In our century and on a past outcome almost at all there were no musicians-versatile persons, such what happened in a XVIII-th century: the violinist perfectly playing a harpsichord, composing the music, able thus to supervise over chorus and tool ensemble, to be engaged in pedagogics, to give lectures and to play organ... From the XIX-th century middle, in comparison with a century previous, on a decrease child prodigies have gone also. The culture has grown. Experience has shown, what not each combination from fluency of children's fingers, ringlets, a velvet and lacy collars in the sum gives Mozart. By the end of a XIX-th century of the requirement to each speciality in music so have grown, and process professionalizatsii has demanded from each musician of so intense return spiritual and physical strengths that here not to many-sided natures, is dazzling sparkling in days of old.
But looking back at last decades the last century, thumbing through propylennye a specific library dust newspaper sheets, repeatedly you meet the guarding: "Ёѕь№эёъшщ ¦ючрЁ=". There are also portraits of the nine-year boy in standard "тѕэфхЁъшэфёъюь" regimentals, with a small violin in hands, and round portraits - garlands, garlands of adjectives in the superlative degrees, developing in a laudatory hymn to a miracle what the Romanian Mozart George ¦эхёъѕ" is "ьрыхэіъшщ;. By these advertising shifts it is easy to pass. Really, whether there are they of attention?!
But here newspapers of later time. And again a portrait of the same, only the matured boy, which sight differently than inquisitive you will not name. Nearby - any superlative degrees, and simply dry information that the Romanian violinist George Enesku, twelve years old, has ended the Viennese conservatory with a medal. Here already it is necessary to reflect. The Viennese conservatory - the respectability, one of the most solid, strictly academic establishments of music world. The Viennese conservatory and sensation - the phenomena incompatible. And here it is necessary to read seriously, to get a grasp, become engrossed in reading, thumbing through the newspaper behind the newspaper. Year from a year amplifies the cascade of notes, reviews, articles; then - researches, music books, scores, the monographies designated by two these, already so exciting words: "-цюЁфцх ¦эхёъѕ". Yes, this phenomenon amazing. The violinist, the composer, the conductor, the pianist, the teacher, the brilliant lecturer, the organist, the musical writer, and all - at level of high professionalism. And it seems that the talent a rough stream has directed from mountains and has caused to a life and flowering great force of musical art. Uneasy curiosity will lead us upstream to sources, to that, maybe, to an imperceptible spring, whence has begun the run a prompt stream.
And here we at a source. Before us village Liveni, Dorohojsky district. Here the great son of Romania on August, 19th, 1881 was born. One of its biographers, Andrey Tudor, writes: "- 1881 when Enesku was born, modern Romanian music was still in embryo: to it it was hardly executed яюытхър". Certainly, here it is a question of music professional. And the folk music long since sounded on infinite flat open spaces where leutary, vagrant musicians of the Romanian and Gipsy origin, gathered in small groups, "=рЁр¶" and on one or two violins, cymbals, a contrabass, sometimes and a clarnet, without knowing notes, it is pensive prizhmuriv eyes, pulled a long melody "фющэ№" in which suddenly rushed mad, "ъръ эряхЁёхээ№щ" a dancing rhythm.
It is that music which three first of a life only and was listened by Enesku. And in a year of its steel to learn to music because not to learn it would be a crime, before it is doubtless in the child the talent blossomed.
Learned it is also it has entered the name in history - leutar Nikolay Kioru. Behind it - the engineer well playing a violin, - Mishu Zoller. It also has prepared George for receipt on a preparatory course of the Viennese conservatory. To the boy was then seven years. Next year it has acted for the first time in the big public concert on a resort of Slenik-Moldova. In 1890 George Enesku have enlisted on an older year of the Viennese conservatory: on a violin - to Gelmesbergeru, on theoretical disciplines - to Robert Fuksu.
George played a conservatoire orchestra. Joyful agitation seized it those days when into a rehearsal hall entered and the grey-haired, bearded person with light eyes, Johannes Brahms took seat more close to an orchestra. When played Beethoven or Schubert's symphonies, on panels the hand-written parties which have been written off from hand-written scores still during lifetime of ingenious musicians lay. With romantic imagination it made the big impression upon the boy.
It is possible to imagine, as after Bach, Haydn, Mozart, Beethoven, the eleven-year boy-musician was shaken by Wagner. Here, in Vienna, he listens "-юІэуЁшэр" "-х=ѕёхую уюыырэфчр" "КрэухщчхЁр" at last, all tetralogy "-юыічю эшсхыѕэур". Process of formation of the Enesku-musician is amazing on intensity and rate.
In July, 1893 the diploma and a medal testifying to the termination of the Viennese conservatory with distinction are handed over it. Soon it "ю=ёш=№трх=ё " before the Romanian capital, acting with a concert which program and execution have subdued the most exacting judges.
On childhood and youth crisis, in 1895, he writes the symphony. It was included into the list of his compositions under the touching name of the School symphony. The same year the fourteen-year musician moves to Paris and arrives in conservatory. It becomes the pupil of the well-known teacher of violinist Marten Marsika, obrazovannejshego the musician, the author of three violin concerts. He studied in a composition at Zhjulja Massne and Andre Zhedalzha, teacher Ravel. About the pupil Massne delightfully speaks: "‡ьѕ 12 years (Massne was mistaken, Enesku was then 14 years), and it orkestruet as ьрё=хЁ".
Though Marsik has much given to the young violinist and Enesku indulged, nevertheless soon enough began to affect, on expression of Enesku, rivalry between a violin and a musical paper.
This rivalry was won, strangely enough, by both: the violinist, whose skill grew every day, and the composer, in seventeen years left a pas the European platform. In 1898 using a great popularity in Paris conductor Edward Kolonn has executed for the first time "рѕь№эёъѕ¦ яюІьѕ" Enesku, a suite for a symphonic orchestra.
Year of 1898 was very successful and eventful in a life of the young musician. After the Parisian premiere, in March of the same year execution "рѕь№эёъющ яюІь№" has followed; in Bucharest, triumphally accepted public which has estimated "¤юІьѕ" as the beginning of a new stage of the Romanian musical culture.
Creativity George Enesku has arisen on the soil prepared by its predecessors. Gabriel Muzychesku (1847-1903), the pupil of a court Singing chapel in Petersburg; the largest collector of folklore materials of Chaprian Porumbesku (1853-1883, his name names the Bucharest conservatory); the master of the choral letter George Dima (1847 1925); Dumitru Kiriak (1866-1928) which have become famous for processing of the Romanian ballads, songs and dojn, have played a historical role at early stages of development of national musical culture of Romania. "-=ю will be the founder of our national music? When will appear and at us the +ышэър?" - the Romanian newspaper in 1895 questioned. The researcher of creativity Enesku E. Mejlih writes: "рѕь№эёъшь Glinka, the recognised head of the Romanian national composer school also was George Enesku. The ingenious musician who has absorbed together with air of native fields Romanian dojny and the folk tunes leutarov, at the same time has deeply studied and has creatively apprehended the best achievements world musical ъѕыі=ѕЁ№".
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