[4] The overall rhapsodic quality of the Decet disguises its classical structures, worked out with thematic economy and contrapuntal workmanship of considerable finesse.

This relaxed style results in part from the unpredictable spontaneity with which the themes are presented, as well as from the considerable liberty with which Enescu treats the familiar forms.

[2] In addition, contrast of tonalities is minimized (similar to the design of Enescu’s Second Violin Sonata, composed seven years earlier), here in the interests of maintaining a unified atmosphere.

The extremely soft dynamic prescribed for all the instruments minimizes timbral contrasts, resulting in the effect of an ensemble of equal voices.

The first section deploys a theme of an epic, nostalgic character, with a loose rhythmic design resembling the parlando-rubato style found in some genres of Romanian popular music.

[10] The scoring of this melody with the oboe and cor anglais in octaves and the flutes playing a winding accompaniment in unison between the two double reeds is a remarkable orchestrational touch.

The key centre, however, remains firmly anchored on D. An initial double pedal point on D and A supports a playful, folklike tune, evoking the sound of bagpipes.

The continuation of this theme involves a modal shift to the Lydian mode over the same tonic, a procedure recalling the cheerful middle-section tune from the second movement.

At this point, the appearance is that of a developmental episode (about the same length as the "mini development") interrupting the recapitulation, but after the apparent return to the business of recapitulation, Enescu then begins the true development, lasting about fifty-five bars and involving both of the main themes in the most complex counterpoint of the entire Decet, thereby shifting the moment of maximum dramatic interest to near the end of the composition.

[16] The coda following rehearsal number 41 includes a remarkable series of nineteen fourths ascending in several waves played in unison or octaves in various instrumental combinations.

These bear a striking resemblance to the main theme of Arnold Schoenberg's First Chamber Symphony, composed in the same year but not performed until 8 February 1907.