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FACES OF MULTIVOCALITY IN OCTETUL DE COARDE OP.7 (THE STRING OCTET OP. 7) BY GEORGE ENESCU
Abstract
The personal synthesis between national and universal that Enescu has performed throughout his compositional career is foreshadowed since the time when writing the Octet op. 7, one of the composer's youth works, that reveals a number of trends and personal marks of the style he gained in subsequent creation. With the new perspective upon polyphony, offered by the multitude of the processes outlined in the twentieth century, the Octet op. 7 by George Enescu offers a personal view upon multivocality, seen from a set of perspectives: imitative polyphony, non-imitative polyphony (heterogeneously free and traditional methods renewed) and heterophony.
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References6
Bernard Gavoty, Amintirile lui George Enescu, Editura Muzicală, Bucureşti, 1982, p. 52.
Clemansa Liliana Firca, Le processus de création chez George Enescu à la lumière de quelques esquisses et projets de composition précoces, in Enesciana, vol. II-III, Editura Academiei, Bucureşti, 1981, p. 39.
Ştefan Niculescu, Reflecţii despre muzică, Editura Muzicală, Bucureşti, 1980, p. 95.
Elena Zottoviceanu, Concordances estethiques aux environs de 1900 à propos de la mélodie enesciene, in La personnalité artistique de George Enescu, Editura Academiei, Bucureşti, 1976, pp. 26-28.
Dan Voiculescu, Aspecte ale polifoniei secolului XX, Doctoral Disertation, Cluj-Napoca, 1989, p. 42.
Wilhelm Georg Berger, Aspecte ale polifoniei moderne, in Muzica Review, no 4/1965, p. 14.
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