Georges Enesco

George Enescu (native spelling) lived from 1881-1951. I was curious to see whether he conformed to tradition 19th C compositional practices, or explored new territory along with many others at the turn of the century. I was also interested in what particular stylistic elements Enesco used. 

I listened to his Romanian Rhapsody no. 2 in D Major, which represented the exotic and nationalistic folk qualities of his native Romania. It was composed when he was 20—fascinating since that is only one year older than myself. The melodic content is based on an existing Romanian folk tune, and was influenced by stories told in the Moldavian Chronicles. Since I am fascinated with history I did a bit of researching on these chronicles. They were written throughout the 14^th-16^th C, their purpose was to record ancient folklore from the Slavic region of the time. Grigore Ureche first translated the chronicles into Romanian and they now hold an important place in Romanian literature's history. Enesco references stories from the chronicles in his Rhapsodies (D Major and A Major).

The piece opens with a tutti string section solo, played with freedom. The sul G or C sound quality in the violins and violas creats a "rustic" musical atmosphere. Most of the piece is based on this single theme, taken from an original Romanian folk tune. It gradually builds in both dynamic level and orchestration; each time the theme is introduced, new instruments are added (horn, flute, brass, timpani). In the B section, there are some unusual harmonies which I would most accurately describe as modal, that is, they do not conform to the standard Western practices of the 17-18^th C. When the A section returns, the theme is embellished and transposed into a more ambiguous key, again sounding modal. Enesco employs stylistic elements such as: eerie ponticello in strings, exotic and sudden timpani rolls and strikes, dark sounding viola tremolo, celestial and otherworldly harp playing. The piece builds again to a climax, bringing bits of the A theme back in the string section, played gloriously in the high register of the violins, with remnants of the modal motifs played softly underneath by the winds and brass. The piece ends calmly, as if it has become just a distant memory.

In general, Enesco’s form seems standard: ABA, yet he employs greatly interesting stylistic elements in this piece. His references to national folklore reminds me of Chopin’s Mazurkas and Polonaises (which I love). The nationalistic elements utilized by Enesco and other composers add a certain exotic and intriguing yet nostalgic and heartwarming quality to their music that is worth attention and praise.

Here you can listen to a recording: Enesco, Romanian Rhapsody no. 2