A STRUCTURAL ANALYSIS OF GEORGE ENESCU’S PIANO SONATAIN D MAJOR, OP. 24, NO. 3ByJONAS ERIK KVARNSTROMB.Mus., The University of Victoria, 1983M.Mus., The University of Victoria, 1986A THESIS SUBMITTED IN PARTIAL FULFLLMENT OFTHE REQUIREMENTS FOR THE DEGREE OFDOCI’OR OF MUSICAL ARTSinTHE FACULTY OF GRADUATE STUDIES(School of Music)We accept this thesis as conformingto the required standarSiTHE UNIVERSITY OF BRITISH COLUMBIAMay 1992© Jonas Erik Kvarnström, 1992c4CnDctOcnUIZiQDHctF—rnjQrOjL\jt:0(DODiOD’ODiH0U)CD(DZDiDi-HZCDU1iZZZZHZti•ctCDCD’CD00CD’Q-DictCfl(flct0ZIU)HOQU)DiwHIIC)U)HHCDCDOctHOHOrtt—0DiOCl)SCDI—CDHQ.U)H,CDOH•QOCflH0l-CD-ZQ.iDiOPJZOCi)cnPi’1.CI)U)tJ02OOHZZMU)-—iCi)5CDSHU)•MOHOctCDsHDiDH0Di-(DHO•DiOC—JCD0Oo-ELTCDCD0,41CD0oCD•CDUiaCDWNC’D0XCt’‘-.0c’cm0CDCDac,_ 0ImQCDCDI—ViUiVi0—‘-4.0cm00CDCD•CDCD‘-‘bi-(t’000L‘ r r(I.— qll4v9D’o— r——Cont.’d from previous page.Figure 2.2: First movement, mm. 46-58. © 1939 Editions Salabert S.A.. Used byPermission of the Publisher. BartOk excerpt: p. 590. © 1967 Martinus Nijhoff. Used byPermission of Kiuwer Academic Publishers.Although the dominant key is thus concealed throughout the second theme area, itsclear articulation at the outset of the exposition’s closing statement in m. 75 draws thepreceding E Major orientation into context (Figure 2.3). The affirmation of A Major bygiocoso material recalls mm. 5-7, at which point the principal theme was reiterated on thedominant. It is furthermore a logical decision in that the ionian identity of the giocosotheme forces the D# of the augmented fourth to naturalize, negating the prolongation of EMajor. However, the fluctuating fourth degree continues to appear, as is succinctlyexemplified in the shifting accidentals on D3 in m. 89, at which point the falling fifth of thegiocoso theme meshes with the augmented fourth structure of the dolce rustico theme. Thepersistence of the raised fourth/lydian characteristic throughout the closing statement issuch that it finally impacts upon the giocoso material and the D Major tonality in mm. 97.This marks the commencement of the development section.T1 r—1LLr”p —97 ii_— ppL JFigure 2.3: First movement, mm. 75, 89-90, 97-99. © 1939 Editions Salabert S.A..Used by Permission of the Publisher.Although the return of the D Major tonality is muted dynamically as though to avertattention (see ppp marking in m. 97), Enescu reinforces the significance of the event not.•;* $- -w.—L._____— tac75 bpuI-.-,10only through the aforementioned thematic articulation, but also through register. Byinserting a Dl at the outset of m. 97, Enescu extends the lower range of the Vivace’sregistral palette. Until now, the G#l that announced the arrival of the dolce rustico themein m. 46 (Figure 2.2), represented the lowest point in the movement. Furthermore, boththe G#l and Dl initiate pedal points that demarcate arrival points in the Vivace’s tonal plan.This is particularly evident in the instance of the Dl that appears immediately following theprotracted Al pedal tone of the exposition’s closing statement (mm. 89-96, Figure 2.3).The shift from the dominant A Major back to the tonic D Major is here clearly exposed.The development section’s most significant feature is the false recapitulatory gesturethat commences in m. 112 with a near complete recall of the first theme area (see Figure2.4). Although an Eb Major orientation dominates throughout the development, a motiontowards the tonic D Major in a reappearance of the second theme is apparent (m. 146-,Figure 2.4). The rustico theme now presents itself as a C# phrygian or D lydian, in atransposition down a fifth from the G# phiygian/A lydian of mm. 46-51 of the exposition(Figure 2.2). Notice the C#l (m. 146) that overrides the Dl of m. 97 as the lowest point inthe movement. The transposition of the rustico theme down a fifth of course parallels theshift from A Major to D Major found at the juncture of the exposition’s closing statementand development. The move towards the tonic in the rustico theme together with the recallof large amounts of thematic material, would seem to justify labeling the development as atype of pre-recapitulation, however, the elusiveness of an outright affirmation of the tonicand the general transitional nature of the development dispel any sense of completerecapitulation.The choice of Eb Major as dominant tonality in the development can be understood as aNeapolitan colouring of the tonic. Positioned between the D Major of the exposition andrecapitulation, Eb Major can be perceived as an upward undulation of the tonic, indeed as aprojection of the undulating, melodic line of the giocoso theme. This impression issupported by the flux between D Major and Eb Major that is found throughout thedevelopment. Moreover, Eb Major is strongly related audibly to the D# pitch whichoutlines the modal thtone A-D# both in G# phrygian and in A lydian. Eb Major can thusalso be interpreted as a tonal embodiment of the pitch D#, a relationship which underscoresthe classical organic unity prevalent in the entire sonata.8”E.Z”””Ji r 1J F J .-M:=L F-: ----L{ poco tFanquallo . ios)1 05L!( fi1i fr_i. F i< p fLolc,.s3. amcbil—j19—‘—C;S.__146 zjnf;.):—€ _—-LCont’d from previous page.Figure 2.4: First movement, mm. 112-114, 105, 146. © Editions Salabert S.A.. Used byPermission of the Publisher.Paralleling the concealment of the dominant A Major in the dolce rttico theme and themasking of the development with a false recapitulation, Enescu deemphasizes therecapitulation’s beginning in m. 169 through muted dynamic markings and diminution(Figure 2.5). Stripping away the rigid, rhythmic webbing of the right and left hands, hefrees the giocoso theme of its syllabic structure. This enables the improvisatory nature ofthe theme’s reappearance to unfold uninhibited. Employing the contour of the theme as ascaffolding for the rapid figurations, Enescu continues to vary the giocoso material throughembeffishment and diminution until the onset of the coda in m. 232 (Figure 2.5). At thispoint the headlong momentum of the recapitulation reaches a brief stasis on a D pedal, overwhich the fluctuating third of the A triad of mm. 4-5 (Figure 2.1) impresses itself on thetonic triad, i.e. F#6-F6 in mm. 233-234. The respite on the D pedal is, however, shortlived and gives way to a sequential descent, whose intervallic composition is linked to aparticular manifestation of the giocoso theme.This manifestation or rather manipulation is first exposed in mm. 33-34, where theundulating A-G melodic line of the theme is pushed upwards a half step to Bb, only to fallimmediately to G, a minor third below. This ushers in a C Major sonority in m. 34, whosenegation of the tonic’s leading tone reflects the fluctuating, modal personality of thetransition between the giocoso and dolce rustico themes. The transitional function of theseevents is key to understanding their inclusion in sequential passages in the movementwhich function as links between articulation points. One such instance occurs in the midstof the development in mm. 133-137 (Figure 2.6). Here the ascending minor secondfollowed by descending minor third can be traced in the upper voice of the right hand, i.e.D4-Eb4-C4-Db4-Bb3. Emanating from a preceding D articulation that truncates the recallof the first theme area in Eb, the brief sequential application of the rising and falling motionconnects through to a reassertion of the Eb orientation in m. 137. In the aforementionedsequential descent in the coda commencing in m. 235, a chain of the ascending minor11a teinpo.= 104) tranq.)7to. —ocjqOCDCciC)C)O CDo o CD C),-,o-CDj—’-.CDCDijOCDCl,-coC) CDCD p0 0crQod-I-..CDCDr-II r13P.*.razz136—’.):L J L JCont.’d from previous page.Figures 2.5 and 2.6: First movement, mm. 169-171, 232-239, 33-34, 133-137. © 1939Editions Salabert S.A.. Used by Permission of the Publisher.In keeping with the emphasis piaced on the giocoso theme throughout the recapitulationand in particular, the coda, the concluding measures of the movement dedicate themselvesto a final rendering of the theme. First appearing in mm. 249-251, and then later in mm.256-26 1, the triadic structure and descending scalar motive of the theme are consolidatedinto one entity, as if frozen in a moment of stasis (Figure 2.7). Its subtle and gradual decayin the form of sympathetic vibrations, generated by an emphatic ascending fifth in the lefthand of m. 256, concludes the coda with a fitting reference to the falling fifth that openedthe movement..= 112)(.. io ) (J. too) in tempo (J116.. (s.) (.,J (•) (•g .. IFigure 2.7: First movement, mm. 249-251, 256-261. © 1939 Editions Salabert S.A..Used by Permission of the Publisher.14Chapter ThreeSecond Movement: Andantino cantabileThe Andantino movement plays a pivotal role in the sonata’s dramatic and thematicconception. As well as functioning as the traditional slow movement, the Andantinoconcerns itself with extending and transforming thematic material already exposed in theVivace movement. Enescu utilizes the dolce rustico theme of the Vivace as the centraltheme for the Andantino, and generates two thematic sub-segments that we will refer to asthe first and second thematic extensions. There is thus surprising diversity within thethematic material despite the movement being monothematic. The transformation of thedolce rustico theme in the thematic extensions reflects in general the transformed characterof the theme itself, in its move from a much faster tempo in the Vivace to that of theAndantino. The slower tempo allows the theme a rhythmic freedom that is essential to the‘parlando rubato’ idiom, which characterizes so much of the movement..Although Niculescu is cited to have discerned features of the ‘lied form’ in theAndantino’s formal plan, he acknowledges at the same time numerous features that point tothe movement being cast in some semblance of sonata form (Zottoviceanu 1971, 744).This latter view has particular appeal in regards to the overall conception of the sonata,where tonal coherence normally associated with sonata form gradually breaks down as thework progresses (see Chapter Five). Despite variances within the form - such as thedevelopment returning in the midst of the recapitulation - the sections are arranged inintelligible articulations:Exposition: Theme: mm. 1-8, 8-13Thematic extension 1: mm. 14-19Thematic extension 2: mm. 20-23Development: Section 1: mm. 24-38Section 2: mm. 39-44Section 3: mm. 45-59Recapitulation: Theme: mm. 60-62Thematic extension 1: mm. 63-6715Recapitulation cont. ‘d:Development: mm. 68-79Thematic extension 2: mm. 80-83Coda: mm. 84-101The movement commences in B Major with the exposition of the rustico theme and thetwo extensions. A fugal texture announces the beginning of the development in the midstof which a B flat structural point comes to the fore (m. 39). The recapitulation asserts itselfwith a clear B Major articulation coupled with the rustico theme. Following therecapitulation of the first extension, the B flat structural point returns and disrupts therecapitulation (m. 68). This ushers in material associated with the development. Thereturn of developmental process rearticulates a tonal conflict between B Major and A minorthat underlies the movement’s plan, and does so with climactic vehemence. With theappearance of the second extension B Major is reinstated. This is, however, cut short byan intervening A structural point (m. 82) which leads into the concluding coda section. Theinterplay between B Major and A minor- the latter ultimately leading into the D aeolian atthe outset of the Allegro * becomes a constant point of meditation in the coda. The stepwisedescending link of structural points, B-Bb-A, that characterizes the shift from B Major to Aminor throughout the movement, finds its most compressed expression in the latter half ofthe coda.The movement opens with the dolce rustico theme (Figure 3.8):(2’J))Andantino cantabileç) 7. 1 my 1oIcc,penseroso,.Impoco ad Lib —I- -I.Figure 3.8: Second movement, mm. 1-5. © 1939 Editions Salabert S.A.. Used byPermission of the Publisher.I__i16Accompanying the transformative influence of the tempo reduction are numerousalterations of the theme that will in part necessitate a reexamination of the theme’sexposition in the Vivace. First and foremost, the tonic-dominant relationship exposed inthe underlying pedal clusters of the two portions of the theme in the Vivace (i.e. A Major-EMajor), is again embodied in the B Major-F# Major orientations of mm. 1-2 and 3-5respectively. Significant here is the reflection of the tonal shift in the central augmentedfourth, whose change from E5-A#5 in mm. 1-2, to B4-E#5 in mm. 3-5, marks a departurefrom the constancy of the A4-D#5 in the Vivace. Retained also are the octave articulationswhich initiate both segments of the theme (mm. 1 and 3). Whilst the G# and E octaves inthe Vivace defined the dominant by way of its dominant, E Major, the D# and B octavesnow defme the tonic B Major in the Andantino. With the repetition of the theme in mm. 8-13, a harmonic background is added at which point the inferred shift from tonic todominant of the preceeding monodic setting is amplified. This leads directly into the firstthematic extension.Commencing on the dominant in m. 14, the extension projects an ascending scalarmotion that initially appears to differ from the theme’s structure (Figure 3.9). However,upon closer examination it unveils several characteristics that link it to the dolce rusticotheme. The extension’s motion from dominant to tonic is similar to the theme. Centralhere is again the shifting E#-E that either indicates or negates the presence of the F# Majortonality. The ascending A#4-B5 melodic outline, straddling mm. 14-16, reflects the shiftfrom dominant to tonic, signalling a brief arrival on tonic harmony at the apex of B5 at theclose of m. 16. The therein exposed interval of a minor second/ninth also plays asignificant role in the thematic identity of the final Allegro. Understood as anembellishment, the B5 colours the A#4-A#5 ascent as an upper neighbour, which is indeedsupported by the undulating motion between A#5 and B5 that sets in mm. 16-17. Thisundulation can furthermore be seen as an expansion of the A#5-B5 shake and the upwardresolution to the B5 of the E4-A#4 tritone in mm. 1-2. Akin to the A5-G5 undulation ofthe Vivace’s giocoso theme, the A#-B flux is now highlighted dramatically within thecontext of the rising, scalar motion of the extension.I.. _I L17Figure 3.9: Second movement, mm. 14-23. © 1939 Editions Salabert S.A.. Used byPermission of the Publisher.Overlapping with the close of the first extension, the second extension exposes an overttriadic structure that is of immediate contrast to the disjunct contour of the rustico theme(Figure 3.9). Numerous elements in the second extension, however, point to the rusticotheme. Among these are a renewed emphasis on the leading tone/tonic, A#JB, in themelodic contour of mm. 22-23. Amplifying the frequency of the triplet element found bothin the theme and in the first extension, the second extension sets up a rocking motion thatdoes much to propel the ascending line forward to the same apex of B5 in m. 22 (seepositioning of B5’s in mm. 3 and 16). The underlying shift from the tonic B Majorthrough to the dominant and back to the tonic, is disturbed by the appearance of A and Enaturals in m. 22, that momentarily negate both tonic and dominant tonalities to assert the Aorientation (by way of its dominant, E Major) that will eventually override the tonic BMajor.These are then the three segments of the continuous filament that constitute the thematicbody and exposition. Progressing from the monodic setting of the opening to the tieredpolyphony of the second extension, the basic thematic substance unravels to revealpotentialities that expand the thematic language of the movement and of the sonata. TheAndantino’s exposition is therefore the most concentrated expression of thematic generationin the entire work. Enescu’s ability to transform and extend the scope of his thematicmaterial is here displayed.Cont.’d fmm previous page18The development commences with a distinctly fugal texture, utilizing the melodic line ofthe first extension as centrepiece. The opening measures are set monodically, as if incontemplation of the exposition’s monodic opening. The accumulated growth towards theend of the exposition is thus effectively disbanded, enabling a new beginning to bearticulated. Commencing in the right hand of m. 24, the first extension reappears overtonic B Major harmony (1.h.) that lingers on from the close of the second extension(Figure 3.10). An E#4 in m. 25, however, signals a shift to the dominant F# Major. AB#4 in m. 29 reveals a shift to C# Major - the dominant of the dominant - that accompaniesa rearticulation of the extension’s melody. Thus, while the passage displays the typicalfugal statements of the subject, it departs tonally from the tonic-dominant-tonic structure,by giving the third statement also at the fifth. The emphatic, ascending motion of the firstextension lends itself ideally to the horizontal nature of the fugal texture, as does itsheterophonic nature, already exemplified in the parallel dialogue of the right and left handsin mm. 18-19.trnpn (.-(O>molto tranq..Ppp_!•I_t-— .r—__________________‘“—.4 tI ‘ I— L’ .Sr jEP 3_— I j- —ThEFigure 3.10: Second movement, mm. 24-29, 3941. © 1939 Editons Salabert S.A.. Usedby Permission of the Publisher.p19The ascending motion of the first extension is equally suited to the rise in register thataccompanies the fugal dialogue to the next sectional articulation in the development (Figure3.10). Commencing in m. 39, there is a brief section marked nostalgico, that recalls mm.3-4 of the rustico theme with special emphasis on the augmented fourth. The sectionachieves a feeling of stasis with its constant reiteration in the bass and in the alto voice ofthe Bb. This Bb ostinato changes enharmonically to an A# which serves (through a briefdetour around a G tonal center) as a kind of leading tone to B, which serves as the centralostinato note at the outset of the next section in the development (m. 45, see Figure 3.11).This shows again the structural significance Enescu has given to these two pitches, i.e. Band Bb.In the third section of the development beginning in m. 45, the B(5) functions more asa melodic ostinato, over frequently changing tonal centres. An increased compression ofthematic elements can also be found in this section. Most pervading among these elementsis the rhythmic personality of the second extension, whose alternating triplet and dottedrhythm is integrated in the right hand of mm. 45-46 (Figure 3.11). The double thirds thatare so distinctive of the second extension’s triadic nature, now emphasize the undulatingmotion of the right hand in m. 46. The static undulations stem from the preceding section(m. 41, Figure 3.10). This also applies to the augmented fourth, A4-D#5 and diminishedfifth, F#4-C5 in the alto voice of mm. 45-46, that accompany the B5 ostinato note.a tepo.. 8O)gneno lento—----.. .jeenza rigor.zC s isi1z45 pprnJsterLosotranq.) - .2 2. ?—. — 3 _—-Figure 3.11: Second movement, mm. 45-46. © 1939 Editions Salabert S.A.. Used byPermission of the Publisher.Although the terse fugal nature of the development’s opening (mm. 24-38) ceases uponreaching the Bb ostinato of section 2, imitative elements in the form of heterophonicdialogue persist throughout the development. One such instance occurs in mm. 51-52,where the falling and rising contour of the rustico theme (mm. 1-2) is recalled for the firsttime since its exposition (Figure 3.12). Initially announced in the F# octave articulation ofthe right hand, the thematic material is embellished with the grace note figures that have20permeated so much of the movement. In m. 51 the embeffishment once again ornamentsthe central augmented fourth G4-C#5. The tenor voice of the left hand reiterates the samemelodic line, although somewhat displaced. The left hand line is largely unembellished.The dialogue in these measures provides an interesting contrast to the morehomophonically-styled mm. 45-46, that opens and characterizes much of thedevelopment’s third section.Figure 3.12: Second movement, mm. 5 1-52. © 1939 Editions Salabert S.A.. Used byPermission of the Publisher.The recapitulation and its climactic rupture has already been discussed in the synopsisaccompanying the schematic diagram of the movement (p. 15), however, there remains aneed to examine how and why the rupture takes place. The move away from the reinstatedB Major tonality begins with the recapitulation of the first thematic extension. Theplacement of the first extension on the dominant F# Major is disturbed by the appearance ofan A 4 in m. 64 (Figure 3.13). This ushers in an augmented fourth, A4-D#5, whose overtpresence in the first extension marks a departure from the extension’s presentation in theexposition. This change destabilizes B Major’s hold, yet at the same time underscores thefirst extension’s relationship to the rustico theme through the association of the augmentedfourth. The lowering of the A# also causes a semitone depression of the extension’sremaining melodic line. This initiates an A4 ostinato that runs through mm. 65-67. Itssimilarity to the Bb and B ostinati of the development emphasizes some structuralsignificance. Owing to the overall semitone depression and promotion of the A pitch, theextension’s ascending line now correspondingly peaks on BbS, retaining its original scopeof a minor ninth. This is significant in that the Bb pitch is now emphasized together withthe A pitch. The tonal ramifications are that Bb complements the Andantino’s concluding Aminor orientation in preparing the D aeolian that opens the Allegro movement. Theincreased frequency of the Bb pitch from this moment on assists therefore in the overriding00CDCD0hDCD0C12o-$G••0;CI)0.-0D-‘CDCDCDBU°B0-CD(DC)t11-‘--,0CD0(j•2UUHC) CD0-‘I-,.-0:00022both rupture and climax involve material from the first extension? The points thesequestions make perhaps play an important part in Enescu’s decision to extend the breadthof the recapitulation.The truncation of the first extension in m. 68 is indeed related to the climax.Similarities between the truncated extension and the climactic recall of the extension in mm.75-77 (Figure 3.14) might support the view that the first extension does in fact extendthrough to the recapitulation of the second extension (mm. 80-83) in some manner or form.Paralleling the semitone lowering of the extension in mm. 64-67, the lowering of an Eb3 toD3 on the third eighth of m. 75 ushers in an augmented fourth, D3-G#3 (Figure 3.14).This involves an enharmonic reinterpretation of the melodic line, moving away from abrief, inner voice Bb ostinato (mm. 74-75) back to B Major. Owing to the semitonedepression, the first extension’s ascending line peaks on E (E5-E6) at the close of m. 76.The E octave then participates in an A minor chord at the opening of m. 77 (r.h.), against aB Major seventh chord in the left hand. This marks the first instance that the A pitch isgiven such an emphatic tonal dimension. Up until this point in the movement, the brief Aostinati have been the sole indications of the movement’s tonal outcome. The significanceof the vertical superimposition of the A minor sonority with the B Major seventh chord isemphasized with the movement’s soleffmarldng.Figure 3.14: Second movement, mm. 75-77. ©Permission of the Publisher.1939 Editions Salabert S.A.. Used by23Despite the impact of the A minor sonority in m. 77, B Major regains its hold with therecapitulation of the second extension (mm. 80-82). This, however, is short lived and BMajor relinquishes its role as governing tonality at an increasingly rapid rate in nearing themovement’s close. The stages of its annexation by A minor/D aeolian forms the basis ofthe concluding coda.The coda opens in m. 84 with a wash of sonority, whose subdued dynamic contrastseffectively with the explosive force of the climax (Figure 3.15). Measure 1 of the rusticotheme is recalled in the right hand and in the descending portion of the left hand. Thedescending, ascending contour of the theme last appeared in the left hand of mm. 76-77.Its appearance in m. 84 bears the imprint of the movement’s tonal flux, but does so verysubtly. Embedded within the A minor sonority that opens the measure in the right hand,the theme no longer projects B Major. Enescu, however, manipulates the intervallicconstellation of the theme in order to hint at B Major. This he does by inserting a D#6 inthe ascending portion of the theme, whose combination with the F#6 of the augmentedfourth and the B octave (BO/Bi) of the left hand fonms a B Major triad.\ “-.._l I__i l_I I_Figure 3.15: Second movement, mm. 84 and 90. © 1939 Editions Salabert S.A.. Usedby Permission of the Publisher.The subtlety of the coda’s portrayal of central tonal and thematic issues is nowherebetter exemplified than in m. 90 (Figure 3.15). The Andantino’s B-Bb-A linear movementis exposed in the left hand’s bass line B-Bb-A, as well as in the triadic movement of the3 —9:{‘? LI190__I —-, I :__J_.. - .________24right hand. The melodic manipulation of mm. 33-34 in the Vivace reappears in the midst ofthe right hand triads (i.e. C Major sonority, see Figure 2.6), and serves as a linlcing gesturebetween the B Major and A minor triads. The triadic grace-note figure in the left hand ofm. 90 (A-E-C-E-C; first appeared in mm. 17-18 of the first extension) will also serve as alink to the central theme of the Allegro.25Chapter FourThird Movement: Allegro con spiritoAlthough the forward projection of the Andantino’s first extension into the final Allegromovement acts to unify the themes of both movements and indeed of the entire sonata, aheightened sense of fragmentation, in the form of interruptive cyclical references, disruptsthe thematic evolution of the Allegro and renders it the least coherent of all threemovements. Working solely with the material of the previous movement’s first extension,Enescu presents three major articulations of a single theme which at all times retains anaeolian identity amidst shifting tonal orientations. The articulations trace through a Dminor-A minor-B minor tonal plan, whose motion towards the ultimate D Major of the codais central to the movement’s and indeed, Sonata’s dramatic plan. The coda constitutes notonly the conclusion of the movement but of the entire sonata in its emphatic rendering ofthe Vivace’s D Major tonality together with both giocoso and dolce rustico themes.The divisions within the movement are as follows:Section A: mm. 1-83Section B: mm. 84-228Section C: mm. 229-305Coda: mm. 306-354As already stated at the conclusion of the aforegoing chapter, the opening measures ofthe Allegro are in essence a continuation of the Andantino’s final stage. The potential of thetriadic cell’s grace-note embellishment from m. 90 is reexamined, and finds itself now asan impetus-generating device in the movement’s dance character (see Figure 4J6).Although this initial germ of the central theme is interrupted in mid-stream by a reference tothe Andantino, its placement at the head of the movement provides the crucial link betweenthe Allegro’s theme and the first extension of the Andantino. As well, the germinalstatement’s focus on A - the dominant tone of the D minor tonality - foreshadows the A4pedal tone that extends through the first, integral presentation of the theme in mm. 18-27(Figure 4.16). At this point the D minor tonality impresses itself upon the thematicmaterial, placing the initial phrygian flavour of the germ into a D aeolian context. Thetheme’s kinship to the first extension of the second movement now becomes mostFTc’0 ij0r*.CD‘.-I CD CDaQZC’)CDCD00jUCD CD CDCDcic0 0 0L’.)27Cont.’d from previous page.Figure 4.16: First movement, mm. 69-70. Third movement, mm. 1-3, 18-32. © 1939Editions Salabert S.A.. Used by Permission of the Publisher.The extension is reiterated in full in the theme’s first appearance (mm. 18-27) within thetoccata-like rhythm of the movement, which is soon to be upset by yet another reference tothe past. With an interjection of a B Major sonority at the outset of m. 28, the B-Bb-Atonal shift of the Andantino is recalled, much in the vein of that movement’s m. 90 (Figure4.16). This is particularly noticeable in the falling, triadic motion of mm. 30-32. Thedrunken quality arising from the coffision of the theme’s duple meter with the triplets of m.28 further accentuates the interjection and effectively derails the headlong momentum of thetheme. The arpeggiated triplet quarter notes of m, 28 are also active in the flashbackinggesture by recalling mm. 69-70 of the Vivace, at which point the arpeggiated triplets firstappear. This five-measure interjection is representative of many of the interruptiveflashbacks found throughout much of the movement.The subtlety by which Enescu reintegrates material of the Andantino and Vivace into theAllegro extends itself also to specific sonorities such as the C Major chords of mm. 48-50,58-59, and 203-206 (Section B) where it receives a vehement articulation (Figure 4.17).As noted in Chapter Two, the C Major sonority marked a brief resting point in the melodicline of the giocoso theme, involving a manipulation of the theme’s undulating A5-G5 line(mm. 33-34, Figure 2.6). The sonority’s placement as a momentary goal within thetrajectory of the Allegro theme, parallels the setting of the sonority’s first appearance in theVivace._eeo$ta7(J J J jj[L tr ‘C- -JC’)d00b....BCD0CDcnCD0CD0BB‘CDCDCDCDCD0-cø,oBmCD:0CDQ%aCDCDZOCDC)0I:-._I-.CD,CD,.CDCD0,CDBCDCD0CD:::.‘•_,CD00<00CDC’00QBCDCDCDCD,.0C1Qi—CD_CDCDCDC.:0010.9-,-.b-,..C10 B 0c#i1[000tFh0P.•0CD‘)•CDCDC)0CD0CD•.CD0CDcmCDCD-00P..CD0C.)=CDCDCD.CDC.’)CD CDCD‘CDC.)•0‘‘0CC.)0..8•CDCDCD0•‘CD—•.,..CD--•c cP-sCDCD0•CDCDeq.0_CDCDCDCDrjO2o•0a”••<•- CDOOhrI 0 :liv]Liii30‘Cont.’d from previous page.Figure 4.19: Third movement, mm. 84-88, 109-115. © 1939 Editions Salabert S.A..Used by Permission of the Publisher.Concurrent to the forward projection of the thematic cell in Sections B and C - resultingin an increasing frequency of ascending progressions-are attempts to reintroduce the DMajor tonality of the Vivace by way of its giocoso theme. The first attempt takes place inmm. 139-140, and is followed by the second in m. 191 (Figure 4.20). Both attempts areoverridden by the persistence of the cell’s A minor orientation and rising motion, althougha distinct evolution between the two attempts points to a clear motion towards the D Majortonality.--In the first attempt, the falling fifth of the theme appears in the right hand of m. 137 as adescending tonic pentachord in Eb minor, and then in the left hand of m. 139 as AM-GbFb-Eb-Db4. The rhythmic dissimilarity of the latter to the falling triplet sixteenth figure ofthe original motive averts any real attention; however, a reiteration of the falling fifth motivein the right hand of m. 140 renders a more striking effect. While retaining the dottedrhythm of m. 139, the motive distorts its outline of a fifth, enabling a tritone to enter. Theresulting A5-G-F-E5-Bb4 recalls the intervallic makeup of the initial five notes of the dolcerustico theme (mm. 47-48 / Vivace, G#5-F#-E-D#-A4 - see Figure 2.2). Despite thesignificance of this superimposition of thematic material, it is ultimately the presence of theextended Bb pedal in the bass, that causes the distortion of the falling motive by way ofgravitational pull. The focus on Bb within the D minor orientation, albeit weak, reassertsthe D minor/aeolian of the movement’s opening in an attempt to move away from the Aminor/aeolian of the thematic cell.The latter attempt of m. 191 is considerably more successful in presenting the fallingfifth motive in that it adheres to the rhythmic identity of the original. Notice here that theaugmentation is simply a magnification of the meter, i.e.: 6/8 + 2/8 in m. 1 becomes 6/4 +2/4 in m. 191. Furthermore, the motive is now placed in its thematic context and we hear—______) : rpio0°-J1_I-..CD CDCD‘-CDo=00 0CDC. CD,CDo•CD_••0,o CD-CDCDCDCD0 CDCD-‘CD•j2I..’-CDE.CDoC))•-4.0•CD—0c:’xl h —0 z- c 6 ‘0 fl’sH I-,:. CDCD‘CD—CD•J0CDCD-“—I.-’•CD0c,0CDi0—•-CDr+ CDCD oCD0CD •-‘0c•2CDI-.•tn•000-I-I‘t•“\0‘—0‘L)32minor orientation with the Bb key signature in m. 165, which in turn reinterprets theoriginal A aeolian of the cell as a D aeolian. The shift to a D orientation is of course linkedto the appearance of the giocoso theme in m. 191, as is the triplet rhythm that initiates withthe Bb4-Bb5 octave in m. 185. As well as emphasizing the undulation on the A octave, aswas the case on the A# octave in the Andantino’s first extension, the onset of the tripletshastens the rhythmic activity towards the giocoso appearance of m. 191. Beyond this, thetriplet rhythm itself plays a significant role in the movement in that it is foremost associatedwith material from either the Vivace or Andantino, and is therefore conspicuous in thenumerous references/flashbacks that interrupt the forward gait of the Allegro.— a tempo-132’ma ma,r.__________-Ii R5 -9: i1 IFigure 4.21: Third movement, mm. 165 and 185. © 1939 Editions Salabert S.A.. Usedby the Permission of the Publisher.Of major significance in the tonal evolution towards D Major, is the next majorarticulation of the Allegro theme in D Major’s relative minor key of B minor, that opensSection C in m. 229 (Figure 4.22). Although the aeolian identity of the theme as well as itspedal structure is retained, numerous elements in the material undergo alteration. Couchedin subdued dynamic markings as a dolce cantabile, the theme takes on a meditativecharacter that contrasts sharply with the theme’s rhythmic vitality in Sections A and B.Moving away from the non legato and staccato secco articulations of its first twopresentations, the theme now emphasizes a legato articulation, whose expressive freedomis augmented by a reduction in the tempo to 104=half note. By reducing the forward driveof the theme’s motoric energy, Enescu is able to alleviate the accumulated tension ofSection B and simultaneously reveal another dimension of the theme’s character.a tempo ( t04)piá tranquillo(sapra)1..Figure 4.22: Third movement, mm. 229-23 1. © 1939 Editions Salabert S.A.. Used byPermission of the Publisher.33The calm and resolution of Section C’s opening disappears, however, with thereassertion of the original tempo (132=half note) and motor rhythm of the dance. As well,the ascending motion of the thematic cell that dominated the latter half of Section B nowreturns. Reaching a platform on an A pedal in m. 285, the ascending scalar motion ceasesmomentarily, only to be resumed in m. 297 at which point it leads into the Coda (Figure4.23). The prolonged activity on or around A that prefaces the final attempt at an arrival onD (minor) in m. 295 - i.e. prior to the triumphant D Major of the Coda - reinforces A’s rolewithin the D tonality rather than within the aeolian context of the thematic cell. Its functionas a dominant is accentuated by the appearance of an A Major triad in the left handfigurations of m. 289-290, which are themselves akin to the undulating A minorfBb minortriads of mm. 30-32 (see Figure 4.16). Now subservient to the approaching D Majortonality, the original A minor and Bb minor triads change to major, whereby the alterationsto C# and D natural in particular promote the prominence of the D orientation.Although the falling fifth motive of the giocoso theme can be discerned in the lefthand’s scalar descent in m. 295 (i.e. A2-G-F-E-D2), its participation in the D articulation isfar less significant than that of m. 191. The motive’s presence is weakened through adeliberate avoidance of its rhythmic identity and fixed triadic contour. This is done perhapsin order to increase the dramatic impact of the coda’s opening, where the giocoso themeoccupies both right and left hands.2 1 2 1— — I-—pescoate.JL4fza=._mf 289)—-—, -p-. :.. . p* :--_r — -,.— — 0 -— — — —an p0cc. Legato•—JFigure 4.23: Third movement, mm. 285, 289-290, 294-295. © 1939 Editions SalabertS.A.. Used by Permission of the Publisher.34Opening with a vehement D Major chord in m. 306, the Coda presents the giocosotheme in its most compact and condensed form (Figure 4.24). Appearing in its originaltempo (notice the equal augmentation in both note value and tempo from Vivace movement)and rhythmic guise, the theme’s triadic nature now becomes a focal point for the left handaccompaniment. Compressing the falling fifth motive into a vertical entity much like inmm. 249-25 1 of the Vivace’s coda (see Figure 2.7), Enescu reemphasizes the terseness ofthe largely motivic theme. The unified expression of both hands extends as well to the AG-A undulation, which further accentuates the interplay of the 6/4 and 2/4 meters.Although these efforts project a conclusive rendering of the giocoso theme and D Majortonality, a violent interjection of an A minor sonority in the midst of m. 308 truncates anddestabilizes the gesture. Stemming from the open, thadic shellof the A4-E5 in the righthand of m. 3 in the Vivace - whose positioning in the theme corresponds exactly to the Aminor interjection of the Allegro’s coda - the A minor intrusion pulls us back to the Aminor/aeolian of the Allegro’s B Section and thematic cell. As well, the interjection triggersa chain of cyclical events that in sheer breadth, overshadow the opening giocoso statement.As the second degree in an ascending D lydian that initiates with the D4-D5 at thecommencement of m. 306, thern E4-E5 of the A minor chord is instrumental in leadingdirectly to a sequential reiteration of the dolce rustico theme commencing in m. 313 (Figure4.24).Initiated on the fourth degree of the D lydian as a G#5-G#6 octave in m. 313, andsubsequently on the fifth degree (A5-A6) in m. 315 with two final reiterations on the sixthdegree (B5-B6) in mm. 3 18-322, the recurrence of the dolce rustico theme clearlydominates the coda’s cyclical character. The underlying pbrygian/lydian pedal cluster ofthe theme’s first appearance in the Vivace (mm. 46-50) is again inferred in the A/Bbconglomerate of the left hand in mm. 315-317. Interesting here is the reappearance of theBb in this context, whose presence throughout the Coda projects the D minor/aeolian ratherthan the D Major orientation.Reserving the sonata’s firstfflmarlcing for the last two reiterations of the rustico themein mm. 318-322, Enescu recalls the B Major/A minor conflict of the Andantino asexpressed in the mm. 84-86 of that movement’s coda. The intensity of the flashback is duenot only to the positioning of the material on the highest point of the rising D lydianprogression (i.e. as a B5-B6 octave), but also to the altered placement of the B and A focalpoints at the outset of m. 318. Opposite to m. 84 in the Andantino where the B (B Major)of the left hand undermined the A (A minor) of the right hand, the B now serves as an(A)-* bL [4IiL rHis 1 , H I!L rII L•UjrE• )Vr(/I-::rJ‘V(A)H “4—V-bV IIIbVV1Ih_ If:V:3Ilb lb I-sLIJ0-/b,_V)WLjL r—1”g\‘CrthvII*vis iv 4V’14V-w 0L is—,s—4bCDcm>c13• I Cl) CD 0 I>•‘D8•Q.CD.Q.0Cl)ç)CD—CDNZCl)0Cl)a.CDcmCD-CD CD_C)CD3cC#) C))E.••CDCDOQC.)C)q9.S.-.0-CDCDCD)CDCDi-..CD5cC)CD0CDCl)CDCD5S.aCDCDocrQ•ICD0+Cl)I)1%)CDCD—