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喬治。埃乃斯庫是羅馬尼亞最著名的音樂天才， 集作曲家，小提琴家，鋼琴家，指揮，音樂教師於一身， 著名的小提琴家梅紐因就是他的弟子。
埃乃斯庫(George Enescu 1881-1955)。羅馬尼亞小提琴家，1881年8月19日生於利維尼-維麥夫。4歲起隨民間藝人學琴，由於音樂方麵的天賦，他七歲便以一個熟練的小提琴手的身份進入維也納音樂學院學習，先進預科班，9歲入音樂學院本科，師從小黑爾梅斯貝格學琴，他希望成為一個作曲家。１８９２年，他初次在納也納登台，演出馬斯奈的《維特》。１８９３年，作為學校樂團的成員，他曾在勃拉姆斯指揮下演奏。１８９４年在布達佩斯舉行的個人音樂會。16歲以作曲家身份在巴黎舉辦個人作品音樂會，1894年畢業後，翌年又入巴黎音樂學院從馬爾西克學琴。隨馬斯奈學習作曲，並深受馬斯奈的讚賞，在此他還是福萊的學生。到１６歲那年，他已經寫出了四部交響曲習作。
此後，他定居於巴黎，與巴黎的許多音樂家有著密切的過從和友誼。他還頻繁地在歐洲各地旅行演奏，並定期返回羅馬尼亞演出。在歐洲，他被視為是一位天才的小提琴家；而美國人則視他為指揮家。但他首先應該是一個作曲家他所創作的許多深刻、優美的作品，令人遺憾地在羅馬尼亞以外很少為人所知。他一共留下了１１部交響曲：四部交響曲習作，五部成熟的交響曲，以及一部大提琴與樂隊的協奏交響曲和一部室內交響曲。卡薩爾斯曾讚譽他是“莫紮特之後最令人驚異的音樂家”。埃乃斯庫還是一位他還是一位造詣深厚的教師，他的學生包括了後來名揚天下的格呂米奧、梅紐因，以及費拉斯、吉特利斯和利帕蒂等。此外，他還是一位熟練的鋼琴師，並且能夠演奏大提琴。1899年在巴黎音樂學院畢業後，作為小提琴家開始巡回演出。其演奏自然樸素，真切動人，在表現快速樂段時充滿了魅力。埃乃斯庫1932年起成為羅馬尼亞科學院院士，被尊為新羅馬尼亞民族樂派的開創者。
埃內斯庫１９５５年５月４日逝世於巴黎。為紀念這位音樂家，他的家鄉列文尼改用他的名字喬治·埃乃斯庫命名。羅馬尼亞曆史最悠久的音樂學校也在１９３１年被更名為喬治·埃乃斯庫音樂學校。
在歐洲，他被視為是一位天才的小提琴家；而美國人則視他為指揮家。但他首先應該是一個作曲家，他所創作的許多深刻、優美的作品，他一共留下了11部交響曲：四部交響曲習作（1895-1898），五部成熟的交響曲，以及一部大提琴與樂隊的協奏交響曲和一部室內交響曲。
《第1號羅馬尼亞狂想曲》(Romanian Rhapsody No.1)是經常被演奏的，而且它肯定算得上是不朽的音樂會經典曲目了。樂曲從一個相對緩慢的安詳而悠揚的思鄉曲調開始，越演奏越快，逐漸達到白熱化的狂歡境界，那如火如荼的由小提琴帶動起來的霍拉舞節奏和民歌曲調，聽來令人極度興奮。
http://www.hudong.com/wiki/%E5%9F%83%E4%B9%83%E6%96%AF%E5%BA%93
羅馬尼亞狂想曲是埃乃斯庫的最著名、最受人們歡迎的作品，作於１９０１－１９０２年。第一號，ＯＰ.１１.１Ａ大調，主題為牧歌風味，描述喀爾巴阡山的景色，然後呈現優雅的圓舞曲主題，優美的圓舞曲段落後，小提琴呈示如歌的旋律；由民間敘事歌曲的主題鄉愁轉向悲槍；最後，羅馬尼亞民間集體舞曲中引用了類似《雲雀》的音調，在沸騰的節慶中達到高潮。第二號，ＯＰ.１１.２，Ｄ大調，歌唱以摩爾達維亞古老傳說的民歌為素材。
這兩首狂想曲含有變換莫測的情緒變化，充滿生氣勃勃的民間旋律和激動人心的民間舞蹈節奏（主要是霍拉和西
爾巴舞曲），具有很強的藝術感染力。１９０３年３月９日在布加勒斯演。１９０８年２月７日，在巴黎由卡薩爾斯（Pablo Casals）指揮的演出使這兩部作品獲得了國際聲譽。
第一狂想曲是Ａ大調，以變奏形式發揮多種民間旋律的特色。這些旋律有時興高采烈，充滿歡樂；有時優美動聽
深懷柔情‘有時又帶有憂傷的情緒。樂曲由單簧管的一段柔和的主題開始，然後分別由木管和弦樂重複，最後樂隊以快速再次演奏。接下來。我們在弦樂上聽到了吉普賽曲調，在第一小提琴和木管聲部中出現了一首激動人心的舞曲，獨奏長笛進行東方式的即興演奏，情緒越來越熱烈，旋轉般的民間舞蹈旋律和節奏把音樂推向了高潮。隨後單簧管的溫柔主題使情緒鬆弛下來，但這僅僅是一個過渡。狂想曲最後又重新在熱烈的氣氛中結束。
第二狂想曲是Ｄ大調，情緒較前一首更憂鬱一些。弦樂莊重的開始引進了一個樸素的、有節製的民間旋律。以弦
樂震音為背景的英國管主題更加劇了這種陰沉的氣氛。除了獨奏中提琴一段活潑的舞曲簡短插入外，這種憂鬱的情緒在整個狂想曲中占據了主導地位。與第一狂想曲的風格形成了強烈的反差。
埃乃斯庫的《第二交響曲》，ＯＰ.１７， Ａ大調，作於１９１２－１９１４年，１９１５年３月２８日在布加
勒斯演，由埃乃斯庫親自指揮。這部作品是埃乃斯庫最長的一部交響曲，演奏時長達５０分鍾！像他其它成熟的交響樂一樣，作品共三個樂章，１、從容的甚快板。結構與門德爾鬆的意大利交響曲不同，樂曲以開放的Ａ大調主題開始旋律激昂、弦樂氣勢宏大嘹亮，中段時而平靜，時而渲泄，跌宕起伏，最後樂曲以熱情、抒情旋律結束。２、適度的行板。樂曲在長號舒緩的節奏中開始，由單簧管間奏，隨後管樂隊在舒緩的節奏中展開；小提琴獨奏響起，弦樂隊跟進，最後樂曲在優美的管弦樂節奏中緩緩結束。３、舒緩而雄壯的快板。由低音管拉開序幕，管樂隊漸次跟進，中段弦樂隊奏響主題，最後樂曲在令人激動的尾奏再現第一樂章的開放主題，隨後樂曲在極為雄壯的管弦樂宏響中結束。
喬治•埃乃斯庫（１８８１－１９５５）羅馬尼亞作曲家、小提琴家。１８８１年８月１９日生於羅馬尼亞列文尼。由於音樂方麵的天賦，他七歲便以一個熟練的小提琴手的身份進入維也納音樂學院學習，他希望成為一個作曲家１８９２年，他初次在納也納登台，演出馬斯奈的《維特》。１８９３年，作為學校樂團的成員，他曾在勃拉姆斯指揮下演奏。１８９４年在布達佩斯舉行的個人音樂會。１８９５年進入巴黎音樂學院，隨馬西克學習小提琴，隨馬斯奈學習作曲，並深受馬斯奈的讚賞，在此他還是福萊的學生。到１６歲那年，他已經寫出了四部交響曲習作。
此後，他定居於巴黎，與巴黎的許多音樂家有著密切的過從和友誼。他還頻繁地在歐洲各地旅行演奏，並定期返回羅馬尼亞演出。在歐洲，他被視為是一位天才的小提琴家；而美國人則視他為指揮家。但他首先應該是一個作曲家他所創作的許多深刻、優美的作品，令人遺憾地在羅馬尼亞以外很少為人所知。他一共留下了１１部交響曲：四部交響曲習作，五部成熟的交響曲，以及一部大提琴與樂隊的協奏交響曲和一部室內交響曲。卡薩爾斯曾讚譽他是“莫紮特之後最令人驚異的音樂家”。埃乃斯庫還是一位他還是一位造詣深厚的教師，他的學生包括了後來名揚天下的格呂米奧、梅紐因，以及費拉斯、吉特利斯和利帕蒂等。此外，他還是一位熟練的鋼琴師，並且能夠演奏大提琴。
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
與 Enescu 合作的音樂家都是聞名遐邇的樂壇巨匠！ 1927 年他與拉威爾首演了拉威爾新作《 G 大調小提琴奏鳴曲》； 1933 年又與同門師兄弟蒂博和弗萊什一起合作了維瓦爾第《三重協奏曲》； 1936 年與科托爾向聽眾奉獻了巴赫奏鳴曲； 1937 年與大提琴家卡薩爾斯聯袂獻演的勃拉姆斯《 A 小調雙重協奏曲》使觀眾流連忘返。他的學生更是成為 20 世紀下半葉小提琴藝術發展的力量中堅，有梅紐因（他最心愛的弟子，合作過巴赫《雙小提琴協奏曲》 CD 編號： EMI CDH 7 61018 2 ，吉特利斯，格呂米歐，亨德爾，費拉斯等，後來作為鋼琴家與梅紐因演奏了自己的《第三小提琴奏鳴曲》；最後親自指揮樂隊演奏他一生中最著名的音樂傑作：兩首《羅馬尼亞狂想曲》。此後 5 年裏，他一直飽受疾病痛苦困擾，嚴重心髒病導致他半身不遂。 1955 年 5 月 3 日深夜，一代英傑在巴黎寓所走完了多姿多彩的一生。他是個音樂全才，不能簡單歸類於小提琴家、作曲家、鋼琴家、指揮家。。。真是前無古人，後無來者啊
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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