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. Jeong-Suk Bae Theory Seminar Spring Prélude et Fugue sur le nom d’ Alain, opus 7 At the end of the romantic period in organ music history, which was . Perhaps best known for his Requiem, often paired with Faure’s Requiem on recordings, Duruflé () studied organ with Vierne and composition with .
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Clearly he is destined for a distinguished career. Surprisingly, Subject 1 enters again with the second statement of Answer 2. It has quiet, lilting melody, with simultaneous high and low notes.
Etienne-du-Mont as an organist and he held the position for the rest of his life. Subject 2 This fugue has two subjects and the second subject is derived vurufle the counter subject of the first one. Changing duruf,e between sections reinforces the contrast between the Section A and the Section B. Playing with Time and Form, Second B can be characterized as the chant-like melody and the accompaniment.
I do not seek to take sides in that particular debate and ask that you please refrain from stirring up further controversy.
For instance, the Toccata from Suite, op. Jazz Latin New Age. He published only a handful of works and often continued durule edit and change pieces after publication. Organ Technique, Modern and Early, ed. So he knew about battles and mourning.
Complete Organ Works; Motets; Requiem. The Basilica of the National Shrine.
The two fugue subjects are expounded separately in compound time: Alain was among many French fighters evacuated from the Dunkirk beaches alongside the British Expeditionary Forces, whom they had been assisting. Randel, Don Michael, ed. Views Read Edit View history. The result of this perfectionism is that his music, especially his organ music, tends to be well polished, and is still frequently performed in concerts by organists around the world.
For Section A, he employed aeolian modes and major keys, and for Section B, he used lydian mode. University Rochester Press, Jann Pasler mentioned in his article: Between many of the sections, there is a free alternation between different rhythms, harmonies, melodies, and instrumental combinations The prelude is somewhat nervy in character and maintains alsin almost constant triplet movement.
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 stretto, and the whole ends in a blaze of glory. Impressionism and Symbolism London: Messe “Cum Jubilo” Op. Now, starting at bar 65, the thematic material of Subject 2 turned as a counter subject or arpeggio supporting Subject 1.
The opening of this suite sounds ominous, as Houlihan agrees in his notes. He compsed the fugue with his own color and sense of time that he presented in the prelude.
Hyperion offers both CDs, and downloads in a number of formats. Alain is known also for his organ work “Litanies,” but Houlihan says this piece is probably his “magnum opus” for organ, though Alain had originally intended it to be for orchestra, but lived only to complete the organ version. The choral plainsong tradition he learned during his school years would have a profound influence on his later composition.
Rainy Day Relaxation Road Trip. Eventually there are some rippling tones and the last third of its nearly ten minute duration is gentle and pleasant.
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.
It may be particularly hard to hear it as a dance, but durufoe one may consider that Vaughan Williams’ rather grim “Job” is subtitled “A Masque for Dancing.
The pieces don’t sound all that dancelike to be, though Houlihan says Alain was influenced by Jazz, Moroccan and Indian music.