Hommage À Enesco

Written five years after the death of the composer the work reflects a powerful wish for an imaginary dialogue with a great creator; Upon learning the sad news, coming from Paris in 1955, the plan of the work took shape quitesoon, but the work on the score itself materialized only in 1960, after a long period of gestation.

Homage to Enescu has three parts – Prelude, Melopoeia, Polyphony – or three attitudes: one of awe strikingthe composer upon entering a vast world, another of contemplation of its abyss, and still another of lucidly returning to his work, the only one capable of rendering him to his won artistic way.

It was writtenforviolins alone (divided in four groups) whose numbers may be multiplied from 8 to 32. Instrumentally speaking, Theodor Grigoriu intends an analysis of the rich color resources of the violin, but also an investigation ofEnescu’s unique, original style of playing.

The initial theme combines, in the sense of an epiphany, a monogram of the letters E.N.E.S.C.U. and two motifs from Octuor (Octet) and Chamber Symphony, i.e. piece fromyouth and another from the end of his career, both evoking a very characteristic Enescian Stimmung.
E= mi / N = rest (in old neumes) / E = mi / S = si / C = do / U = do (ut)

Ionel Perlea`s brilliantinterpretation during his 1969 concert tour turned the audiences’ attention to this work, propelling it into the concert life.