¹ ‘Il y a un autre monde, mais il est dans celui-ci’. Paul Éluard, ‘Donner à voir’ (1939), in Œuvres complètes, 2 vols (Paris: Gallimard, 1968), I, p. 986. Variants and translations of this line have also been attributed to Rainer Maria Rilke and W. B. Yeats.

² Max Weber famously claimed that the demystification of the world as wrought by processes of rationalization resulted in a disenchanted life, which bore the ‘imprint of meaninglessness’. Weber, Max, ‘Science as a Vocation’ (1917), in From Max Weber: Essays in Sociology, ed. by, H. H. Gerth and Mills, C. Wright (Abingdon: Routledge, 1991), p. 140 Google Scholar. For a close study of Rilke’s poetry in the context of Weber’s writing, see José M. González García, ‘Max Weber, Goethe and Rilke: The Magic of Language and Music in a Disenchanted World’, Max Weber Studies, 11 (2011), 267–88.

³ Rilke, Rainer Maria, Sonnets to Orpheus: Duino Elegies, trans. by Lemont, Jessie (New York: Fine Editions Press, 1945), p. 38 Google Scholar.

⁴ Walter Pater had already claimed, in 1877, for instance, that ‘all art constantly aspires towards the condition of music’. Pater, Walter, ‘The School of Giorgione’, in Selected Works, ed. by Aldington, Richard (London: William Heinemann, 1948), pp. 269–81Google Scholar (p. 271).

⁵ Admittedly, Johnson is less concerned (in this instance) with music’s perceived ineffability and more with music’s ‘nature’ as being inseparable from the processes of rationalization by which modernity is characterized. He points, for instance, to the rationalization of harmonic theory and the systematization of modern tuning to show that, historically, music is as much bound up with the rationalizing forces that led to the disenchantment of modernity as it is with a concurrent ‘nostalgia for re-enchantment’. Johnson, Julian, Out of Time: Music and the Making of Modernity (Oxford: Oxford University Press, 2015), pp. 196–200 Google Scholar.

⁶ Chapin, Keith and Clark, Andrew H., ‘Speaking of Music: A View Across Disciplines and a Lexicon of Topoi’, in Speaking of Music: Addressing the Sonorous, ed. by Chapin, Keith and Clark, Andrew H. (New York: Fordham University Press, 2013), pp. 1–18 CrossRefGoogle Scholar (p. 9).

⁷ Lawrence Kramer has suggested that language is not only linked to music but is in desperate need of it. He argues that, since contemporary public discourse has witnessed a ‘breakdown in the connection of language to truth’, the only way to ‘rehabilitate language is through language itself’, specifically as a sounding phenomenon. The ethical duty of restoring a kind of musicality to language rests on the premise that the one is in fact inseparable from the other. Kramer, Lawrence, The Hum of the World: A Philosophy of Listening (Oakland, CA: University of California Press, 2018), pp. 11–12 Google Scholar.

⁸ Julian Johnson, After Debussy: Music, Language, and the Margins of Philosophy (Oxford and New York: Oxford University Press, 2020), p. 4. One notes with interest, in this context, the growing scholarly concern with ‘hearing-as’: a musical reshaping of Ludwig Wittgenstein’s ‘seeing-as’ which can help to elucidate musical experiences, especially in terms of how one hears movement, or intensities, or atmospheres. See for instance Marion A. Guck, ‘Perceptions, Impressions: When Is Hearing “Hearing-As”?’, Music Theory and Analysis (MTA), 4 (2017), pp. 243–54.

⁹ Steven Rings, ‘Music’s Stubborn Enchantments (and Music Theory’s)’, Music Theory Online, 24.1 (2018), 1.3 <https://mtosmt.org/issues/mto.18.24.1/mto.18.24.1.rings.html> [accessed 23 March 2023].

¹⁰ Bennett, Jane, The Enchantment of Modern Life: Attachments, Crossings, and Ethics (Princeton, NJ: Princeton University Press, 2001), pp. 4, 10CrossRefGoogle Scholar.

¹¹ In this respect, my article looks to build on other considerations of enchantment in recent musicological discourse, although these remain rather few in number. See for instance the chapter ‘Enchantment’ in James Currie’s Music and the Politics of Negation (Bloomington, IN: Indiana University Press, 2012); Burnham, Scott, Mozart’s Grace (Princeton, NJ: Princeton University Press, 2013)Google Scholar, in which ‘enchantment’ is mentioned occasionally but for the most part rather casually; and Goehring, Edmund J., Coming to Terms with Our Musical Past: An Essay on Mozart and Modernist Aesthetics (Rochester, NY: Rochester University Press, 2018)Google Scholar.

¹² Bennett, The Enchantment of Modern Life, p. 8.

¹³ See the editors’ Introduction in The Re-Enchantment of the World: Secular Magic in a Rational Age, ed. by Joshua Landy and Michael Saler (Stanford, CA: Stanford University Press, 2009), pp. 1–14 (p. 2).

¹⁴ Ibid., p. 3.

¹⁵ Nicholas Paige, ‘Permanent Re-Enchantments: On Some Literary Uses of the Supernatural from Early Empiricism to Modern Aesthetics’, in Landy and Saler, The Re-Enchantment of the World, pp. 159–80 (p. 159). In similar terms, Svetlana Boym defines this modern strain of nostalgia as a mourning for the ‘impossibility of mythical return, for the loss of an enchanted world with clear borders and values’; Svetlana Boym, The Future of Nostalgia (New York: Basic Books, 2001), p. 23.

¹⁶ Writing about Monteverdi’s opera L’Orfeo (first published in 1609), Daniel Chua makes the similar claim that ‘opera sings in an unsung world as nostalgia for an ancient age enchanted by music’. Daniel K. L. Chua, ‘Vincenzo Galilei, Modernity and the Division of Nature’, in Music Theory and Natural Order from the Renaissance to the Early Twentieth Century, ed. by Suzannah Clark and Alexander Rehding (Cambridge: Cambridge University Press, 2001), pp. 17–29 (p. 25).

¹⁷ Robin Holloway rather sums up the simultaneously challenging yet beguiling qualities inherent in Enescu’s music by describing it as a ‘gradual rarefication, over some five decades […] into something utterly strange’; Holloway, Robin, On Music: Essays and Diversions, 1963–2003 (Brinkworth: Claridge Press, 2003), p. 343 Google Scholar.

¹⁸ Landy and Saler, The Re-Enchantment of the World, p. 7. Enescu’s occasional use of the expressive marking misterioso (in the middle movements of the Piano Sonata, op. 24 no. 3, and the String Quartet, op. 22 no. 2, for instance) similarly indicates that he wished for his music to be understood in these terms.

¹⁹ Enescu’s village scenes in Impressions d’enfance and the ‘Villageoise’ Suite, for instance, clearly echo a discernible trend among Romanian ‘traditionalists’ (especially in the 1930s) of valorizing the peasantry and village life, while also seeking to promote Romania’s peasant, agrarian and Orthodox traditions more generally.

²⁰ Enescu explains that since both his paternal grandfather and maternal great uncle were Orthodox priests, and since he himself was raised in the countryside, for him ‘the land and religion were consequently the two divinities of my childhood’ (‘La terre et la religion ont été ainsi les deux divinités de mon enfance’). George Enescu and Bernard Gavoty, Entretiens avec Georges Enesco, episode 1 (first broadcast on French Radio on 25 January 1952; accessible online via <www.franceculture.fr/emissions/les-nuits-de-france-culture>). Enescu’s conversations with Gavoty (numbering twenty episodes in total) were recorded in 1951 and 1952 and contain an invaluable account of the composer’s life, music and career. Gavoty later published an edited version (occasionally taking some editorial liberties, it must be said) of the interviews as Les Souvenirs de Georges Enesco (Paris: Flammarion, 1955). I have used the 2016 reprinting of a dual language (French and Romanian) edition of Souvenirs. For the above quotes, see Gavoty, Les Souvenirs de Georges Enesco / Amintirile lui George Enescu (Bucharest: Curtea Veche, 2016), p. 56.

²¹ This is also precisely where the Suite’s importance lies from an ecomusicological perspective, though this is not our primary focus.

²² Daniel Grimley considers the topic of environmental attunement in ‘Music, Landscape, Attunement: Listening to Sibelius’s Tapiola’, Journal of the American Musicological Society, 64 (2011), 394–98.

²³ Bennett, The Enchantment of Modern Life, p. 4.

²⁴ Claude Debussy, ‘Est-ce une renaissance de la musique religieuse?’, Excelsior, 11 February 1911. Quoted in Johnson, After Debussy, p. 259.

²⁵ Following its completion in 1940, the work received its premiere in Bucharest on 22 February 1942, with Enescu performing alongside his godson, the composer and pianist Dinu Lipatti. The Suite is dedicated to Enescu’s first violin teacher, Eduard Caudella.

²⁶ Enescu attended the Paris Conservatoire from 1895 to 1899; he lived, performed and taught in Paris throughout much of his professional career (his publishers and agents were likewise based there); and, following the Communist takeover of Romania in 1946, he spent the remainder of his life living in self-imposed exile in Paris. It is worth noting that despite these French connections, the significance of what one might describe as Enescu’s French cultural inheritance has largely been ignored, or else limited to considerations of how his oeuvre relates to the Western art music tradition in a broader sense. (One suspects there may be political reasons for this neglect; certainly, Romanian scholars in the 1960s through to the 1980s would have felt obligated to promote the composer’s work as manifestly Romanian in both spirit and aesthetic).

²⁷ Enescu and Gavoty, Entretiens, ep. 1; Gavoty, Souvenirs, pp. 56–60.

²⁸ ‘Pleines d’évocatrice fantaisie’. Gustave Samazeuilh, ‘Adieu à Georges Enesco’, Le Conservatoire: Musique, Théâtre, Cinéma, 44 (1955), 8–10 (p. 10).

²⁹ Malcolm, Noel, George Enescu: His Life and Music (London: Toccata Press, 1990), p. 219 Google Scholar.

³⁰ Bennett, The Enchantment of Modern Life, p. 5.

³¹ Beethoven notably begins his Violin Sonata no. 9, ‘Kreutzer’, with just the violin, though this is only a four-bar introduction. A closer comparison can be found in Ravel’s Tzigane (1924), originally for violin and piano, which features an extended opening section for solo violin, and a similar connection to the ‘gypsy’ fiddler (though while Enescu’s rendering draws more explicitly on lăutărească music – see note 32 – Ravel’s is arguably more indebted to a popular kind of musical exoticism).

³² Enescu wrote on more than one occasion about how much he derived from the music of the lăutari; see for instance George Enescu, ‘Despre muzica românească’, Muzica: Revista pentru cultura muzicală, 3/5–6 (May–June 1921), 115.

³³ Gosetti-Ferencei, Jennifer Anna, The Ecstatic Quotidian: Phenomenological Sightings in Modern Art and Literature (University Park, PA: Pennsylvania State University Press, 2007), p. 42 Google Scholar.

³⁴ Novalis writes, for instance, that ‘the fresh gaze of the child is richer in significance than the presentiment of the most indubitable Seer’; quoted in M. H. Abrams, Natural Supernaturalism: Tradition and Revolution in Romantic Literature (New York and London: W. W. Norton & Company, 1971). Abrams has examined the various ways in which childhood perception and (what he refers to as) a ‘freshness of sensation’ became central to Romantic literary thought.

³⁵ Terdiman, Richard, Present Past: Modernity and the Memory Crisis (Ithaca, NY, and London: Cornell University Press, 1993)CrossRefGoogle Scholar.

³⁶ Fritzsche, Peter, Stranded in the Present: Modern Time and the Melancholy of History (Cambridge, MA: Harvard University Press, 2004), p. 180 Google Scholar.

³⁷ Journal entry, 19 February 1841. Thoreau, Henry David, The Heart of Thoreau’s Journals, ed. by Shephard, Odell (New York: Dover Publications, 1961).Google Scholar

³⁸ Kilpatrick, Emily, The Operas of Maurice Ravel (Cambridge: Cambridge University Press, 2015), p. 198 CrossRefGoogle Scholar.

³⁹ It seems highly likely that Enescu knew Ravel’s opera, both composers having remained friendly since their time together at the Paris Conservatoire (it is known that Ravel approached Enescu for the first readings and premiere of his Violin Sonata of 1927, for instance).

⁴⁰ Gosetti-Ferencei, The Ecstatic Quotidian, pp. 59–60.

⁴¹ Gaston Bachelard, The Poetics of Reverie: Childhood, Language, and the Cosmos, trans. by Daniel Russell (Boston: Beacon Press, 1971; originally published as La Poétique de la Rêverie, Paris: Les Presses universitaires de France, 1960), p. 102.

⁴² Gosetti-Ferencei, The Ecstatic Quotidian, p. 50. On the wider artistic revaluation of childhood as an irrational condition, see Coombes, Timothy F., ‘The Nursery as Circus: Dancing the Childlike to Fauré’s Dolly Suite, 1913’, Journal of the Royal Musical Association, 142 (2017), 277–325 CrossRefGoogle Scholar.

⁴³ Julia Kristeva’s theory of the ‘semiotic’ proceeds along similar lines, denoting a pre-linguistic, kinaesthetic realm of infantile experience, before the child enters the ‘symbolic’ world of language (‘at the same time instinctual and maternal, semiotic processes prepare the future speaker for entrance into meaning and signification (the symbolic)’). Kristeva’s theory could moreover be seen to correspond quite closely with my interpretation of Impressions d’enfance as framing a sensuous, participatory engagement with the world (explored below). Kristeva, Julia, Desire in Language: A Semiotic Approach to Literature and Art, trans. by Gora, Thomas, Jardine, Alice and Roudiez, Leon S. (New York: Columbia University Press, 1980), p. 136 Google Scholar.

⁴⁴ Gosetti-Ferencei, The Ecstatic Quotidian, pp. 47, 50. See also Merleau-Ponty, Maurice, ‘The Child’s Relations With Others’, trans. by Cobb, William, in The Primacy of Perception, ed. by Edie, James M. (Evanston, IL: Northwestern University Press, 1964), p. 150 Google Scholar.

⁴⁵ Gosetti-Ferencei, The Ecstatic Quotidian, p. 1.

⁴⁶ The initial model for this scene is likely to have been Karol Szymanowski’s ‘The Fountain of Arethusa’, from Mythes, op. 30. See Jim Samson, ‘What Makes a Hero? Enescu, Szymanowski, and the Classical Plot’, in Proceedings of the George Enescu International Musicology Symposium, 1 (Bucharest: Editura Muzicală, 2011), pp. 199–202.

⁴⁷ Jankélévitch, Vladimir, Music and the Ineffable, trans. by Abbate, Carolyn (Princeton, NJ: Princeton University Press, 2003), p. 94 Google Scholar.

⁴⁸ E major further represents a harmonic idealization of the Aeolian scale descent from e′ to e (appearing in the left hand of the piano) in the first four bars of the scene.

⁴⁹ Fisher, Philip, Wonder, the Rainbow, and the Aesthetics of Rare Experiences (Cambridge, MA: Harvard University Press, 1998), p. 131 Google Scholar.

⁵⁰ Henri Bergson, Time and Free Will: An Essay on the Immediate Data of Consciousness, trans. by F. L. Pogson (Allen & Unwin 1910; originally published as Essai sur les données immédiates de la conscience, Paris: Alcan, 1889), pp. 99–117.

⁵¹ Maurice Merleau-Ponty, The World of Perception, trans. by Oliver Davis (London: Routledge Classics, 2008; originally published as Causeries, 1948, ed. by Stéphanie Ménasé, Paris: Éditions du Seuil, 2002), p. 41.

⁵² Gosetti-Ferencei, The Ecstatic Quotidian, p. 6.

⁵³ ‘Tu seras grand, tu seras fort …’. Enescu and Gavoty, Entretiens, ep. 1; Gavoty, Souvenirs, p. 60.

⁵⁴ Pascal Bentoiu has observed that the Lullaby is rhythmically reminiscent of a ‘colind’ (Christmas carol), ‘but with a freedom characteristic of a lyric song’. Bentoiu, Pascal, Masterworks of George Enescu: A Detailed Analysis, trans. by Wallfisch, Lory (Plymouth: Scarecrow Press, 2010 Google Scholar; originally published as Capodopere enesciene, Bucharest: Editura Muzicală, 1984), p. 411.

⁵⁵ The Scottish writer Nan Shepherd describes this type of dormancy in particularly evocative terms: ‘as one slips over into sleep, the mind grows limpid; the body melts; perception alone remains. One neither thinks, nor desires, nor remembers, but dwells in pure intimacy with the tangible world’; Shepherd, Nan, The Living Mountain (Edinburgh: Canongate Books, 2011), p. 90 Google Scholar.

⁵⁶ Bergson, Time and Free Will, p. 100.

⁵⁷ Bennett, The Enchantment of Modern Life, p. 11.

⁵⁸ Ibid., p. 12.

⁵⁹ Jessica Wiskus, The Rhythm of Thought: Art, Literature, and Music after Merleau-Ponty (Chicago, IL: Chicago University Press, 2013), pp. 8–9. See also Stéphane Mallarmé’s essay ‘Crise de vers’ (1897) in Divigations, trans. by Barbara Johnson (Cambridge, MA: Belknap Press, 2007), pp. 201–12.

⁶⁰ Gilles Deleuze and Felix Guattari, A Thousand Plateaus, trans. by Brian Massumi (Minneapolis, MN: University of Minnesota Press, 1987), p. 349. Quoted in Bennett, The Enchantment of Modern Life, p. 12.

⁶¹ The lecture course was given in 1942. Martin Heidegger, Hölderlin’s Hymn ‘The Ister’, trans. by William McNeill and Julia Davis (Bloomington, IN: Indiana University Press, 1996). Friedrich Hölderlin’s poetry was fundamental to the evolution of Heidegger’s understanding of dwelling from the period of Being and Time (1927), up to the late essays, ‘Building Dwelling Thinking’ and ‘…Poetically, Man Dwells …’ (both 1951).

⁶² Young, Julian, ‘What Is Dwelling? The Homelessness of Modernity and the Worlding of the World’, in Heidegger, Authenticity, and Modernity: Essays in Honor of Hubert L. Dreyfus, 1, ed. by Wrathall, Mark A. and Malpas, Jeff (Cambridge, MA: The MIT Press, 2000), pp. 187–204 Google Scholar (p. 189).

⁶³ Deleuze and Guattari, A Thousand Plateaus, p. 311. Benedict Taylor likewise draws on Deleuze and Guattari’s notion of the refrain as a correlate of the sonorous landscapes which he identifies in Enescu’s Orchestral Suite no. 1 in C major, op. 9. Taylor, Benedict, ‘Landscape – Rhythm – Memory: Contexts for Mapping the Music of George Enescu’, Music and Letters, 98 (2017), 394–437 CrossRefGoogle Scholar.

⁶⁴ Bennett, The Enchantment of Modern Life, p. 140.

⁶⁵ I borrow the term ‘embedding’ from Barney Childs, who uses it as part of an insightful discussion on perception and gestural retrieval in musical listening. See Childs, ‘Time and Music: A Composer’s View’, Perspectives of New Music, 15/2 (1977), 194–219.

⁶⁶ Deleuze and Guattari, A Thousand Plateaus, p. 311.

⁶⁷ Freud, Sigmund, ‘Mourning and Melancholia’, in The Standard Edition of the Complete Psychological Works of Sigmund Freud, trans. by Strachey, James, 24 vols (London: Hogarth Press, 1953–1974), XIV, pp. 237–58Google Scholar.

⁶⁸ Young, ‘What is Dwelling?’, pp. 188–89.

⁶⁹ Ibid., p. 194.

⁷⁰ Ibid., p. 193.

⁷¹ Andrea Nightingale, ‘Broken Knowledge’, in Landy and Saler, The Re-Enchantment of the World, pp. 15–37 (p. 16).

⁷² Ibid., p. 36.

⁷³ The bleating sheep can be heard in the ‘Shepherd’ scene (‘Pâtre’) of the ‘Villageoise’ Suite’s third movement. The scene begins with a plangent oboe solo, which is soon interrupted by chromatic clusters in the muted trumpets and trombones, together with harmonium. The unsettling, almost haunting quality conveyed by these bizarre noises is accentuated by the fact that they take place offstage (‘dans les coulisses’) and out of sight. This continues for about two and a half minutes before any onstage playing resumes. Nature’s fundamental otherness and unknowability is framed here in terms of a literal invisibility, with enchantment residing in the space between what is audibly perceptible and visually imperceptible.

⁷⁴ On the one hand, the dissonant clusters, chromatic swirls, occasionally violent wrenches, and remarkable timbral effects which are a feature of the ‘Vent dans la cheminée’ and ‘Tempête au dehors, dans la nuit’ aspire to being non-musical noise, effectively testing the resistance of what might be construed as ‘music’. On the other hand, these effects are the result of a rigorous conceptual logic, governed by the rationalized capabilities of the instruments being played.

⁷⁵ On the ways in which Romantic composers engaged with the ‘surnaturel vrai’ in their depictions of sprites and fairy kingdoms, see Francesca Brittan, ‘On Microscopic Hearing: Fairy Magic, Natural Science, and the Scherzo fantastique’, Journal of the American Musicological Society, 64 (2011), 527–600.

⁷⁶ Jankélévitch, Music and the Ineffable, pp. 32–39.

⁷⁷ Enescu’s exploration of birdsong in Impressions roughly coincides with Olivier Messiaen’s first attempts at incorporating birdsong in his own compositions, starting with the Quatuor pour la fin du temps of 1941.

⁷⁸ Brittan, ‘On Microscopic Hearing’, p. 533.

⁷⁹ Enescu’s own interpretation of this brief scene, which he includes as part of his description of Impressions (complete with musical examples) in one of his interviews with Gavoty, is well worth listening to: the sheer level of ‘unmusicality’ that he demonstrates as being integral to this gesture goes well beyond the rather more elegant renderings that one encounters in more recent recordings. Enescu and Gavoty, Entretiens, ep. 1.

⁸⁰ Chapter 10, ‘1730: Becoming-Intense, Becoming-Animal, Becoming-Imperceptible …’ in Deleuze and Guattari, A Thousand Plateaus, pp. 232–309.

⁸¹ Stagoll, Cliff, ‘Becoming’, in The Deleuze Dictionary , ed. by Parr, Adrian (Edinburgh: Edinburgh University Press, 2010), pp. 25–27Google Scholar (p. 26). (Emphasis added.)

⁸² Bennett, in The Enchantment of Modern Life, p. 21.

⁸³ Nightingale, ‘Broken Knowledge’, p. 32. Edmund Husserl originally claimed that humans’ attempts at explaining the world conceptually had led us to forget the nature of our immediately lived experience of it. Edmund Husserl, The Crisis of European Sciences and Transcendental Phenomenology, trans. by David Carr (Evanston, IL: Northwestern University Press, 1970; originally published as Die Krisis der europäischen Wissenschaften und die transzendentale Phänomenologie: Eine Einleitung in die phänomenologische Philosophie, The Hague: Martinus Nijhoff, 1954).

⁸⁴ Harrison, Robert Pogue, Forests: The Shadow of Civilization (Chicago, IL: University of Chicago Press, 1992), pp. 229–30CrossRefGoogle Scholar. Quoted in Nightingale, ‘Broken Knowledge’, p. 32.

⁸⁵ Nightingale, ‘Broken Knowledge’, pp. 29, 32.

⁸⁶ Enescu and Gavoty, Entretiens, ep. 1; Gavoty, Souvenirs, p. 60.

⁸⁷ Bentoiu, Masterworks of George Enescu, p. 413.

⁸⁸ James, William, Some Problems of Philosophy (Cambridge, MA: Harvard University Press, 1979), p. 49.Google Scholar

⁸⁹ Wilshire, Bruce W., The Much-at-Once: Music, Science, Ecstasy, the Body (New York: Fordham University Press, 2016), p. 2.Google Scholar

⁹⁰ For instance: the spiky five-note broken-chord gesture in the right hand of the piano, marked mordace (‘biting’), in the second bar after rehearsal mark 38; or the highly physicalized tutto l’arco gestures in the violin in the bars immediately after 41 (see Example 11; the gesture recalls a very similar moment towards the end of the storm scene, which was marked violento, and is also closely related to the ‘Lullaby’ melody).

⁹¹ See the Introduction to Jankélévitch’s Liszt et la rhapsodie: essai sur la virtuosité (Paris: Plon, 1979).

⁹² Young, Julian, German Philosophy in the Twentieth Century: Weber to Heidegger (New York: Routledge, 2018), pp. 238 CrossRefGoogle Scholar, 243, 245.

⁹³ Martin Heidegger, ‘“… Poetically Man Dwells …”’, in Poetry, Language, Thought, trans. by Albert Hofstadter (New York: Harper, 2001; originally published 1971), p. 213.

⁹⁴ Ibid., p. 215.

⁹⁵ Young, German Philosophy in the Twentieth Century, p. 248.

⁹⁶ Heidegger, ‘“… Poetically Man Dwells …”’, p. 223.

⁹⁷ There is no evidence to suggest that Enescu ever experienced synaesthesia, although my interest in the phenomenon is not so much in how the condition might affect or manifest itself within musical composition (one thinks, in that case, of such composers as Olivier Messiaen or Alexander Scriabin, who both associated colours with sound). Rather, I am interested in the transformative capacity of synaesthetic experiences, and the ways that our understanding of this term can be expanded, especially in relation to our everyday experience of the world.

⁹⁸ Wiskus, The Rhythm of Thought, p. 115.

⁹⁹ Ibid., p. 118.

¹⁰⁰ Abram, David, The Spell of the Sensuous: Perception and Language in a More-Than-Human World (New York: Vintage Books, 1997), p. 65 Google Scholar.

¹⁰¹ , Maurice Merleau-Ponty, Phenomenology of Perception, trans. by Smith, Colin (London: Routledge & Kegan Paul, 1962), p. 227 Google Scholar. Quoted in Abram, The Spell of the Sensuous, pp. 59–62.

¹⁰² The argument I am making here about the music (and the listener’s experience of it, crucially) framing a closing down of the gap between past and present is significant precisely because this counteracts any sense of an ‘absent’ past, or of interpreting the scene as being concerned rather more with representations of absent objects.

¹⁰³ Bergson, Time and Free Will, p. 129.

¹⁰⁴ Puri, Michael, Ravel the Decadent: Memory, Sublimation, and Desire (Oxford: Oxford University Press, 2011)Google Scholar. See especially the chapter on ‘Epilogism in the Valses nobles et sentimentales’, and the incisive discussion of Bergson’s durée on pp. 161–64.

¹⁰⁵ Lawrence Kramer likewise claims that music (specifically, musical synaesthesia) involves areas of sensing beyond the traditional five senses: ‘vibrations, resonances, the electricity of presence, body-organ sensations, body-without-organs sensations, and the feelings of position, inclination, and state of being (hot or cold, fatigued or energetic, alert or dull, agitated or calm …)’. He describes these modes of sentience as being ‘more immediate than touch’ (they ‘link the sensing body to the world without the mediation of a surface’) and in that respect, they resemble only one sense – hearing. Kramer, The Hum of the World, pp. 84–85.

¹⁰⁶ Merleau-Ponty likewise refers to a transcendent dimensionality of present experience where the ‘past and present are Ineinander, each enveloping-enveloped’. , Merleau-Ponty, The Visible and the Invisible, trans. by Lingis, Alphonso (Evanston, IL: Northwestern University Press, 1968 Google Scholar; originally published as Le Visible et l’invisible, Paris: Éditions Gallimard, 1964), p. 268.

¹⁰⁷ See note 44.

¹⁰⁸ Gilles Deleuze, Francis Bacon: The Logic of Sensation, trans. by Daniel W. Smith (London: Continuum, 2003).

¹⁰⁹ Johnson, After Debussy, p. 304.