二十世纪罗马尼亚著名的作曲家，小提琴家：George Enescu（19/08/1881Liveni–4/05/1955Pari 法国薰衣草2010-05-19 13:22:47
云雀
乔治。埃乃斯库是罗马尼亚最著名的音乐天才， 集作曲家，小提琴家，钢琴家，指挥，音乐教师于一身， 著名的小提琴家梅纽因就是他的弟子。
埃乃斯库(George Enescu 1881-1955)。罗马尼亚小提琴家，1881年8月19日生于利维尼-维麦夫。4岁起随民间艺人学琴，由于音乐方面的天赋，他七岁便以一个熟练的小提琴手的身份进入维也纳音乐学院学习，先进预科班，9岁入音乐学院本科，师从小黑尔梅斯贝格学琴，他希望成为一个作曲家。１８９２年，他初次在纳也纳登台，演出马斯奈的《维特》。１８９３年，作为学校乐团的成员，他曾在勃拉姆斯指挥下演奏。１８９４年在布达佩斯举行的个人音乐会。16岁以作曲家身份在巴黎举办个人作品音乐会，1894年毕业后，翌年又入巴黎音乐学院从马尔西克学琴。随马斯奈学习作曲，并深受马斯奈的赞赏，在此他还是福莱的学生。到１６岁那年，他已经写出了四部交响曲习作。
此后，他定居于巴黎，与巴黎的许多音乐家有着密切的过从和友谊。他还频繁地在欧洲各地旅行演奏，并定期返回罗马尼亚演出。在欧洲，他被视为是一位天才的小提琴家；而美国人则视他为指挥家。但他首先应该是一个作曲家他所创作的许多深刻、优美的作品，令人遗憾地在罗马尼亚以外很少为人所知。他一共留下了１１部交响曲：四部交响曲习作，五部成熟的交响曲，以及一部大提琴与乐队的协奏交响曲和一部室内交响曲。卡萨尔斯曾赞誉他是“莫扎特之后最令人惊异的音乐家”。埃乃斯库还是一位他还是一位造诣深厚的教师，他的学生包括了后来名扬天下的格吕米奥、梅纽因，以及费拉斯、吉特利斯和利帕蒂等。此外，他还是一位熟练的钢琴师，并且能够演奏大提琴。1899年在巴黎音乐学院毕业后，作为小提琴家开始巡回演出。其演奏自然朴素，真切动人，在表现快速乐段时充满了魅力。埃乃斯库1932年起成为罗马尼亚科学院院士，被尊为新罗马尼亚民族乐派的开创者。
埃内斯库１９５５年５月４日逝世于巴黎。为纪念这位音乐家，他的家乡列文尼改用他的名字乔治·埃乃斯库命名。罗马尼亚历史最悠久的音乐学校也在１９３１年被更名为乔治·埃乃斯库音乐学校。
在欧洲，他被视为是一位天才的小提琴家；而美国人则视他为指挥家。但他首先应该是一个作曲家，他所创作的许多深刻、优美的作品，他一共留下了11部交响曲：四部交响曲习作（1895-1898），五部成熟的交响曲，以及一部大提琴与乐队的协奏交响曲和一部室内交响曲。
《第1号罗马尼亚狂想曲》(Romanian Rhapsody No.1)是经常被演奏的，而且它肯定算得上是不朽的音乐会经典曲目了。乐曲从一个相对缓慢的安详而悠扬的思乡曲调开始，越演奏越快，逐渐达到白热化的狂欢境界，那如火如荼的由小提琴带动起来的霍拉舞节奏和民歌曲调，听来令人极度兴奋。
http://www.hudong.com/wiki/%E5%9F%83%E4%B9%83%E6%96%AF%E5%BA%93
罗马尼亚狂想曲是埃乃斯库的最著名、最受人们欢迎的作品，作于１９０１－１９０２年。第一号，ＯＰ.１１.１Ａ大调，主题为牧歌风味，描述喀尔巴阡山的景色，然后呈现优雅的圆舞曲主题，优美的圆舞曲段落后，小提琴呈示如歌的旋律；由民间叙事歌曲的主题乡愁转向悲枪；最后，罗马尼亚民间集体舞曲中引用了类似《云雀》的音调，在沸腾的节庆中达到高潮。第二号，ＯＰ.１１.２，Ｄ大调，歌唱以摩尔达维亚古老传说的民歌为素材。
这两首狂想曲含有变换莫测的情绪变化，充满生气勃勃的民间旋律和激动人心的民间舞蹈节奏（主要是霍拉和西
尔巴舞曲），具有很强的艺术感染力。１９０３年３月９日在布加勒斯演。１９０８年２月７日，在巴黎由卡萨尔斯（Pablo Casals）指挥的演出使这两部作品获得了国际声誉。
第一狂想曲是Ａ大调，以变奏形式发挥多种民间旋律的特色。这些旋律有时兴高采烈，充满欢乐；有时优美动听
深怀柔情‘有时又带有忧伤的情绪。乐曲由单簧管的一段柔和的主题开始，然后分别由木管和弦乐重复，最后乐队以快速再次演奏。接下来。我们在弦乐上听到了吉普赛曲调，在第一小提琴和木管声部中出现了一首激动人心的舞曲，独奏长笛进行东方式的即兴演奏，情绪越来越热烈，旋转般的民间舞蹈旋律和节奏把音乐推向了高潮。随后单簧管的温柔主题使情绪松弛下来，但这仅仅是一个过渡。狂想曲最后又重新在热烈的气氛中结束。
第二狂想曲是Ｄ大调，情绪较前一首更忧郁一些。弦乐庄重的开始引进了一个朴素的、有节制的民间旋律。以弦
乐震音为背景的英国管主题更加剧了这种阴沉的气氛。除了独奏中提琴一段活泼的舞曲简短插入外，这种忧郁的情绪在整个狂想曲中占据了主导地位。与第一狂想曲的风格形成了强烈的反差。
埃乃斯库的《第二交响曲》，ＯＰ.１７， Ａ大调，作于１９１２－１９１４年，１９１５年３月２８日在布加
勒斯演，由埃乃斯库亲自指挥。这部作品是埃乃斯库最长的一部交响曲，演奏时长达５０分钟！像他其它成熟的交响乐一样，作品共三个乐章，１、从容的甚快板。结构与门德尔松的意大利交响曲不同，乐曲以开放的Ａ大调主题开始旋律激昂、弦乐气势宏大嘹亮，中段时而平静，时而渲泄，跌宕起伏，最后乐曲以热情、抒情旋律结束。２、适度的行板。乐曲在长号舒缓的节奏中开始，由单簧管间奏，随后管乐队在舒缓的节奏中展开；小提琴独奏响起，弦乐队跟进，最后乐曲在优美的管弦乐节奏中缓缓结束。３、舒缓而雄壮的快板。由低音管拉开序幕，管乐队渐次跟进，中段弦乐队奏响主题，最后乐曲在令人激动的尾奏再现第一乐章的开放主题，随后乐曲在极为雄壮的管弦乐宏响中结束。
乔治•埃乃斯库（１８８１－１９５５）罗马尼亚作曲家、小提琴家。１８８１年８月１９日生于罗马尼亚列文尼。由于音乐方面的天赋，他七岁便以一个熟练的小提琴手的身份进入维也纳音乐学院学习，他希望成为一个作曲家１８９２年，他初次在纳也纳登台，演出马斯奈的《维特》。１８９３年，作为学校乐团的成员，他曾在勃拉姆斯指挥下演奏。１８９４年在布达佩斯举行的个人音乐会。１８９５年进入巴黎音乐学院，随马西克学习小提琴，随马斯奈学习作曲，并深受马斯奈的赞赏，在此他还是福莱的学生。到１６岁那年，他已经写出了四部交响曲习作。
此后，他定居于巴黎，与巴黎的许多音乐家有着密切的过从和友谊。他还频繁地在欧洲各地旅行演奏，并定期返回罗马尼亚演出。在欧洲，他被视为是一位天才的小提琴家；而美国人则视他为指挥家。但他首先应该是一个作曲家他所创作的许多深刻、优美的作品，令人遗憾地在罗马尼亚以外很少为人所知。他一共留下了１１部交响曲：四部交响曲习作，五部成熟的交响曲，以及一部大提琴与乐队的协奏交响曲和一部室内交响曲。卡萨尔斯曾赞誉他是“莫扎特之后最令人惊异的音乐家”。埃乃斯库还是一位他还是一位造诣深厚的教师，他的学生包括了后来名扬天下的格吕米奥、梅纽因，以及费拉斯、吉特利斯和利帕蒂等。此外，他还是一位熟练的钢琴师，并且能够演奏大提琴。
http://music.douban.com/subject/2246701/
主要作品：
Opera
Œdipe, tragédie lyrique in four acts, libretto by Edmond Fleg, op. 23 (1910–31)
Symphonies
Symphony No. 1 in E-flat major, op. 13 (1905)
Symphony No. 2 in A major, op. 17 (1912–14)
Symphony No. 3 in C major, with chorus, op. 21 (1916–18)
Other Orchestral Works
Poème Roumaine, symphonic suite for orchestra, op. 1 (1897)
Romanian Rhapsody No. 1 in A major, op. 11 (1901)
Romanian Rhapsody No. 2 in D major, op. 11 (1902)
Orchestral Suite No. 1 in C major, op. 9 (1903)
Orchestral Suite No. 2 in C major, op. 20 (1915)
Orchestral Suite No. 3 in D major Suite Villageoise, op. 27 (1937–38)
Chamber Works
String Quartets
String Quartet No. 1 in E ♭ major, op. 22, no. 1 (1920)
String Quartet No. 2 in G major, op. 22, no. 2 (1950–52)
] Sonatas
Violin Sonata No. 1 in D major, op. 2 (1897)
Violin Sonata No. 2 in F minor op. 6 (1899)
Violin Sonata No. 3 in A minor dans le caractère populaire roumain, op. 25 (1926)
Cello Sonata No. 1 in F minor, op. 26, no. 1 (1898)
Cello Sonata No. 2 in C major, op. 26, no. 2 (1935)
Other Chamber Works
Octet for Strings in C major, op. 7 (1900)
Dixtuor in D major, for wind instruments, op. 14 (1906)
Piano Quartet No. 1 in D major, op. 16 (1909)
Impressions d'Enfance in D major, for violin and piano, op. 28 (1940)
Piano Quintet in A minor, op. 29 (1940)
Piano Quartet No. 2 in D minor, op. 30 (1943–44)
Chamber Symphony, for 12 instruments, op. 33 (1954)
Concertstück, for viola and piano (1906)
Légende, for trumpet and piano (1906)
Cantabile et Presto, for flute and piano (1904)
Piano Music
Piano Suite No. 1 in G minor, Dans le style ancien op. 3 (1897)
Piano Suite No. 2 in D major, op. 10 (1901/1903)
Piano Suite No. 3, Pieces impromptues op. 18 (1913–16)
Piano Sonata No. 1 in F♯ minor, op 24, no. 1 (1924)
Piano Sonata No. 3 in D major, op 24, no. 3 (1933–35)
Songs
Trois Mélodies, op. 4 (1898)
Sept Chansons de Clement Marot, for tenor and piano, op. 15 (1907–08)
Trois Mélodies, op. 19 (1916)
Queen Elisabeth of Romania with George Enescu and Dimitrie Dinicu
One of his students, the violinist-conductor Yehudi Menuhin, described Enescu as being the ‘most generous and selfless of hearts’. Enescu’s biographer, Noel Malcolm, recalls many cases of the composer’s selflessness including a poignant occasion when he played his violin uninterrupted for two hours to his dying friend, the painter Stefan Lucian.
A life in music
As the world renowned GEORGE ENESCU festival begins, Joel Crotty profiles the life of romania’s most celebrated composer
At the end of his life Romania’s most celebrated musician, George Enescu, cried out that he was sick of being remembered as the composer of the pair of Romanian Rhapsodies. During his lifetime, Enescu maintained five international careers: as a composer, conductor, violinist, pianist and teacher. Such a multifarious talent was looked upon with di*****elief. There is an old saying that good conductors make lousy composers; while good composers make terrible conductors. It might be true for some but not in the case of Enescu. His musicality was complete only when he was able to allocate his energy to all aspects of music-making.
George Enescu was born in August, 1881 in Liveni, in northern Romania. He developed a love of music from his parents. His father, Costache Enescu, a minor landowner and estate administrator, was a singer, violinist and choral conductor, while his mother, Maria, played the guitar and piano. At the age of four he commenced violin lessons and showed particular promise. The young boy was taken to Eduard Caudella, Professor of Violin and Director of the Conservatorium in Iasi, and he recommended that Enescu go to Vienna for expert tuition.
Early promise
In 1888, he travelled with his parents to Vienna and commenced his studies at the conservatorium connected to the Gesellschaft der Musikfreunde. Enescu was all of seven years of age. He rapidly progressed through the grades and by the age of nine was proficient in playing Paganini’s D Major Concerto. In 1893 he took his final exams and gained first grades in all subjects.
Two years later Enescu arrived in Paris with the primary aim of studying composition at the Paris Conservatoire. He presented his portfolio and his letters of recommendation to Jules Massenet. A cursory look through the manuscripts was all that was required for the great composer to have Enescu accepted into his course.
Unlike in Vienna where he warmed to all his teachers, he found most of the French contingent dull. He sat through endless harmony classes of Ambroise Thomas and Theodore Dubois and was completely bored with the instruction he received from his violin teacher, Martin-Pierre-Joseph Marsick. The only person who ignited his quest for musical knowledge was his composition teacher, Massenet. The impressionable Enescu found him to be a thoroughly competent instructor who engaged his charges in thought provoking debate. Massenet resigned from the Conservatoire in 1896 and another famous composer, Gabriel Faure, replaced him. Although Enescu found Faure’s music to be invaluable as a benchmark for his own compositions, he considered him to be a fairly ordinary teacher.
After Massenet’s departure, Enescu found Andre Gedalge to be extremely helpful in the area of compositional craftsmanship. He instilled in the budding composer the need for clear-cut form and the beauty of contrapuntal design. While at the Conservatoire he developed lasting friendships with fellow composers, Jean Roger-Ducasse, Florent Schmitt and Maurice Ravel. Menuhin recalls being with Enescu in the mid-1920s and witnessing Ravel burst through the door with the singular reason of having his Romanian friend play through his freshly composed Violin Sonata. He kindly read through the score once, and then with Ravel at the piano played the work from memory.
His brilliance as an all round musician was noted by the Romanian aristocracy, and he was a familiar figure in the musical soirees at court. For his seventeenth birthday Queen Elizabeth, wife of King Carol I, gave Enescu the completed issues of the Bach-Gesellschaft edition of Johann Sebastian Bach’s works. In 1898, Enescu’s gift to the queen was a song-cycle, Der Blaser, based on her poetry. Throughout the turbulent first half of the twentieth century, Enescu’s loyalty and devotion to the royal family never waned.
Although he made frequent trips to Romania, he made his home in Paris. From this base he was able to compose while at the same time secure a regular income from his engagements as either a violinist or pianist. At the outbreak of the first world war he returned to Romania and remained there for the next four years. During this period he played numerous charity concerts ranging from aiding the Romanian Red Cross to stoking the funds for an organ in Bucharest’s spectacular Atheneum. He even travelled to St Peter*****urg in 1917 to play for the Russian Red Cross during the stormy months before that country’s revolution.
The war had devastated the Romanian economy, and Enescu’s savings were whittled away. Furthermore, the peasant land reforms initiated by King Ferdinand saw much of his father’s estates being expropriated, and thus Enescu’s future nest egg disappeared by royal decree. (This financial situation was to occur again after the second world war when the communists confiscated the property Enescu had accumulated in the 1920s and 1930s, and disallowed his hard-earned funds to be transferred out of the country.)
American experience
To compensate for these significant setbacks after the first world war Enescu pushed composition to the side and concentrated on conducting and performing simply because it gave him a secure income. In the United States he was warmly welcomed, and Enescu enjoyed his trips to the new world because he found he was accepted as both a composer and a performer-conductor. American audiences were aware of his orchestral music due to the promotional efforts of conductors Walter Damrosch and Frederick Stock, and during the 1920s Enescu directed the Philadelphia, Cleveland, Boston and Cincinnati Orchestras.
In 1936 he was short-listed to replace Arturo Toscanini as the permanent conductor of the New York Philharmonic. Each of the candidates was given a short season to demonstrate their musical and interpersonal skills. They were given a free hand to choose their programmes. Enescu included work by his compatriots – Mihail Jora, Ion Nonna Otescu, Sabin Dragoi, Marcel Mihalovici and Dinu Lipatti but the American public was not keen on this unknown repertoire, and box-office takings were down during his time on the podium. However, Enescu’s efforts in demonstrating a creative streak went nowhere as the selection panel chose the English conductor, John Barbirolli.
Enescu did not have to programme Romanian music for the New York job but he was totally committed to publicising the work of his countrymen and women. He financially backed a composition prize for Romanian composers, and he supported the careers of promising musicians such as pianist Clara Haskil and pianist-composer Dinu Lipatti. In 1921 Enescu lobbied the Romanian finance minister to ensure that Haskil would be able to continue her studies in Paris. His interest in Lipatti’s career went beyond the musical to the personal, as Enescu was his godfather. While he was pleased to be connected with the elite class of Romanian musicians and composers, he also strove to raise the musical standards in the general community and to that end he gave master classes and sat on numerous philanthropic committees that had musically benevolent aims.
Although he worked tirelessly for Romanian music, he was essentially apolitical. He disliked any type of fanaticism and during the 1930s and 1940s he wisely maintained a silence on issues other than musical ones. However, the Romanian-American conductor Sergiu Comissiona recalls a time in the 1930s when members of the Iron Guard – the Romanian fascist movement – infiltrated an Enescu concert to disrupt his performance of the Violin Sonata by the Jewish composer, Ernest Bloch. Enescu pacified the restless anti-Semites by going on stage and announcing that he would not play the work. This disclosure was greeted with wild applause, and they settled back to hear some ‘decent’ music only to be confronted by Ravel’s Jewish-inspired piece, Khaddisch.
Marriage and later life
In 1939 Enescu married Princess Maruca Cantacuzino. Her Bucharest residence was a splendid mansion right in the heart of the capital. The house, situated in Calea Victoriei, is now the Enescu Museum. But more importantly it is also the headquarters of the Union of Romanian Composers and Musicologists. During the second world war, Enescu stayed in Romania. Just as in the first world war, Romania initially started out as a neutral country but gradually the gravitational pull toward the Axis powers proved too inviting and Romania was embroiled in the European conflict. During these torrid times, Enescu focussed on music making. He completed a number of compositions, recorded his Second and Third Violin Sonatas with Lipatti, and performed in public airing politically safe composers such as Beethoven.
After the communist takeover, Enescu and his wife left their homeland to settle in Paris. With their assets confiscated by the new regime Enescu was forced back into the spotlight as either a soloist or a conductor. But by the early 1950s, heart trouble, hearing problems and a degenerative spinal condition made such work impossible to carry out. With the lack of an income, the Enescus sank into poverty and they resided in two dingy basement rooms. He died on the night of 3rd May, 1955.
George Enescu was a musical genius. He had a phenomenal musical memory; he was adept at playing the violin and piano; he wrote numerous quality scores across the genres; and he conducted with restraint but always with exceptional clarity. As a mark of respect his birthplace, Liveni, has been renamed George Enescu, and the 50,000 – 5 RON banknote feature his portrait. But for all this visual support, he would probably be more appreciative of the annual George Enescu Festival as it provides an opportunity for musicians and the general public to keep in touch with his music
与 Enescu 合作的音乐家都是闻名遐迩的乐坛巨匠！ 1927 年他与拉威尔首演了拉威尔新作《 G 大调小提琴奏鸣曲》； 1933 年又与同门师兄弟蒂博和弗莱什一起合作了维瓦尔第《三重协奏曲》； 1936 年与科托尔向听众奉献了巴赫奏鸣曲； 1937 年与大提琴家卡萨尔斯联袂献演的勃拉姆斯《 A 小调双重协奏曲》使观众流连忘返。他的学生更是成为 20 世纪下半叶小提琴艺术发展的力量中坚，有梅纽因（他最心爱的弟子，合作过巴赫《双小提琴协奏曲》 CD 编号： EMI CDH 7 61018 2 ，吉特利斯，格吕米欧，亨德尔，费拉斯等，后来作为钢琴家与梅纽因演奏了自己的《第三小提琴奏鸣曲》；最后亲自指挥乐队演奏他一生中最著名的音乐杰作：两首《罗马尼亚狂想曲》。此后 5 年里，他一直饱受疾病痛苦困扰，严重心脏病导致他半身不遂。 1955 年 5 月 3 日深夜，一代英杰在巴黎寓所走完了多姿多彩的一生。他是个音乐全才，不能简单归类于小提琴家、作曲家、钢琴家、指挥家。。。真是前无古人，后无来者啊
Romanian Rhapsody George Enescu - Original: LonelyMoonRise - A short view about Romanian cities, people and lands...A short view about Romanian cities, people and landscape. Mountain landscape are all from Romania:Rodna,Trascau,Fagaras,Bistrita,B icaz,Harghita,Parang,Ceahlau, Cernei,Lotrului,Capatanei, Bucegi.
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