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| 乔治·埃内斯库（George Enescu, 1881-1955） | |||||||||||||||||||||||
乔治·埃内斯库 罗马尼亚第一狂想曲 柏林爱乐乐团演奏 指挥 杨松思 |
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George Enescu - Romanian Rhapsody No. 1 |
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音乐历史上的今天
1955年5月4日，乔治·埃内斯库卒于巴黎。 |
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罗马尼亚作曲家埃内斯库还在三岁的时候，在他的家乡尼亚姆斯特卡听到了一一个吉普赛民间乐队的演奏，特别是其中的小提琴和洋琴立刻使他着了迷。之后，他找来一块木头，装上三根细绳子当作弦，很快做成了一把搁在肩上是“小提琴”，放在桌上用两根小棒敲打起来又变成“洋琴”的乐器兼玩具，只是作为乐器的话，用它不能奏出音乐来。 艾涅斯库到五岁时已学会了识谱。有一天，他听到父母亲在议论城里正在上演一部新歌剧。当时，他还从来没有看过歌剧，但想象中歌剧一定是很有趣的，于是他立刻按照他所看到的乐谱那样创作起“歌剧”来。他很认真地在乐谱上写上：“《罗马尼亚的田野》，为钢琴和小提琴演奏用的歌剧，乔治·艾涅斯库五岁时作。”这部“歌剧”当然实际上完全不可能演出，因为一共只有十二个小节。 但是，父亲从儿子稚气的举动中却看到了音乐才能的火花，后来就把他送到维也纳学习音乐，终于成为举世闻名的大作曲家。 |
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When romanian
composer enescu was three years old, he heard a gypsy folk band playing
in his hometown of nyamstka.Then he took a piece of wood, attached three
strings as strings, and soon made a "violin" on his shoulder, which he
struck with two sticks on the table and turned into a "dulcimer". By the age of five, aenescu had learned to read music.One day he heard his parents putting on a new opera in the council town.At that time he had never seen an opera, but it must have been very interesting in his imagination, and he began at once to compose it according to the music he had seen.He wrote carefully on the sheet music: "the fields of Romania, an opera for piano and violin, written by George aenescu at the age of five."The "opera", of course, was practically impossible to perform, for there were only twelve bars. However, the father saw the spark of musical talent in his son's childish behavior, and later sent him to Vienna to study music, and eventually became a world-famous composer. |
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| 乔治·埃内斯库的老师黑尔梅斯贝格（helmesberg） | |||||||||||||||||||||||
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埃内斯库和卡萨尔斯 传奇大提琴家巴勃罗·卡萨尔斯(Pablo Casals)将乔治·埃奈斯库(George Enescu)描述为“自莫扎特(Mozart)以来最伟大的音乐现象”和“现代音乐最伟大的天才之一”。 与巴勃罗·卡萨尔斯和职业歌手玛丽·盖(1904年波尔多) |
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Enescu and
Casals The legendary cellist, Pablo Casals described George Enescu as “the greatest musical phenomenon since Mozart” and “one of the greatest geniuses of modern music”. With Pablo Casals and the professional singer Marie Gai (Bordeaux 1904) |
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Today in the
history of music George enescu died in Paris on May 4, 1955. George Enescu (1881-1955) of Romania wrote: "I was born in a land of legend. I am the son of the earth.My life has been spent under the kind gaze of the god of my childhood."George enescu was one of the greatest teachers of the nineteenth century. As menuhin points out in his autobiography the unfinished journey, although the title of child prodigy drove enescu from his native land, he was already a very successful performer in the early 20th century, playing everywhere, but enescu never lost touch with the earth.He established his residence in Paris, but he still had a summer home in the romanian countryside, which he aptly called the house of light. Enescu was born in moldova in a place called dorohoyu.Its inhabitants are of Turkish, Greek, mazar and Ukrainian descent.At the age of seven he entered the Vienna conservatory of music, where he studied in helmesberg's class.Two years later he entered the adult class, won the highest prize for violin playing at the age of twelve, and graduated from the college.At that time, composing music was the most important thing for young enescu.At the age of ten he had written his first four-part fugue. He was the head of the Vienna opera, and it was he who gave enescu the chance to learn orchestration.When he was studying at the Vienna conservatory of music, he stayed at his teacher's house, and every night helmesberg would sneak him into the orchestra pit of the opera house and hide behind the timpani.There he learned the sound of the band in all its colours and the performance of the instruments.When he heard Wagner's opera for the first time, he was out of his mind.Later he said of his feelings: "I do not wish to watch the sky, for I have seen all the stars in Wagner's music." Enescu then went from Vienna to Paris, where he attended the Paris conservatory of music and studied harmony as a student of marcik, as well as composition with gerdag and frei.He won the first prize again in 1899.But his success was different.He didn't want to be a virtuoso. He didn't even want to be a violinist.He prefers to play the piano, and he plays it very well, and he has bigger ambitions to be a composer.When he was still a student, his first work, romanian poetry, had been performed in Paris by the colonna orchestra east, and he seemed to have made a good start in composition.He also plays the cello and can speak eight languages with equal fluency.When enescu was still very young, he decided to earn enough money just by playing the violin so that he could buy a piece of land in Romania.He plans to retire early and continue composing music until he dies. I was so crazy about composing that I didn't want to spend any of my time on the violin. Although I didn't have any illusions about what I was writing, I wanted to put all my little efforts into composing rather than just learning one instrument.I have spent a great deal of energy on this instrument, and I have received little more than satisfaction.I often look at the violin in the case and say to myself: you are too small, my dear friend, too small. His views are isolated.The critic of the New York times wrote on January 23, 1923, "he is a true musician and performer, a musician who is devoted to the expression of music and shows no skill at all.His technique is indeed marvelous, but only used as a means of expressing music...His playing is known for its precise intonation, especially the two-note intonation."He was also praised for choosing to play Bach's entire suite of ancient d minor, rather than just one of them, cha kon, as many violinists do, which critics described as "very serene and effortless." His ability to play "very freely and effortlessly" was apparently due to his childhood learning and love of Bach.When enescu was in Paris, he returned to Romania for a summer holiday, and it was then that queen Carmen hilva gave him a complete set of Bach.The collection became a source of learning and a lifelong enjoyment for him.Many of enescu's students say he can recite at least ten or twenty of Bach's oratorio. He often pointed out to his students that Bach's works were mostly written for words and only a few for instrumental music.He suggested that they take some time to learn some of Bach's cantabile brushes so that they could feel the relationship between the harmonic structure and the words.This close emotional connection between music and words is the key to Bach's instrumental work for enescu.Helen dowling, an American close colleague who studied with enescu for four years, said: "it was very inspiring to learn from him.Gradually the concert begins to speak to you, and gradually you figure out how to get the message across to your audience. Enescu gives master classes in Paris every summer.He himself cared little for skill, for he thought it was the job of the average teacher.He tried to give his students a new and deeper understanding of music.He never insisted on his students playing his way, but gave them a general musical concept from which they could find their way."You should learn to dance in the chain," said Helen dowling.What he meant was that one should learn to move freely, but still move within the frame set by the composer...His universe is music, and he himself is music's humble servant.Nothing else in life is important.It was enescu's devotion to music that influenced all who came into his orbit! Mr. Flash said Mr. Enescu was "like a towering rock on a calm sea among his peers."He said it was impossible to say which of enescu's many talents was the greatest: his accomplishments as a teacher, composer, conductor, violinist and pianist all seemed equally perfect.Today few of enescu's works seem to be played.Bolt said of his rhapsody: "no matter how difficult it is to play, from a musical point of view, it really shows the brilliance of the band." Enescu had contact with joachim as a teenager, showing that they had a good relationship.When enescu was fifteen, he played to joachim in Berlin.The great teacher duly encouraged his talent and his playing.Enescu, who was only a teenager at the time, had penned his sonata no. 1, which he shyly requested to be played for joachim.Enescu played the piano and joachim played the violin.When he finished, the old man said in surprise, "really, this work is more modern than the sonata of franck!" Menuhin also studied with enescu when he was very young and still remembers the great benefit of learning from him.He wrote: Every class is a great inspiration to me, not a regular class.He was playing music, and I was like his band...When he accompanied me on the piano, he sang all the parts of the orchestra...Through his actual performance, what I learned from him was that all the notes came to life, every phrase had shape and meaning, and the structure of the music became very distinct.Music to me is no longer just a few notes: it has a fiery feeling, but in the past, I have never felt it so clearly and vividly as today. Today's video: 1. Song Yang conducts the first romanian rhapsody by George enescu (performed by the Berlin philharmonic);2. George aenescu and dinu lipati playing the sonata no. 3 of aenescu;3. IDA Handel and misha dacic play the third sonata by George aenescu. |
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埃内斯库的著名小提琴 瓜尔尼耶小提琴，又称“大教堂”，于1731年由克里莫纳的朱塞佩·安东尼奥·瓜尔尼耶(GiuseppeTonioGuarnieri)制作，这是一种相当。 2008年，在文化和宗教事务部和国家博物馆“乔治·埃内斯库”组织的一场比赛之后，小提琴被委托给小提琴家加布里埃尔·克罗托鲁。 另外两把小提琴是在二十世纪上半叶由保罗·考尔制作的，特别是乔治·埃内斯库。 小提琴提供了卓越的音质，当然，有一个重要的纪念价值。 |
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Enescu’s Famous
Violins The Guarnieri violin, also called “The Cathedral”, was made in 1731, by Giuseppe Antonio Guarnieri in Cremona, a violin of extraordinary quality, comparable only to the instruments made by Stradivarius. In 2008, after a competition organized by the Ministry of Culture and Religious Affairs and the National Museum “George Enescu”, the violin has been entrusted to violinist Gabriel Croitoru. The other two violins were made in the first half of the twentieth century, by Paul Kaul, especially for George Enescu. The violins provide exceptional sound quality and, of course, have an important memorial value. |
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| 梅纽因和他的老师埃内斯库 | |||||||||||||||||||||||
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梅纽因在很小的时候也跟埃内斯库学习过，而且直至今日仍然记得跟他学习所得到的巨大好处。他写道： 每次上课对我都是巨大的启发，而不是普通的上课。他是在演奏音乐， 我好像是他的乐队……当他在钢琴上给我弹伴奏时，他嘴里还唱着乐队的各种声部……通过他的实际表现，我从他那里学到的是所有的音符都有了生命，每个乐句都有了形状和含义，音乐的结构也变得十分鲜明。音乐对我来讲再也不只是一些音符了：它有着火热的感情，但是在过去，我从来没有像今天这样清楚生动地感受到它。 |
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Menuhin also
studied with enescu when he was very young and still remembers the great
benefit of learning from him.He wrote: Every class is a great inspiration to me, not a regular class.He was playing music, and I was like his band...When he accompanied me on the piano, he sang all the parts of the orchestra...Through his actual performance, what I learned from him was that all the notes came to life, every phrase had shape and meaning, and the structure of the music became very distinct.Music to me is no longer just a few notes: it has a fiery feeling, but in the past, I have never felt it so clearly and vividly as today. |
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| 埃内斯库的学生伊达·哈恩岱尔(IDA Haendel) 在演奏中。 | |||||||||||||||||||||||
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现在人们只记得埃内斯库是位教师。伊达·哈恩岱尔当时年纪很小，但是已经是位演奏家了，在弗菜什一怒之下暂时被拒绝于课堂之外。她一直想师从埃内斯库学习，就由父亲带领来到巴黎埃内斯库处上了几节课。虽然那时哈恩岱尔还很小，但是她知道在她面前的是一位“最令人鼓舞、使人振奋的人物。他那矮小的身材、弯曲的脊骨（以后埃内斯库患了极为严重的残障），以及不考究的服装，
似乎更加强了他的伟大和精神的高尚”。同样又是在学习有关巴赫的作品时，她发现埃内斯库“坚定不移地去掉了巴赫所有的装饰音……从而显示出作品真正的曲式结构”。当去掉了所有的装饰音后，听起来有点怪，但是她认识到埃奈斯库强调简练的线条，从而显示出作品真正壮观的构。“我好像是第一次听到巴赫这位伟大的巨人。” 很久以后，哈恩岱尔在巴黎拜访了埃内斯库并且演奏了巴赫的《d小调古组曲》中的《恰空》给他听，哈恩岱尔从来没有跟埃内斯库学习过这部作品。那天正好是埃内斯库的生日，哈恩岱尔带了生曰蛋糕给他。当她演奏完之后，埃内斯问她“你跟我学习过这首《恰空》吗？”“先生，没有学过，但是我在纽约听你演奏过这首乐曲。”于是她就等待着这位大师对自己演奏的评价。“你能这样演奏《恰空》，就是给我带来了比蛋糕重大得多的礼物。” 哈恩岱尔将埃内斯库和弗莱什进行了有趣的比较。埃内斯库从来不把自己的处理方式强加于学生，他的讲话更多的是建议而不是劝告；弗菜什的教学方则更加系统化和具有诊断性。跟埃内斯库上课，学生很少能从头到尾不被打断地演奏一部作品，他也很少用他的小提琴进行示范，他总是坐在钢琴前面用嘴来讲述。 |
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Now people
only remember enescu as a teacher.IDA Haendel was very young,
but already a performer, and was temporarily excluded from the
class in the fury of frisch.She had always wanted to learn from
enescu, so her father took her to Paris for a few lessons.Even
though haendel was very young, she knew she had before her "the
most inspiring, uplifting character.His diminutive stature, his
curved spine (enescu later suffered a severe handicap), and his
unelegant clothing seemed to reinforce his greatness and
spiritual nobility.It was also while studying Bach's work that
she found that enescu "unswervingly removed all of Bach's grace
notes...This shows the true form structure of the work.When all
the grace notes were removed, it sounded a little strange, but
she realized that enescu's emphasis on simple lines showed the
work's truly spectacular structure."I think this is the first
time I've heard of this great giant." Much later, in Paris, haendel visited enescu and played to him Bach's "Charon" in Bach's "archaist suite in d minor," which haendel had never studied with enescu.It happened to be enescu's birthday, and haendel brought him the birthday cake.When she had finished, ennes asked her, "did you ever learn 'cha kon' from me?""No, Sir, but I heard you play it in New York."So she waited for the master's verdict on her performance."To be able to play 'cha kon' like this is to bring me a much bigger gift than a cake." Haendel makes an interesting comparison between enescu and flash.Enescu never imposed his methods on his students. His speech was more advice than advice.Frisch's approach is more systematic and diagnostic.In class with enescu, the students rarely played a work from beginning to end without being interrupted. He seldom demonstrated with his violin. He always sat at the piano and spoke with his mouth. |
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| 乔治·埃内斯库和迪努·利帕蒂演奏埃涅斯库奏鸣曲第3号，作品25 | |||||||||||||||||||||||
Dinu Lipatti & George Enescu play Enescu Sonata No.3 Op.25 |
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| 乔治·埃内斯库的奏鸣曲，第3号，作品25，艾达·海恩德尔·米沙·达契奇 | |||||||||||||||||||||||
| GEORGE ENESCU SONATA No. 3 Op. 25 IDA HAENDEL MISHA DACIC | |||||||||||||||||||||||
| 未得原作者编者授权严禁转载www.mt77.com任何内容 | |||||||||||||||||||||||
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