Georges Enesco was born in Liveni, Rumania, on August 19, 1881. He
studied the violin at the Conservatories of Vienna and Paris, winning
highest honors in both places. Following the completion of his studies
in 1899, he launched a successful career both as concert violinist and
as composer. For several years he was the court violinist to the Queen
of Rumania, besides making outstandingly successful appearances on the
concert stage throughout Europe. His debut as composer took place in
Paris before his sixteenth birthday, with a concert devoted entirely to
his own works. Success came in 1901 with his _Rumanian Rhapsody No. 1_.
Enesco also distinguished himself as a conductor. When he made his
American debut—on January 2, 1923 with the Philadelphia Orchestra in New
York City—it was in the triple role of violinist, conductor, and
composer. After World War I, Enesco divided his residence between Paris
and his native Rumania while touring the music world. He made his last
American appearance in 1950 on the occasion of the 60th anniversary of
his debut as violinist; once again he appeared in the triple role of
violinist, conductor and composer. He suffered a stroke in Paris in July
1954 and died there on May 4, 1955. After his death, his native village,
and a street in Bucharest, were named after him.
Enesco was Rumania’s foremost twentieth-century composer. His major
compositions range freely over several different styles from
nationalism, to neo-classicism, to ultra-modernism. But the works with
which he first gained world fame, and which have since had the widest
circulation, are those in a national Rumanian style, with Oriental-like
melodies and propulsive rhythms all modeled after the exotic folk songs
and dances of the Rumanian gypsies.
In such a style are his two Rumanian rhapsodies for orchestra: No. 1 in
A major, op. 11, no. 1 (1901); No. 2 in D major, op. 11, no. 2 (1902).
The first rhapsody is the one played more often. It opens with a
languorous subject for clarinet which is soon assumed by other woodwind,
then by the strings and after that (in a quickened tempo) by the full
orchestra. A passionate gypsy tune follows in the strings; and this is
succeeded by an abandoned dance melody in first violins and the
woodwind, and an Oriental-type improvisation in solo flute. Now the mood
becomes more frenetic, with a rapid succession of whirling folk-dance
tunes and rhythms that are carried to a breathtaking climax. Relaxation
finally comes with a gentle Oriental melody in clarinet, but this is
only a passing phase. The rhapsody ends in a renewed outburst of
vitality.
In comparison to the first, the second rhapsody is an emotionally
reserved piece of music. After a solemn declaration by the strings,
there comes an equally sober and restrained folk song in the strings.
The dark mood thus projected becomes further intensified with a theme
for English horn against tremolo strings and continues throughout most
of the rhapsody, except for a brief interpolation of a vigorous dance
melody by the solo viola.