Sound, Piano Touch and Refinement in Pavane op. 10 for piano by George Enescu
Sound, Piano Touch and Refinement in Pavane op. 10 for piano by George Enescu

Summary/Abstract: Following his musical studies in the Art of Performance (Violin, Piano) and Composition in Paris, the young George Enescu came into contact with the French School and illustrious composers and teachers. Famous personalities of the early Twentieth Century, such as Jules Massenet, Gabriel Fauré and Ambroise Thomas, through pedagogical and compositional activity, opened the horizon of new possible stylistic paths in the music to young musicians, among which our compatriot, with this support, seems to have already found a formula of authentic and charming expression. The music for the piano, exemplified during this period also through the Second Suite op. 10 for the piano, presents to his contemporaries a new neoclassical compositional compendium, among which those that will attract special attention are the novelties, surprising associations proposed by the composer, in the use of the sound effects of the piano instrument, in order to achieve an almost orchestral exploration of these sonorities. In the former European compositional context, Pavane (the third movement of the Suite), remains in the epoch, an extremely interesting page, identifying many innovative elements, precursors to the great pianistic reference creations in similar stylistic expressions.

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