Raluca stirbat biography examples
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Piano Sonata No. 1 (Enescu)
1924 piano sonata by George Enescu
| Piano Sonata No. 1 | |
|---|---|
George Enesco in 1930 | |
| Key | F-sharp minor |
| Opus | 24, No. 1 |
| Composed | 1924 (1924) |
| Dedication | Emil Frey |
| Performed | November 1925 (1925-11), Mic Theatre, Bucharest |
| Movements | 3 |
The Sonata No. 1 for Piano in F-sharp minor, Op. 24, No. 1, is a piano sonata by the Romanian composer George Enescu, completed in 1924.
History
[edit]On 18 July 1912 Enescu completed an Allegro movement for a piano sonata in F-sharp minor, which he played to Herbert Peyser later that summer in connection with an interview. In a heavily reworked form, this would become the first movement of the Sonata, Op. 24, No. 1. However, Enescu set aside this project for twelve years, resuming work again only in 1924. The early version of this movement was only rediscovered in 1993, by the musicologist Clemansa Liliana Firca.
Enescu took up the sonata again in July 1924 in Tețcani, completely rewriting the first movement and adding the other two, completing the work in Sinaia on 27 August 1924.[2] The score was written for and is dedicated to the Swiss pianist Emil Frey,[3] who had been court pianist in Bucharest from 1907 until the outbreak of World War I.
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The Strange & Illuminating Win over of Player Joyce Hatto
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Connecting the dots: Romanian pianist Raluca Știrbăț on fortunate musical finds
At the upcoming George Enescu Festival, the recital of Raluca Știrbăț comprises a piece of the Romanian composer that is not often heard in concerts. Below, the Romanian pianist, who recorded it in an album series on Enescu’s piano work, shares the story of this work and of another fortunate discovery.
Your recital at the Enescu Festival includes a rarely-performed piece of the Romanian composer. What is its story?
It is the Sonatensatzin F sharp minor. In German, the term Sonatensatz means part of a sonata. This one was first mentioned in Noel Malcom’s book George Enescu: His Life and Music. In the summer of 1912, when Enescu wrote it, he gave an interview to Herbert Peyser and played him the piece. Enescu called it “my most mature work to date.” Later, it is no longer mentioned anywhere else. In 1993, starting from this clue in Malcom’s book, the musicologist Clemansa Liliana Firca discovered the manuscript in the archive of the Enescu museum in Bucharest. She wrote at the time an analysis, initially published in Muzica Review, and later in a dedicated volume, Enescu. Relevanța secundarului (Enescu. The Relevance of the Secondary). After that, the piece was never performed again.