Enescu: String Quartets

 

When exploring Romanian composer George Enescu's three published symphonies, I found them densely textured with chromatic complexities galore. It is not a musical trait I have particularly warmed to in my listenings of the composer's music. In approaching Enescu's string quartets, with only four instruments to contend with, I wonder if the composer continues his stylistic traits?

String Quartet no. 1 in E-flat Major is long. 46 minutes long. Too long. Enescu simply had such a wealth of musical ideas, I feel like he simply couldn't contain them and just didn't know when to stop. Thus I find it rather difficult to follow the composer on his musical journey in his string quartets, with the musical destination not as satiating to these ears. However, if I prefer one of his string quartets, I think it would be his first effort in the genre.

At many points I was reminded of Frederick Delius in the First String Quartet, particularly in the first movement, where Enescu is in full pastoral mode. Yes, the composer employs glissandos, harmonics, and sul ponticellos throughout these two quartets, but very briefly, as if only for coloristic effects. While I detected some bluesy notes in the second movement, it isn't something Enescu explores any further, preferring a long, drawn-out romance instead. 

Even the third-movement Allegretto doesn't shake things up too much, adding to the rather light nature of this quartet. The final movement is 16-minutes long, and by that point, I am done with Enescu's musical doodlings. I do rather enjoy the robust weight applied to this last movement, even if it is a little too late. Once the listener arrives at the Coda though, Enescu whole-heartedly brings the listener in to a grand conclusion, one which wraps up the piece stunningly, even if it doesn't fit with the music which came before.

Much more 'modern' sounding is String Quartet no. 2 in G Major. Enescu's efforts in complex chromaticisms is raised considerably in the music, breaking down traditional tonality in many instances. While the quartet is much shorter at 27 minutes, I really have trouble following the composer's harmonic progressions and musical structures, leaving me floundering and bewildered in much of the runtime.

Enescu maintains the light atmosphere from the earlier quartet in the first two movements, preferring long, almost Romantic string lines. The addition of pizzicato and string mutes mixes up the textures of the second movement, one which ambles far more than I like.

I do enjoy the final two movements much more, where the third-movement Allegretto contains more personality compared to the First String Quartet, plus some of Enescu's Romanian heritage peeks out in the last movement. The composer does utilize some extended string techniques; however, like the earlier quartet, he does so briefly, mostly for a coloristic change, I think.

I have no problem whatsoever with the Romanian-based Ad Libitum Quartet. They have a warm, cohesive sound, where the quartet is as eager to exploit Enescu's unusually quiet hushed tones as they are to leap at moments of passion. If only these moments, excellently performed by this quartet, made its effect upon me as Enescu intended; the music loses me more often than it finds me.

 

 

Works
String Quartet 1 in E-flat Major, op. 22/1 (46.00)
String Quartet 2 in G Major, op. 22/2 (27.30)

Performers
Ad Libitum Quartet
  Adrian Berescu, violin
  Serban Mereuta, violin
  Bogdan Bisoc, viola
  Filip Papa, cello

Label: Naxos
Year: 2000
Total Timing: 73.30

  

While Enescu's string quartets don't touch me emotionally nor intelligently, the Ad Libitum Quartet makes as strong a case ofor the works as I could imagine.

Thus, you may enjoy these much more than me.

 

Find more Enescu recordings HERE!