The Life and Significance of The Life and Significance of

Gheorghe EnescuGheorghe Enescu

(George Enesco) (George Enesco) 1881-1955 1881-1955

Donald MauriceNew Zealand School of Music

November 26, 2006

How was he viewed?

Yehudi Menuhin Yehudi Menuhin (in his 70s)(in his 70s) – “ – “the greatest musician and the most the greatest musician and the most formative influence I have ever received”formative influence I have ever received”

Pablo Casals – Pablo Casals – “the greatest musical phenomenon since Mozart…“the greatest musical phenomenon since Mozart…For For Enesco I would do anything…He is the most amazing musician I have Enesco I would do anything…He is the most amazing musician I have

met in my whole life”met in my whole life”Nadia Boulanger – “Nadia Boulanger – “Deep down only composing mattered to him... no-one Deep down only composing mattered to him... no-one

met Enescu without revering him; he was a great person…he remained met Enescu without revering him; he was a great person…he remained an emblem of generosity, of profound musical knowledge, in his an emblem of generosity, of profound musical knowledge, in his

innermost soul”innermost soul”AndrAndréé G Géédalgedalge – “Of all my pupils [who included Ravel, Boulanger, – “Of all my pupils [who included Ravel, Boulanger,

Honegger, Ibert and Milhaud] Enescu was the only one to have real Honegger, Ibert and Milhaud] Enescu was the only one to have real ideas and inspiration” ideas and inspiration”

Martin PJ MarsickMartin PJ Marsick (Enescu at 15) – “this pupil possesses in the highest (Enescu at 15) – “this pupil possesses in the highest degree all the qualities which belong to a great virtuoso, in timbre, degree all the qualities which belong to a great virtuoso, in timbre,

intonation, technique and profundity of styleintonation, technique and profundity of style

Memory

His prodigious memory absorbed virtually the entire classical canon, from His prodigious memory absorbed virtually the entire classical canon, from Bach to StravinskyBach to Stravinsky

He could sit down at the piano and begin at any point in The Ring, or a He could sit down at the piano and begin at any point in The Ring, or a Beethoven Quartet, or the Rite of Spring, or any one of at least 150 Bach Beethoven Quartet, or the Rite of Spring, or any one of at least 150 Bach cantatas, and play from memory, bringing out every nuance of the cantatas, and play from memory, bringing out every nuance of the writingwriting

After reading once through Ravel’s Violin Sonata, with Ravel at the piano, After reading once through Ravel’s Violin Sonata, with Ravel at the piano, Enescu closed the music and played it from memory and performed it Enescu closed the music and played it from memory and performed it the next day. An identical anecdote applies to a performance of Bartthe next day. An identical anecdote applies to a performance of Bartóók’s k’s Second Violin Sonata, with the composer at the piano.Second Violin Sonata, with the composer at the piano.

BartBartóók was deeply impressed by his power of musical understanding and k was deeply impressed by his power of musical understanding and spoke of Enescu reading through one of his (Bartspoke of Enescu reading through one of his (Bartóók’s) orchestral works, k’s) orchestral works, giving him back the score, and then on the following day conducting the giving him back the score, and then on the following day conducting the rehearsal from memory, bringing out every nuance of the writingrehearsal from memory, bringing out every nuance of the writing

Recordings

Over 60 as conductorOver 60 as conductor Over 20 as violinistOver 20 as violinist Over 10 as pianistOver 10 as pianist

Why does he remain obscure?Noel Malcolm’s observations (1990) :Noel Malcolm’s observations (1990) : Gross inefficiency of Romanian Communist regime in producing scores and Gross inefficiency of Romanian Communist regime in producing scores and

recordingsrecordings Unlike Czechoslovakia, Hungary and Poland, no western importer has ever Unlike Czechoslovakia, Hungary and Poland, no western importer has ever

managed to obtain a regular supply of recordings from Romaniamanaged to obtain a regular supply of recordings from Romania Ceaucescu’s cultural policy narrowed his reputation and diminished his Ceaucescu’s cultural policy narrowed his reputation and diminished his

stature by presenting him as a nationalistic, “folkloric” composerstature by presenting him as a nationalistic, “folkloric” composer Judging him on his early Romanian Rhapsodies is like forming an opinion of Judging him on his early Romanian Rhapsodies is like forming an opinion of

Ravel based only on BoleroRavel based only on Bolero Enescu was the last person to engage in self-advertisement of any kindEnescu was the last person to engage in self-advertisement of any kind The public’s reluctance to accept him as a composer when he was a musical The public’s reluctance to accept him as a composer when he was a musical

giant as a violinist, pianist and conductor giant as a violinist, pianist and conductor

Personal observations

His music is not generally included in musicological His music is not generally included in musicological studiesstudies

Even today, many scores and recordings are difficult to Even today, many scores and recordings are difficult to locatelocate

His music, to play, ranges from difficult to very difficultHis music, to play, ranges from difficult to very difficult His music is rarely programmed by soloists, chamber His music is rarely programmed by soloists, chamber

groups or orchestras*groups or orchestras* His music is rarely broadcast*His music is rarely broadcast*

* With the exception of the two Romanian Rhapsodies* With the exception of the two Romanian Rhapsodies

Early childhood Born 19 August 1881Born 19 August 1881 At 4 - took violin lessons from lAt 4 - took violin lessons from lăăutari (gypsy), Lae Chioru. utari (gypsy), Lae Chioru.

Learned to read music and began pianoLearned to read music and began piano At 5 - composed a hymn tune, a waltz and a 24 bar “opera” for At 5 - composed a hymn tune, a waltz and a 24 bar “opera” for

violin and pianoviolin and piano At 7 - violinist Eduard Cuadella advised him to go to the Vienna At 7 - violinist Eduard Cuadella advised him to go to the Vienna

Conservatorium. Studied German and FrenchConservatorium. Studied German and French At 8 - began concert career At 8 - began concert career At 9 - performed Paganini’s D major Concerto. Studied At 9 - performed Paganini’s D major Concerto. Studied

harmony, counterpoint, history, chamber music, violin, piano harmony, counterpoint, history, chamber music, violin, piano and celloand cello

At 10 - gave nine concerts in Vienna including Mendelssohn’s At 10 - gave nine concerts in Vienna including Mendelssohn’s Concerto and dazzling showpieces by Vieuxtemps, Wieniawski Concerto and dazzling showpieces by Vieuxtemps, Wieniawski and Sarasate and Sarasate

Age 13-15 At 13 - gave debut in Bucharest including his Piano SonataAt 13 - gave debut in Bucharest including his Piano Sonata At 14 - began study at the Paris Conservatoire. At 14 - began study at the Paris Conservatoire. Composition Composition

lessons with Massenet. Began writing his first full-scale lessons with Massenet. Began writing his first full-scale symphony. Several works for violin. Violin study with Marsicksymphony. Several works for violin. Violin study with Marsick

At 15 - wrote two movements of a violin concerto, never At 15 - wrote two movements of a violin concerto, never completed. First public concert entirely of his own works. Two completed. First public concert entirely of his own works. Two more symphonies, numerous other piano and orchestral worksmore symphonies, numerous other piano and orchestral works

In 1896 FaurIn 1896 Fauréé replaced Massenet as professor of composition. replaced Massenet as professor of composition. Counterpoint teacher, AndrCounterpoint teacher, Andréé G Géédalge, required him to write a dalge, required him to write a

different fugue on the same subject every week for a yeardifferent fugue on the same subject every week for a year From age 15-23 wrote drafts of ten string quartetsFrom age 15-23 wrote drafts of ten string quartets

Age 16-20 – sample of 30+ works 1897 - Po1897 - Poèème Roumain Op. 1me Roumain Op. 1This was so successful that 9,000 francs was raised towards a Stradivarius violin for himThis was so successful that 9,000 francs was raised towards a Stradivarius violin for him 1897 - First Violin Sonata Op. 21897 - First Violin Sonata Op. 2Beethoven, Schumann and Saint-Saens influenceBeethoven, Schumann and Saint-Saens influence 1898 - First Cello Sonata Op. 26, No. 11898 - First Cello Sonata Op. 26, No. 1Schumann and Brahms influenceSchumann and Brahms influence 1898 1898 - - Variations for two pianos Op. 5 Variations for two pianos Op. 5 Brahms and FaurBrahms and Fauréé influence influence 1899 – Second Violin Sonata Op. 61899 – Second Violin Sonata Op. 6Dedicated to ThibaudDedicated to Thibaud 19001900 - - Octet for strings Op. 7Octet for strings Op. 7Described as massively contrapuntal – dedicated to AndrDescribed as massively contrapuntal – dedicated to Andréé G Géédalgedalge 19011901 - - Two Romanian Rhapsodies Op. 11, Nos.1&2 Two Romanian Rhapsodies Op. 11, Nos.1&2By the end of his life he was heartily sick of the success enjoyed by his Rhapsodies, which By the end of his life he was heartily sick of the success enjoyed by his Rhapsodies, which

had eclipsed all his other workshad eclipsed all his other works

Overall output Aged 11-20 About 100 worksAged 11-20 About 100 works (33 published)(33 published) Aged 21-30 31 worksAged 21-30 31 works Aged 31-40 12 worksAged 31-40 12 works Aged 41-50 7 worksAged 41-50 7 works Aged 51-60 8 worksAged 51-60 8 works Aged 61-74 8 worksAged 61-74 8 works

The decline in quantity of works reflects his increasing The decline in quantity of works reflects his increasing career as a violinist and conductor – necessary to provide career as a violinist and conductor – necessary to provide him with a livelihoodhim with a livelihood

Some of the major works Oedipe (opera) – 21 year gestation period (1910-1931)Oedipe (opera) – 21 year gestation period (1910-1931) Four youthful symphoniesFour youthful symphonies Three completed symphonies, two uncompletedThree completed symphonies, two uncompleted Three orchestral suitesThree orchestral suites Numerous other orchestral worksNumerous other orchestral works Various works for solo instrument with orchestraVarious works for solo instrument with orchestra Two string quartetsTwo string quartets Two piano quartetsTwo piano quartets One piano quintetOne piano quintet One piano trioOne piano trio String octetString octet Three violin sonatasThree violin sonatas Three piano sonatasThree piano sonatas Two cello sonatasTwo cello sonatas

Composer Influences BrahmsBrahms

First Violin Sonata (1897)First Violin Sonata (1897) Romanian folk music in traditional harmonic settingRomanian folk music in traditional harmonic setting

PoPoèème Roumain (1897) and the Two Rhapsodies (1901)me Roumain (1897) and the Two Rhapsodies (1901) FaurFauréé and Franck and Franck

Second violin sonata (1899)Second violin sonata (1899) Wagner Wagner

First Symphony (1905)First Symphony (1905)

Use of Folk and Gypsy Music

LăLăutari (gypsy)utari (gypsy) influence, while incorporated into influence, while incorporated into earlier works, appears in a new kind of harmonic earlier works, appears in a new kind of harmonic setting from 1924. setting from 1924.

Enescu was feeling dissatisfaction with the idea of Enescu was feeling dissatisfaction with the idea of subjecting simple folk tunes to complicated subjecting simple folk tunes to complicated musical development. He likened the practice of musical development. He likened the practice of placing folk melodies with exotic tonality within a placing folk melodies with exotic tonality within a major/minor texture to setting a diamond in major/minor texture to setting a diamond in concrete.concrete.

Enescu on gypsy musicians

Enescu’s attitude to gypsy musicians was Enescu’s attitude to gypsy musicians was markedly different to that of Bartmarkedly different to that of Bartóók, though k, though he does differentiate between the lhe does differentiate between the lăăutari and utari and the café musicians. “I have derived a great the café musicians. “I have derived a great deal from the music of the ldeal from the music of the lăăutari, we utari, we should be thankful to the gypsies for having should be thankful to the gypsies for having preserved our music, this treasure which we preserved our music, this treasure which we are only now appreciating”are only now appreciating”

India – Gypsy relationship

Gypsy migrations westward from North India are acknowledged Gypsy migrations westward from North India are acknowledged as early as 390BC, arrival in Constantinople by 1068 and as early as 390BC, arrival in Constantinople by 1068 and right across Western Europe from the 15right across Western Europe from the 15thth century. century.

The relationship between traditional Romanian music and The relationship between traditional Romanian music and Indian music is yet to be clearly identified but it is highly Indian music is yet to be clearly identified but it is highly likely that the likely that the LăLăutari, while preserving traditional Romanian utari, while preserving traditional Romanian music, seasoned it more than lightly with imported Indian music, seasoned it more than lightly with imported Indian musical spices. musical spices.

It is also likely that what is referred to as traditional Romanian It is also likely that what is referred to as traditional Romanian music had to some degree already been affected by gypsy music had to some degree already been affected by gypsy migrations in the early years of the second millenium. migrations in the early years of the second millenium.

It is this hypothesis that will drive my future research into It is this hypothesis that will drive my future research into Enescu’s composition.Enescu’s composition.

The Third Violin Sonata Notes by the composer"First Movement: The cries and complaints of "First Movement: The cries and complaints of

unhappy Rumanian refugees (in the days of their unhappy Rumanian refugees (in the days of their tribulation as an oppressed people) in their tribulation as an oppressed people) in their mountain retreats…anguished lamentations of mountain retreats…anguished lamentations of those who lost their homes and fertile valleys. In those who lost their homes and fertile valleys. In the relative peace of their mountain refuge where the relative peace of their mountain refuge where the enemy could not reach, they stretch out their the enemy could not reach, they stretch out their arms with hope and prayer to the distant horizon, arms with hope and prayer to the distant horizon, awaiting a miracle to happen for their salvation awaiting a miracle to happen for their salvation and deliverance. In vain do they pray; their misery and deliverance. In vain do they pray; their misery deepens and grows until it reaches desperation.deepens and grows until it reaches desperation.

Second Movement: Mysterious voices and strange Second Movement: Mysterious voices and strange cries out of the deep and dark night, sinister cries out of the deep and dark night, sinister omens, oriental, distant sounds shrouded in the omens, oriental, distant sounds shrouded in the shadows of pessimism.shadows of pessimism.

Third Movement: Among the unhappy folk is one Third Movement: Among the unhappy folk is one who, in a fit of drunkenness, finds his consolation who, in a fit of drunkenness, finds his consolation in a sort of deliberate philosophical and abstract in a sort of deliberate philosophical and abstract indifference, and thus reaches sublime serenity indifference, and thus reaches sublime serenity and splendid isolation, a state of ‘Nirvana’ in the and splendid isolation, a state of ‘Nirvana’ in the midst of the unhappy world around him."midst of the unhappy world around him."

Indian Influence Dr Chintamani Rath

A A RagaRaga is a complex concept that comprises several features is a complex concept that comprises several features of which the use of certain specific notes to the exclusion of of which the use of certain specific notes to the exclusion of others and in specific combinations are but two. Other others and in specific combinations are but two. Other features are certain types of ornaments to be used (or features are certain types of ornaments to be used (or avoided) permissible registers, tempi and time of avoided) permissible registers, tempi and time of performance. All of these characteristics must be present for performance. All of these characteristics must be present for it to be called it to be called RagaRaga music. music.For this reason I will not go so far as to say that Enescu’s For this reason I will not go so far as to say that Enescu’s subjects or motifs in this work bear the stamp of subjects or motifs in this work bear the stamp of RagaRaga. . However I was distinctly reminded of certain Raga through However I was distinctly reminded of certain Raga through the course of listening to this beautiful and evocative sonata.the course of listening to this beautiful and evocative sonata.

Observations – 1st movement 11stst subject – The first phrase somewhat resembles a subject – The first phrase somewhat resembles a RagaRaga

we call we call Basant MukhariBasant Mukhari. This is soon replaced by the . This is soon replaced by the Raga Raga BhairaviBhairavi. Because these two are closely related, I chose . Because these two are closely related, I chose BhairaviBhairavi as the closest as the closest RagaRaga..

Audio examples:Audio examples:1. Enescu’s original…1. Enescu’s original…

2. with the rhythmic cycle 2. with the rhythmic cycle KehervaKeherva Tala Tala added by tablaadded by tabla3. 3. Auchar AlapAuchar Alap (short introduction) in (short introduction) in BhairaviBhairavi4.4. Approximation of Enescu’s melody…Approximation of Enescu’s melody…5. supported by percussion cycle (5. supported by percussion cycle (KehervaKeherva) and ) and improvised upon, as an episode, in Bhairavi, before improvised upon, as an episode, in Bhairavi, before returning to the melody, and then ending with the Indian returning to the melody, and then ending with the Indian equivalent of a coda (here a very short codetta!)equivalent of a coda (here a very short codetta!)

2nd subject – I was reminded of three Raga in the course of this 2nd subject – I was reminded of three Raga in the course of this short subject: short subject: Brndavani SarangBrndavani Sarang, , Megh MalharMegh Malhar and and Bhairavi. Bhairavi. Bhairavi Bhairavi occurred naturally to the mind on account of the clever occurred naturally to the mind on account of the clever manner in which Enescu guides the second subject back to the manner in which Enescu guides the second subject back to the very first little motif of his first subject, meshing together the very first little motif of his first subject, meshing together the two very different subjects as if the contrasting sentiment of the two very different subjects as if the contrasting sentiment of the second cannot but lead to that of the first.second cannot but lead to that of the first.

Audio examples:Audio examples:1. Enescu’s original…1. Enescu’s original…

2. with the rhythmic cycle 2. with the rhythmic cycle Tala AddhaTala Addha added by tabla added by tabla3. 3. Auchar AlapAuchar Alap in in Brndavani SarangBrndavani Sarang4.4. Auchar Alap Auchar Alap in in Megh MalharMegh Malhar5. 5. Auchar AlapAuchar Alap in in BhairaviBhairavi6.6. Approximation of Enescu’s melody, slowed down to fit the Approximation of Enescu’s melody, slowed down to fit the dictates of dictates of Addha TalaAddha Tala……7. supported by (7. supported by (Addha TalaAddha Tala) and improvised upon, as an ) and improvised upon, as an episode, in episode, in Brndavani SarangBrndavani Sarang, , Megh MalharMegh Malhar and “modulating” and “modulating” through through BhairaviBhairavi to go back to the motif that sets the first subject to go back to the motif that sets the first subject in motion.in motion.

CONCLUSION