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Romanian folkloric influences on George Enescu's artstic [i.e. artistic] and musical development as exemplified by his third violin sonataZlateva, Maria Zlateva 28 August 2008 (has links)
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Romanian folkloric influences on George Enescu's artstic [i.e. artistic] and musical development as exemplified by his third violin sonataZlateva, Maria Zlateva, 1970- 05 August 2011 (has links)
Not available / text
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A structural analysis of George Enescu’s Piano sonata in D major, op. 24, no. 3Kvarnstrom, Jonas Erik 05 1900 (has links)
George Enescu (1881-1955) is known primarily today in conjunction with the world of
violin playing. Celebrated as a violin virtuoso throughout the capitals of Europe and North
America in the first half of this century, and later admired as a teacher of luminary talents
such as Yehudi Menuhin, Arthur Grumiaux, and Ida Haendel, Enescu exerted a
considerable influence on the developments of the international music scene. This was
nowhere more apparent than in Paris and Bucharest, cities in which Enescu spent most of
his life active as performer, conductor, and composer. As his career progressed, Enescu
dedicated an increasing amount of time and energy to composition, producing an
impressive list of works, many of which were of monumental proportions.
Contemporary with Bartok and Kodály, Enescu found himself caught in the current of
nationalism that asserted itself in Europe during the first decades of the twentieth century.
Seeking a personal, expressive idiom in which he could fuse the musical elements of both
Western tradition and his native Rumanian folk heritage, Enescu experimented with diverse
compositional trends and styles. Expanding the reaches of tonality with heightened
chromaticism, in which microtonal as well as modal inflections were both to play
significant roles, Enescu’s idiom evolved into a highly plastic language, comprising a great
variety of stylistic characteristics. In order to assimilate the heterogeneous elements into
one unified expression, Enescu relied on traditional compositional techniques such as
sonata form, cyclic thematic structure, and motivic development.
The focus of this paper is to examine to what extent these compositional techniques are
incorporated into his work and to direct attention to those elements, i.e., both structural and
non-structural, that were most distinctive of Enescu’s musical style. Owing to its
concentration of key stylistic elements and its stature as perhaps the most accomplished
piano composition in Enescu’s output, the Sonata for Piano in D Major, Op. 24, No. 3
(1934) will serve as model for this analytical study.
Chapter One provides by way of an introduction a brief overview of the formative years
in Enescu’s life and defines the position of the Sonata within the complete ceuvre.
Chapters Two, Three, and Four constitute the main body of the paper and contain
analyses of each of the Sonata’s three movements. In these chapters discussion revolves
around the more significant structural features of the work such as the overall cyclic design,
simultaneously examining the methods Enescu employs to integrate folk inflection
throughout the Sonata. Chapter Five comprises the summary. The most significant features of the Sonata are
recapitulated and parallels to numerous other works are drawn, in an attempt to present the
Sonata as a culmination of Enescu’s compositional style.
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A structural analysis of George Enescu’s Piano sonata in D major, op. 24, no. 3Kvarnstrom, Jonas Erik 05 1900 (has links)
George Enescu (1881-1955) is known primarily today in conjunction with the world of
violin playing. Celebrated as a violin virtuoso throughout the capitals of Europe and North
America in the first half of this century, and later admired as a teacher of luminary talents
such as Yehudi Menuhin, Arthur Grumiaux, and Ida Haendel, Enescu exerted a
considerable influence on the developments of the international music scene. This was
nowhere more apparent than in Paris and Bucharest, cities in which Enescu spent most of
his life active as performer, conductor, and composer. As his career progressed, Enescu
dedicated an increasing amount of time and energy to composition, producing an
impressive list of works, many of which were of monumental proportions.
Contemporary with Bartok and Kodály, Enescu found himself caught in the current of
nationalism that asserted itself in Europe during the first decades of the twentieth century.
Seeking a personal, expressive idiom in which he could fuse the musical elements of both
Western tradition and his native Rumanian folk heritage, Enescu experimented with diverse
compositional trends and styles. Expanding the reaches of tonality with heightened
chromaticism, in which microtonal as well as modal inflections were both to play
significant roles, Enescu’s idiom evolved into a highly plastic language, comprising a great
variety of stylistic characteristics. In order to assimilate the heterogeneous elements into
one unified expression, Enescu relied on traditional compositional techniques such as
sonata form, cyclic thematic structure, and motivic development.
The focus of this paper is to examine to what extent these compositional techniques are
incorporated into his work and to direct attention to those elements, i.e., both structural and
non-structural, that were most distinctive of Enescu’s musical style. Owing to its
concentration of key stylistic elements and its stature as perhaps the most accomplished
piano composition in Enescu’s output, the Sonata for Piano in D Major, Op. 24, No. 3
(1934) will serve as model for this analytical study.
Chapter One provides by way of an introduction a brief overview of the formative years
in Enescu’s life and defines the position of the Sonata within the complete ceuvre.
Chapters Two, Three, and Four constitute the main body of the paper and contain
analyses of each of the Sonata’s three movements. In these chapters discussion revolves
around the more significant structural features of the work such as the overall cyclic design,
simultaneously examining the methods Enescu employs to integrate folk inflection
throughout the Sonata. Chapter Five comprises the summary. The most significant features of the Sonata are
recapitulated and parallels to numerous other works are drawn, in an attempt to present the
Sonata as a culmination of Enescu’s compositional style. / Arts, Faculty of / Music, School of / Graduate
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A Performance Guide to George Enescu's Violin Sonata No. 3 in A Minor, Op. 25, Emphasizing Its Use of Romanian Lăutari Violin Techniques and StyleNoh, Yuri 05 1900 (has links)
In Romanian, the word lăutari refers to highly skilled professional Romani (Gypsy) musicians. By interacting with Romanian culture and tradition, the lăutari settled down in the country and developed a unique musical tradition. Their music is characterized by intricate, elaborate, and refined ornamentation; its execution requires a highly level of technique. George Enescu, regarded as Romania's most influential musician, was affected by lăutari music. He created a unique musical language that recreates Romanian character by using lăutari elements. This dissertation examines how to approach Enescu's Violin Sonata No. 3 and perform it by understanding the characteristics of lăutari music as well as the work's use of such lăutari violin techniques as diverse expressive slides, vibrato, double stops, various ornaments, artificial harmonics, imitation of folk instruments, and a variety of bow strokes. Enescu's Violin Sonata No. 3 is regarded as a challenging work in the violin literature requiring a high level of violin technique. Although the standard violin repertoire is enormous, many violinists are looking to rediscover new and challenging repertoire, distinguish themselves from others, and promote themselves as professional performers. Therefore, this study should help violinists to approach the idiomatic violin writing of Enescu's sonata, especially its lăutari techniques and style.
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Let Music Speak Day and Night: A Performance Guide for George Enescu's "Impressions D'enfance for Violin and Piano"Huang, Chenshayang 12 1900 (has links)
In the world of chamber music, programmatic suites are more rarely composed and consequently more rarely presented in recital than other musical forms. Perhaps partially for this reason, George Enescu's Impressions d'enfance for violin and piano, his last chamber piece written in the tumultuous year of 1940, has been overlooked for a long time; even the composer himself did not make a recording of this seldom performed piece. This dissertation examines Impressions d'enface in order to explore the relationship between the underlying Romanian folk rhythmic and melodic patterns, to provide an analysis, as well as to serve as a performance guide to assist performers in surmounting the technical challenges and thus create a more effective ensemble. I hope this dissertation will encourage more duos to experiencing the joy of George Enescu's richly fulfilling Impressions d'enfance for themselves.
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