Orchestral Suite no. 1, in c minor, op. 9

George Enescu’s three major symphonies with opus numbers—Op. 13, Op. 17, and Op. 21—form a symbolic “trilogy,” composed within a relatively short time span and sharing a three-part structure inspired by César Franck’s model. They belong to the fin-de-siècle Romantic tradition, which Enescu explored on increasingly expansive scales with growing technical and expressive sophistication. In contrast, his three orchestral suites (Op. 9, Op. 20, and Op. 27) do not follow a unified stylistic line but reflect different stages of his creative evolution. Their originality is more immediately perceptible, being closer to folk sources and less concerned with thematic unity. The suites stand out for their timbral diversity and their tendency to shape distinct identities for each movement. In Op. 20, Enescu even anticipates, in a modern way, the revival of Baroque dance forms.

Particularly, the Prelude in Unison from Suite No. 1, Op. 9, stands out for its unique sonic atmosphere, evoking both Baroque techniques like Fortspinnung and the Romantic lyricism of Wagner’s “infinite melody.” Its structure is based on the organic development of a few elementary motivic cells, unfolding in a melodic flow that feels like a single breath of spontaneous improvisation. The exclusive use of strings, which evokes a giant violin, recalls Bach’s writing for solo instruments. More profoundly, this movement reflects a synthesis between scholarly sources and the expressiveness of the Romanian doina, a traditional lyrical genre that Enescu explored throughout his career. Through the Prelude in Unison, the composer proposes a reconnection with the archaic energy of folklore, suggesting that the true fulfillment of Wagner’s ideal might be found in the melodic undulations of the Romanian doina ethos.