At the 2015 edition of the Enescu Festival will bring over 20 works by George Enescu in modern interpretations of some of the most important orchestras of the world, we invite you to discover through the eyes of the composer Cornel Țăranu two of Enescu’s essential compositions.
by Irina Hasnaș
The interview where Irina Hasnaș selected fragments was originally published in the book Magic Dialogues by Irina Hasnaș and Corina Radoi (ICR Publishing House/2007) and it is republished with the author’s permission.
Cornel Țăranu on Enescu’s compositions:
Symphony No. 4
George Enescu’s fourth symphony follows the line of the third, which is clear, with a very classical, articulate writing. It is a symphony bearing the seeds of simplification, as opposed to the second, which is very dense, a bit too florid.
The manuscript is in a great state and two orchestral versions of the first part have been discovered, which are performed often.
We chose the second one as the definitive form that Enescu would have preferred. Unfortunately, there is just a single fully orchestrated sketch of the third movement, the slow one, and it is all we have so far. Enescu spoke much of this symphony dedicated to Gabriel Faure, a mysterious musician, like Maurice Ravel, who never showed his manuscripts.
They can be found at the “G. Enescu” Museum in a large file that we received from Paris. It seems his wish was to live a few dozen years more and finish everything he had started.
The suite Impressions d’enfance
Impressions d’enfance is a cycle whose dramaturgy is similar to the cosmic cycle seen through the eyes and sensibility of a child. First we have the old master unravelling his song, we have the river behind the garden and then the lullaby for this child who needs to fall asleep and who cannot do it because the wind blows through the chimney and makes a troubling sound, created by George Enescu with double sul ponticello chords.
Then we have the storm that frightens the child.
Eventually things calm down, the sun returns, giving life to the new expansion, the newly found affectivity.
There is no florilegium, there is an inner dramaturgy. This is the reason why the artist only takes one break during the cycle, after the third part, then the last seven images interlink, as they start from a certain moment in the child’s life, who is stunned by everything he sees, hears and they carry him to the next day, when the sun gives him confidence.
“When we are children, our parents give us a circle to play with. When we are grown up, a woman gives us a ring. Later on, to find comfort because you are growing old, good people offer you a small crown of laurel. There are so many factories, all of them in the new world, which make toys. Let me add something. I was talking about the Countess de Noailles. One day she wanted to talk to me about the topic of glory, about admiration, and she suddenly said: Is there anything beyond glory? I said NO! Glory is nothing that is beyond the beauty, the emotion, the selfless joy of being part of all of this.” – George Enescu