Peut-on définir l’allure improvisée ? L’exemple de Georges Enesco
Could Improvisational Allures Be Defined? The Example of George Enescu

Summary/Abstract: Usually, the name of George Enescu is synonym with the Romanian folklore. Any presentation what so ever mentions this topic, sometimes without pointing out the complexity of his music. His maturity works are the result of an aesthetics synthesis which necessitates a careful analysis. One of the components of his aesthetics synthesis is the key concept of the present article: the improvisational allures. We have chosen to concentrate ourselves only on two of Enescu’s piano works, the Pièces Impromptues op. 18 and the Piano Sonata op. 24 n°1, but other works, namely from his Oedipe period, could be part of the same theme-based collection. The improvisational allures in general have a particular status because they don’t escape to the scriptural domain. The principal topic in our case is the way that improvisation techniques are transformed in a compositional principal. The present article wishes to concentrate on the recognition and the analysis on the improvisational allures with the purpose of underlining a complex contradiction. It may be here, in this contradiction, the greatest complexity of our key concept: the composer seeks to give the illusion of a lack of periodicity with technical means based on it.

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