Enescian Pianism and Interpretative Style in Chamber Music Works: Impromptu Concertant for Violin and Piano, Concertstück for Viola and Piano, Légende for Trumpet and Piano and Cantabile et Presto for Flute and Piano

Abstract

he idea of writing about and delving into Enescian pianism came to me while I was preparing two Enescu recitals, one as part of the Musica Barcensis Festival, the other one as part of George Enescu International Festival (in Sinaia). The concept behind organizing the recital, aptly titled Enescian Sonorities, was to present to the public the composer's early chamber works. For this research, which aims to highlight the complexity of Enescian pianism, I chose Cantabile et Presto for flute and piano, Légende for trumpet and piano, Impromptu Concertant for violin and piano and Concertstück for viola and piano. Although I focused on his early works, we can already observe the intuition, originality, naturalness, and maturity of his compositions, which are impressive for the age at which they were written. Beyond the beauty and expressiveness of the music, these instrumental miniatures represent true technical challenges, testing the performers in multiple ways. What I primarily wish to emphasize through this research is that in all four works mentioned, the balance and equal importance given to both instruments are evident, with the compositions easily fitting into the chamber music genre.

Keywords

• George Enescu
• enescian pianism
• Impromptu Concertant for Violin and Piano
• Concertstück for Viola and Piano
• Légende for Trumpet and Piano
• Cantabile et Presto for flute and Piano