George Enescu (1881-1955) is the best-known Romanian composer and has been widely lauded for his folk- inspired compositions. While folk music was an important influence in Enescu’s music, it was always balanced by his passion for and intimate understanding of late Romantic compositional techniques. The extent to which he was influenced by the folk music of his homeland is a point of contention amongst some of the leading Enescu scholars. The English-speaking representative, Noel Malcolm believes that the influences in Enescu´s musical language were more diverse than scholars have suggested prior to the 1989 revolution. He believes that the depiction of Enescu as a folkloristic composer has contributed to his marginalisation and relative obscurity. By contrast, scholars such as Boris Kotlyarov and Grigore Constantinescu give greater weight to national characteristics in Enescu’s music. Enescu conceded that some of his early works made direct quotation of Romanian folk melodies, and that such an approach was limited in its possibilities. The composer’s more mature works employ characteristics of folk music and its performance traditions without the use of direct quotation. This critical commentary will observe and comment on the folk influences in Enescu’s compositions as well as noting the influence of Western traditions and techniques. Due reference will be given to the work of Bartók, whose incisive study of Romanian folk music remains one of the most substantial and detailed primary sources today. In order to highlight specific examples of folk influence, as well as other techniques, three of Enescu’s works are targeted for specific study, namely the Romanian Rhapsody, op. 11 no. 1, Sonata for Violin and Piano, op. 25 no. 3 and his Impressions D’Enfance for violin and piano, op. 28. Each work exhibits a tie with the composer’s Romanian origins, but also with 19th and early 20thC composers such as Brahms, Wagner, Debussy and Fauré. This critical commentary highlights the fact that Enescu’s works display folk idioms and techniques developed using late-Romantic techniques.

Thesis (M.A.)--University of North Texas, 2008. / System requirements: Adobe Acrobat Reader. Includes bibliographical references and discography (p. 100-103).

Thesis (M.A.) - Carleton University, 2003. / Includes bibliographical references (p. 267-276). Also available in electronic format on the Internet.

Thesis (M.M.)--Bowling Green State University, 2008. / Document formatted into pages; contains xiii, 82 p. : col. ill., 1 map. Includes bibliographical references.

Thesis (Ph. D.)--UCLA, 2007. / Vita. Includes bibliographical references (leaves 264-289).

Thesis (Ph. D.)--University of California, Los Angeles, 1982. / Vita. Includes bibliographical references (leaves 532-542). Discography: leaf 542.

Thesis (M.A.)--University of California, Santa Cruz, 1994. / Typescript. Includes bibliographical references (leaves 110-113).

Thesis (Ph. D.)--University of Texas at Austin, 1982. / Vita. Includes bibliographical references (leaves 920-946). Discography: leaf 947.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1985. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 353-370).

Thesis (D.Mus.)-University of Pretoria, 2005. / Abstract in English. Includes bibliographical references. Available on the Internet via the World Wide Web.