Uvertura de concert op. 32 de George Enescu, de la caracterul popular romanesc” la sinteza limbajului muzical enescian

A work of late maturity in Enescu’s creation, the Concert overture op. 32 is still the subject of lively discussion and heated controversy. Next to last in the order of the opus number established by the composer, the Overture reiterates, for the last time in Enescu’s creation, the composer’s interest in initiating and developing themes from an imaginary, figurative folklore. Based on existing studies of Enescu’s work as well as on conclusions having emerged from our own studies, the current material is a continuation of our investigation of Enescu’s style and aesthetic principles, containing its development on different levels of analysis and interpretation. Our former hypotheses concerning Enescu’s musical time are being examined from a new perspective, and several new concepts are advanced, with regard to certain aspects of the structure of this particular work: from the contradiction in terms apparent in its title to its construction on the basis of the principle of coincidentia oppositorum and its subtle development according to the ideal shape of a spiral, an hourglass or a M bius strip (band). Having no pretense of exhausting its subject, our research is placed under the motto Ad narrandum, non ad probandum (In order to tell, and not to prove), thus leaving open the possibility of the expression of other points of view. The conclusions, which stem from the scholastic principle Forma dat esse rei (Form gives things their being), bring to the fore the potential of the continued study of Enescu’s oeuvre, its continued contemporaneity, and thus demonstrate the genius and perenity of this masterful creation.