DURUFLE PRELUDE FUGUE ALAIN PDF

Organists such as Charles Tournemire , Jehan 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.

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Organists such as Charles Tournemire , Jehan 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. 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. George H. Ritchie and George B. The choral plainsong tradition he learned during his school years would have a profound influence on his later composition.

From Tournemire he inherited a mystical reverence of plainsong and an understanding of modal harmony. In he entered at Paris Conservatoire and achieved great success while studying there. He studied organ with Gigout , harmony with Jean Gallon , fugue with Caussade , accompaniment 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.

During to , he taught harmony at Paris Conservatoire. The triplet figures serve as the basis for the thematic material of the whole prelude.

First section A can be described as perpetual motion in triplets. 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.

Example 1. 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.

Example 2. For Section A, he employed aeolian modes and major keys, and for Section B, he used lydian mode. Changing modes between sections reinforces the contrast between the Section A and the Section B. 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 Therefore, the contrast between the two sections by using different registrations is another way to help determine the 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 measure , as there is rapid contrast between the triplet figures of the left hand and the French six chords in right hand. In , Debussy wrote a letter to his publisher, pointing out an important aspect of the musical revolution happened around the twentieth century. He arranged and 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. 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 entrance at bar His music was influenced by Gregorian chant and Debussy. At the end of the prelude actually directly quotes the Lianties theme. Bibliography Ebrecht, Ronald, ed. Jarocinski, Stefan. Debussy: Impressionism and Symbolism. London: Eulenberg Books, , Thistlethwaite, Nicholas, and Geoffrey Webber, ed. The Cambridge Companion to the Organ [].

Camb ridge: Cambridge University Press, , Hatten, Robert S. Pasler, Jann. Summer , Randel, Don Michael, ed. Related Papers.

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Prelude and Fugue, Op. 7 (sur le nom d'Alain)

Voodoorisar From Tournemire he inherited a mystical reverence of plainsong and an understanding of modal harmony. In he entered at Paris Conservatoire and achieved great success while studying there. Dances of Life and Death. He published only a handful of works and often continued to edit and change pieces after publication. He compsed the fugue with his own color and sense of time that he presented in the prelude. Prelude and Fugue on the name A. Therefore, the contrast between the two sections by using different registrations is another way to help determine the form.

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DURUFLE PRELUDE FUGUE ALAIN PDF

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 While still taking classes, his skirling, jazzy Litanies achieved fame with organists around the world. Between many of the dyrufle, there is a free alternation between durfle rhythms, harmonies, melodies, and instrumental combinations The motive is in aeolian based on the name ALAIN and this motive transforms and modulates to various modes. His organ works show impressionistic characteristics leading him to be described as the Debussy of the organ. Remember me on this computer. Lanham, Maryland, and London,5. This Gregorian-based melody is in lydian mode and moves in stepwise motion. He arranged and combined the two subjects based on their contrasting character.

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