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AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
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The STUDIA UNIVERSITATIS BABEŞ-BOLYAI issue article summary The summary of the selected article appears at the bottom of the page. In order to get back to the contents of the issue this article belongs to you have to access the link from the title. In order to see all the articles of the archive which have as author/co-author one of the authors mentioned below, you have to access the link from the author's name. |
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STUDIA MUSICA - Issue no. 1 / 2008 | |||||||
Article: |
ESSAYS ON GEORGE ENESCU / ESSAYS ZU GEORGE ENESCU. Authors: CORNELIU DAN GEORGESCU. |
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Abstract: The names of Enescu, Bartók and Strawinsky are frequently associated, and some points of view concerning the consideration of the traditional national music seam to be similar. Nevertheless is their evolution quite different. Enescu will be soon relatively isolated from international musical avant-garde, and he has spent much more time and energy as interpret and cultural organizator of the musical life of his homeland. His tendency to an European synthesis with some elements of Romanian lautari-folclore seams to ground to him on a most conservative conception. He is less successful as composer and his deep originality is difficult to analyze and accept. Carl Gustav Jung defines about 1912-1919 the notion of the arche-types of collective unconsciousness (like Animus-Anima, Persona-Ombra) as an universal a priori element, which may constantly change his form. An application to the music suggests the use of some “musical archetypes” (like Initium-Centrum-Finis, Crescere-Planum-Descrescere, Culmen-Vallis, Maximum-Minimum) and may reveal some common gestures of all com-posers, but also some specific details. Six works of the late period by Enescu are experimentally analyzed in this respect. An attempt to precisely define the "musical time" by Enescu, frequently evoqued in recent studies, would also contribute to understand one of the most specific and intimates zones of his creation. The first problem in this approach is the formulation of some analytical criteria and an adequate terminology, as the domain is usually quite fuzzy defined. The answer to such question cannot be simple - as in the most cases of the attempts to describe the Ineffable of Enescu. |
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