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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Historic Organs of Boston. Cambridge University Press, Hyperion offers both CDs, and downloads in a number of formats.

His music was influenced by Gregorian chant and Debussy. He died in Louveciennes near Paris inaged The transitions in this prelude also point out the contrasts between each section. During these alterations, the changes of modes happens every four measures. He arranged and combined the two subjects based on their contrasting character.

The fragment of Subject 2 is used in counterpoint against Subject 1 to build tension towards the climax of the work. Etienne-du-Mont as an organist and he held the position for the rest of his life. Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.


To find out more, including how to control cookies, see here: Prelude and Fugue on Alain; Julius Reubke: He would base compositions on Gregorian chants, like the Requiem, and show his impressionistic orchestral accompaniment. Remember me on this computer. Don’t show me this message again. Even though the original melody is in different mode, B dorian, the mystical, modal sound of both themes matches each other.

Notify me of new posts via email. Each section develops its own vector, its own force of contrasting shape and direction, which needs resolution or balance.

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

He became a chorister at the Rouen Cathedral Choir School from preluudewhere he studied piano and organ with Jules Haelling, a pupil of Alexandre Guilmant.

Measure have the same type of closing gesture. Playing with Time and Form, The site is also available in several languages. In he was appointed in St. Jazz Latin New Age.

Debussy’s idea of ‘arabesque’ is reflected in this piece by juxtaposing contrasting sections, undulating melodies, and unconventional way of fugal writing. Ritchie and George B. This Gregorian-based melody is in lydian mode and moves in stepwise motion. Click track numbers above to select.

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Please enable JavaScript in your browser to use the site fully. Bibliography Ebrecht, Ronald, ed.

Complete Music for Choir and Organ. 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 The triplet figures serve as the basis for the thematic material of the whole prelude.


Rainy Day Relaxation Road Trip. He had begun composing the work inpreljde a commission [4] from the Vichy regime.

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

These subjects are presented separately in the beginning. Romantic Evening Sex All Themes.

Another type of transition between sections happens at measure Section 1 Example 2. Subject 2 This fugue has two subjects and the second subject is prrelude from the counter subject of the first one. They married on 15 September The two fugue subjects are expounded separately in compound time: 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 dururle French music by one of the finest organ composers of any time.

Dances of Life and Death.