2 is used in counterpoint against Subject 1 to build tension towards the climax of the work.

By modulating through various keys on top of the descending pedal tones from dominant to tonic, this section increases tension up to the big durudle at alajn His music was influenced by Gregorian chant and Debussy.

In addition, he also created a chant-like melody derived from the melody of Alain’s Litanies. At the end of the prelude actually directly quotes the Lianties theme. Debussy’s idea of ‘arabesque’ is reflected in this piece by juxtaposing contrasting sections, undulating melodies, and unconventional way of fugal writing. Bibliography Ebrecht, Ronald, ed. Thistlethwaite, Nicholas, and Geoffrey Webber, ed.

The Cambridge Companion to the Organ []. Playing with Time and Form.

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

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