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George Enescu’s Work in the Years of The First World War
PROF.DR. VASILE VASILE, PH.D.
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ROMANIAN COMPOSERS AND MUSICOLOGISTS’ SOCIETY
ABSTRACT: It is known that one of the most eloquent evidences of patriotism of the most honest essence, proven by Enescu throughout his life, is the fact that in times of restraint for our people he chose to stay in his country with his own people, despite the fact that he could and were offered places protected by the ordeal of the two world conflagrations. One could speak of an excess of the repetation of this truth, without investigating its concrete data, which not only support the statement but complement the human personality of the great artist of the 20th century – the century, who has repeatedly stated that artists are apostles of peace.
KEYWORDS: FIRST WORLD WAR, YASSY, ACADEMY OF MUSIC
THE MOST eloquent confirmation of these assertions is given to us by Enescu's work in Yassy in the years of the First World War. I was drawn to the subject from both directions. First of all, the desire to investigate the human amplitude of the genius artist, reconfirmed by the complex activity carried out in the First World War, when the city temporarily resumes its status as the capital of not only Moldova, but Romania, occupied mostly by German troops who could not defeat the sacrifices of Mărăști, Mărășeşti and Oituz and over which the revenge invaders could not cross, establishing here the temporal border of Romania, which will become, at the end of the terrible slaughter, Greater Romania. On the other hand –the attachment of the fighters, simple people who gave their chests to the bullets and shells of General Makensen – who stated that „the army Romanian had risen from its ashes like the Phoenix bird” – was matched by sui generis cultural acts hosted by the former Moldovan capital and led by George Enescu. This broad cultural life contradicted the old saying: Inter arma silent musae (Cicero: Pro Milone IV-10: „Between arms the muses are silent”). The painstaking and responsible investigation of archival funds provided me with the material necessary for the study published in 1979, in the musicological volume devoted to the great events of 1948 and 1918 and then of an extensive work on Enescu's footsteps in Yassy and Tescani, in the process of being finalized (Vasile, 1979, pg. 149-199). As I will highlight below, George Enescu's work is an illustration of his own statement regarding the five hypostases under which he presents himself: violinist, conductor, pianist, composer and pedagogue, all these hypostases being evident in the complex work carried out in Yassy, during the years of the terrible world. That last quality must be understood in terms of intensive work to improve the violinists of the era, what might be called „master of masters”, in Yassy being granted the title of honorary teacher, carrying out an intense activity of perfecting many Romanian violinists. But in Yassy one can talk about a 6th position: organizer and animator (manager) of musical life, activity concreted in the organization of the symphony orchestra that will bear his name and memorable symphonic stages, here also the recognition of the status of honorary rector of the Conservatory that will bear his name as early as 1931. The data of this enescologic approach strive to attract attention over important moments in the life and activity of the genius of Romanian music and to complement and deepen them. In order to understand correctly this complex, cultural, artistic, but above all humanistic and patriotic activity, it is necessary to present the general historical framework in which it is part. Romania goes to war against Austria-Hungary after two years of neutrality. In a first campaign, Romanian soldiers liberated one third of the Transylvanian territory under Austro-Hungarian occupation. Unfortunately, this victory is followed by the occupation of Transylvania and then Muntenia by the invading armies, causing the exodus of the population and central authorities to Moldova, the old Moldovan capital becoming for a period the capital of the whole country. Among the personalities who settle in Yassy to include George Enescu. This takes place after a sanitary internship at a military hospital in Bucharest. A chronicle signed only „A teacher”, published in the Neamul Românesc on May 14th, 1919, retains the moment after the failure of Turtucaia, when the Central School of Bucharest was transformed into a hospital of the Red Cross. The Chronicle notes that
Proceedings of the „George Enescu“ International Musicology Symposium Proceedings of the „George Enescu” International Musicology Symposium „among the first who ran” to give the necessary help to the wounded, „was also George Enescu, who with a wonderful simplicity – with his blouse and the stretcher apron picked up the wounded who were unloading from the cars that were always arriving, carrying them to the operating room and back to the hospital rooms.
My surprise was so great that, not believing my eyes, I asked others if the one I saw working like this was the grand master. And this humble job has been done every day for months... The brancardier then changed into the ineshered violinist, who, in the afternoon hours, charmed those lying between pillows, and sometimes the same blessed hands—wielding with the same skill the razor as the bow—shaved all our wounded.” The writer Vintilă Rusu-Şirianu, nephew of Ion Slavici, retained a quasi-expressist painting of the soldier George Enescu: „In a room with a makeshift operating table is brought a serious wounded with gas gangrene. The colonel hires the scalpel. Stops. - Wait a minute! I need one to hold the leg that I cut off, that table... He's looking around. The hall is full of operators, pansators, wounded waiting. See a white robe with a bucket of compresses in your hand. Hey, young man! Shout out. Come here! The young man, docile, is approaching. I can only see him now: Enescu! Alarmed, I whisper to the colonel: No way, Colonel. It's Enescu. (...) - Look, Enescule, leave the bucket. Take this ham. I'm going to operate on my feet. George Enescu, without a word, looks for a moment at the colonel, at the wounded. The only time in my life I didn't recognize his look or his face. Something like a bitter wonder. A crunch. An alarm. Then put the bucket down. take the stool, wait. Colonel: - Sit there. You're holding this left leg on your knees with both hands. Solid, young man! Because if he keeps jumping, I can't work. When I'm done, you lift your foot up and deposit it there at the lavabouri. Is that it? Enescu (his face is even more tense) whispers: Yes, and he does what he's told. I look at his noble face, now tormented. I'm boiling helplessly, but I can't avoid his horrible chore. For the lad lying here every minute is a matter of life and death. The Colonel begins (...) He's got the amputation routine... Clac!, clac!, clac!... I'm catching the hemostatic tweezers, carefully. With the same care, I always look at Enescu. His face, his complexion getting more and more changed. A harrowing anxiety is all crushing me. The circle of incisions in the muscles has come true. On the femur the saw has come into operation. His sinister squeak also stirs my epigastrium with all the habit I have. What about Enescu? Tresar At the corner of his mouth he's bleeding. He bit his lips to the blood. He closed his eyes. The amputated leg – enormous – remained in Enescu's arms. I'm looking at him fast. He tried to pick him up as he was told. He can't. The dead leg, lead, presses it; lies like a corpse in his arms, Enescu is livid. And his lips are white. He's wobbling. Desperate, I want to jump. I can't leave the veins of the operation. How around. Oh, thank God. In a hurry, with his arms raised by the white robe (...) with a nurse after him, the surgeon Traian Nasta crosses the room. I'm his cousin. I shout loudly, I nod: - Trajan, Quick! Enescu! From a glance he understood. He's coming to me: - Run. Take the nurse. I'm filling in for you here. Remove it immediately to the air. Rub him with alcohol! We're recovering. It's about time. Enescu flips into my arms. The
Vol . XX, 2021 Vol. XX, 2021 body of the hefty leg rolls like a guillotine on the floor.” (Rusu-Șirianu, 1969, pg. 11-12) The sacrifices of the artist lead him to the hospital admission, suspected of contamination with the plague, as can be inferred from a letter addressed, as inferred, to a sister of charity in the Hospital Elisabeth in Bucharest, to whom the young musician was entrusted for care: „Because I am no longer fished, alive to thank you from the heart for your gentleness to the former sick... Give God only thrills and happiness to them who think to please those who are forced to sit in a corner and get bored. So be it!”1
Invited to go abroad so as not to risk his life, the citizen artist declared: „I remain here because I understand to serve my country with my weapons, with my feather, violin and wand” . I was writing 42 years ago about the brilliant artist's belief in the role of „purifying and uplifting of music” , in which he believed with all conviction George Enescu, who took „the initiative of the rapid freezing of teams of artists, with whom he roams hospitals, embalming the wounded with their art” (Vasile, 1979, pg. 156-157). In November 1916, after taking refuge in Yassy, he moved on to the titanic work of organizing the symphony orchestra, which he would compose and conduct throughout the season of 1917–1918. Until the first concert of the new orchestra and at the same time as the first concerts at the National Theatre, the violinist, associated with the evil pianist, Nicu Caravia, gives the recital of May 2, 1917 „for the convalescent hospital”. An eyewitness to such memorable moments recalls: „I also see him in the difficult years of the Iash of the World War, when he gave himself unto the suffering of the wounded soldiers in the hospital, for the freezing of the symphony orchestra of Moldova” . 2 (Vasilescu, 1955, p. 21) Enjoying unanimous appreciation. both for his place in the artistic life of the country and for his tireless work dedicated to reting the sufferings of those afflicted by the horrors of war, the appreciation shared by the leaders of the military life of the time, the great artist moves on to the organization of the symphony orchestra made up of instrumentalists mobilized for this purpose on his initiative. What more beautiful way to leave to Yassy, Moldova, his acquaintances, friends, the public and especially the unforgettable guide of his career? In this activity of constituting the permanent symphony orchestra Enescu launches with all the skill and prestige he enjoyed, as the most conscientious soldier who changed the stretcher and scissors with his violin and wand. The great son of Moldova calls for the mobilization by the Grand Headquarters of the most valuable instrumentalists, focused and scattered on the Moldovan fronts. General Prezan himself helps to fulfill this beautiful dream with which Enescu comes to Yassy. „As it came – recalls the moment another eyewitness inscribed in the same front of comfort through the beautiful artistic sufferings and calamities of the conflagration, disciple of Charles Diehl – spread a fear, started from young people in particular, nourished by the admiration of those who knew Enescu from the concerts given in the country. The inswes, all, concentrated as they concentrate in a light projection apparatus...” (Ștefănescu, 1983, p. 3) The records of the time keep testimonies of efforts and a small work to search for the place where the musicians needed for the orchestral apparatus and to obtain their mobilization in Yassy. „By the time the order of concentration on the spot and mobilization, written by his hand (of George Enescu – the note belongs to me) of those who had been incorporated, most had passed through fire and followed their regiment to the front. With those who had not yet been mobilized, or whom he demobilized, he formed two artistic teams that went from hospital to hospital, giving concerts” – wrote Ella Istratty (Istratty, 1966, p. 64). Enescu is forced to concentrate on the „regiment” put in the service of the beautiful musical and the soul and moral healings of the population oppressed by the horrors of war, of Sub-Lieutenant Alfred Alessandrescu to appeal to the supreme authority of the country, through the royal aide Ballif, as evidenced by the letter of November 11th 1916, in which he is considered „our most significant composer” and „has been in distimeary distress.”3 The future opera conductor, Jean Bobescu did not consider himself „equipped for fights, I had an exaggerated sensitivity, for which tension, too strong emotions could have the worst consequences (...) The meeting with George Enescu happened by chance, while I was on a mission to Iasi. I was passing on Lăpușneanu Street when I spotted Master George Enescu, surrounded by some musicians (...) I greeted respectfully, I gave to move on, but Enescu stopped me, asked me where I came from and where the unit I
1 Library of the Romanian Academy, quota 8/5, f. LXX. 2 State Archives in Yassy – Music Academy Fund, File 341, f. 4. 3 The letter is in the same fund of the Library of the Romanian Academy – quota 8 / 43 – LXX.
Proceedings of the „George Enescu“ International Musicology Symposium Proceedings of the „George Enescu” International Musicology Symposium belong to is. «You will stay in Iaşi», he decided. We're going to the Grand Headquarters right now. I was happy. Being near Enescu, working with him was more than I could have hoped for. At the Grand Headquarters Enescu entered without difficulty, as at his home. A colonel (...) was in charge of drawing up the necessary forms for the transfer of instrumentalists and singers mobilized in different units, in Yassy”. (Bobescu, 1964, pg. 89-90) For some musicians, repeated interventions are necessary, as Antonin Ciolan's proposal for dispensation is refused to the Academy of Music, the future eminent conductor of the band is „officer, and the rules of mobilization do not grant such dispensation to the higher ranks” . 4 The archival documents investigated prove that members of the original symphony orchestra were not permanently and totally exempted from military obligations. This is the case of the pianist Ilie Sibianu, who on 30 August 1917 was able to dispense with mobilization. At the same time, the yellowed papers of the weather reflect many other difficulties that the son of Livens must overcome: the lack of orchestral materials and even instruments, the space suitable for repetitions, a problem exacerbated after the requisition of the Conservatory building. Rehearsals take place in the hall of the National Theatre's power plant,which could give way to the concert stage only one day a week, here operating the Chamber, Senate, Court of Cassation and certain city services. But Enescu knows how to make the Hall of the National Theatre's electric plant an ambient place to bring the peaceful music accords to life. Working conditions in this ambience have remained in the memory of the music lovers of the place and of the time: „Enescu takes off his coat from the entrance, now, to be more comfortable, removes the coat and stays in the vest. That's all I saw in all the rehearsals, singing, talking, driving, the rush running down his cheek and he, dressed, rather naked was called, but enthusiastic at the end when he seemed to have won something with the orchestra.” (Ștefănescu, 1983, p. 3) It borrows instruments from the most diverse places in the country or adapts to some like Carol Nosek's horn „invalid war by losing his left forearm” . 5 With indescribable efforts, the orchestra of Yassy reaches 73 members, including Bucharest's instrumentalists such as violinists Constantin Nottara, Constantin Bobescu, cellist Dimitrie Dinicu, etc. With this band Enescu will complete the first season of Yassy, which began in mid-December 1917, shortly after the tragic death, of exantematic typhus, on the Romanian front, of the author of the immortal times that had taken flight on June 18th 1917, Alexe Mateevici: „Our language is a treasure In the clogged depths, A rare stone string, On the overflowing estate. Our tongue is burning fire In a nation that without news He woke up from his sleep of death Like the valiant of the story...” It is not excluded that Enescu knew the Bessarabian poet of Bugeac, a participant in the Battle of Marăşeşti, in person. Communist censorship asked me to suppress the superb lyrics of the Bessarabian Mateevici, who have since become, together with the winged song of archideacon Alexandru Cristea, the national anthem of the brothers from across Prut. In order not to overload this communication and not to repeat some data, I would point out that it should be viewed in addition to that presented in the symposium of 5 – 6 September 2013, published in the volume reserved for the works of the 17th edition (Vasile, Enescu and Basarabia, 2013, pg. 2832) and the 2011 edition (Vasile, George Enescu`s Career in the Articles of Iași Journalists, 2011, pg. 125-131). I can add here and welcome the initiative of the director of the National Philharmonic George Enescu, Andrei Dumitriu, to reconstruct the cinema of the concert led by Enescu in Chisinau, on the day that the Council of the Country voted to unite with the Fatherland – Mother – March 27, 1918. The rare stone string poured on the Romanian estate, the string given by Enescu to the then inhabitants of Yassy, will stretch during the period 1917 – 1918, comprising no less than 20 concerts, supplemented by other chamber events and especially with the „recitals” of George Enescu, one of them being the memorable musical „meeting” between the unrivalled performer of Bach's music and the one from which he had „bitten death”, at the Chinul Plai, in the Trotus Valley, in a terrible clenching of those called to assert „this way does not pass” and the invaders amazed by the sacrifices of the former, a meeting held at the bed of suffering of the dying Mihail Jora. It is added such artistic manifestations carried out in the surroundings of Iaş, such as the one mentioned by George Niculescu Basu:
4 State Archives in Yassy – Music Academy Fund, File 9/ 1915 – 1916, f. 22. 5 State Archives in Yassy – Music Academy Fund, File 3/ 1917 – 1918, f. 24.
Vol . XX, 2021 Vol. XX, 2021 „I will never forget George Enescu how energetic and persistent he was in all those years of difficult times. One day I saw him perched on a haystack holding his violin on his knees. He returned from the surroundings of Yassy, where there were numerous hospitals and had sung to the wounded.” (Basu, 1962, p. 246) A similar scene was the poet George Lesnea: „Enescu went and sang at a pet hospital. He'd go back and come back with what he could. One day he was seen in a military haystack carrying hay. Such a van is thousands of pounds. hay. Enescu and his violin could barely be seen from this van against which the interest of passers-by had suddenly increased. This happened on the road from Miroslava to Iasi. Enescu had been and had played there for some wounded” (Ilisei, 1977, pg. 22-23). Vibrant pages remained from the poet Benjamin Fundoianu for a concert in early 1917, that winter that was preparing to freeze the souls of survivors, also threatened by the exantematic typhus. On January 4th, 1917, B. Wecsler – as he signed the artistic chronicles – wrote: „Now a magnificent violin has destroyed a hospital hall, to restore it to the temple of art... Master Enescu has played for all so far. The crowd loaded the lodges, her tribute and the tribute singed her crown. But Master Enescu has never sung for the wounded. The peace budget did not provide for them. The wounded came infirm and gallious—raw means for success—as sacrifices of the ancient Hellenics, upled to the gods to make them their own. And Enescu came down from the pedestal and came, anonymously and simply, to mingle with the mob and comfort her. Someone next door, seeing him calm and indiscreet, was surprised that he wasn't wearing his raised bears. And, indeed, Enescu does not carry them with him. He left them at home, and nothing in his attire, in his voice, in his nature, betrays the treasure of the few... In a hospital room, with parallel beds and wounded alienated from the lime white of his coat, in the enormous number of those in all the corners, Enescu supported his violin under his chin and caught to tremble on the strings stretched the infinity of a sonata (...) Wars pass. Everything passes. Art remains. An artist pays a disaster. A man values muter than a pack of improvised conquerors and a one-minute defeat. Blessed is the country that has people. That's the future” (Fundoianu, 1917, p. 5). Enescu himself will recall, in two decades, such manifestations of the soul: „I was going to comfort the hospitals to those whom the inevitable plagues of war were lying in bed. I was given not once to notice how much serenity was blooming on the cheeks of the sufferers after the first notes. This transformation into the soul is the ultimate reason for music. If it weren't for her wonderful echo peacemaker, purifier, music would be an absurd string of sounds” (Ranta, 1936 , p. 5). And – I repeat the previous idea – some of these cultural services will pass the Prut, to the Bessarabian brothers, Enescu being one of those who advocated, not only from the tribune, but especially by concrete facts, for the union and culture of the whole country (Great Romania was considered by Caudella „a thing that had been expected for 1000 years, to unite all Romanians”. (Cosma, 1954) The presentation of the 20 concerts, with the repertory place, with the highlighting of the interpretations would turn a communication at a symposium into an accounting report, or a technical study, nor does the space allow us. Therefore, I believe that only a few general considerations are required, without downplaying their importance for the musical life of Iasian, but also Romanian, in the dire conditions of the atrocities of the war that opened the way for Greater Romania. The auditors have become the beneficiaries of a vast universal repertoire, which extends from Bach's violin concertos, through the symphonies of Haydn, Mozart and Beethoven, followed by concerts by Mendelsohn-Bartholdy, Chopin, Schumann, Paganini, Liszt, Saint-Saëns, Tchaikovsky, Lalo and famous symphonic pages by Weber, Saint-Saëns, Rossini, Wagner, Glinka, Franck, Massenet, Borodin, Rimski-Korsakov, Greg. Rabaud, Dvořak, Rubinstein, Swendsen and others. The concerts of this heroic and historical season remain not only simple artistic manifestations organized in the half-time but are registered as authentic pages of Romanian culture. This status is confirmed by the chronicles of the time and other records of the full, unwieldy halls of the National Theatre, the 1300 seats being supplemented at each event with 500 others – standing. The publications of the time, Neamul Românesc (the newspaper of Nicolae Iorga, which now appeared in Yassy) Evenimentul and Opinia reflect the cultural effervescence of The Yassy culture maintained by the concerts of the season. The catalogue of works presented to the yassians confirms the efforts to fly over
Proceedings of the „George Enescu“ International Musicology Symposium Proceedings of the „George Enescu” International Musicology Symposium the land of the musical literature of the times: symphonies, concerts, suites, symphonic poems, overtures, etc.
Attentive to the evolution of musical life, Eduard Caudella and Teodor Burada express their enthusiasm for the inclusion of their city in the constellation of major European centers. „If we had it stable in Yassy, we could congratulate ourselves – write first –on the condition, however, to be led by our great Master George Enescu, who has everything he needs to attract the public and to fully thank him” (Caudella, 1918, p. 2). It should be noted that the heroic season of Yassy contributed to the launch of many works by Romanian composers, beneficiaries of the composition prize initiated and supported by George Enescu and launched under his baton. A special place occupies it in the suite of these artistic events is the concert dedicated to Eduard Caudella. „I can't find words expressive enough to thank the infamous and the great Master George Enescu for his noble and generous initiative to give a musical festival in my honor at the National Theatre” . (Caudella, Mulțumire, 1918, p. 2) The Caudella concert is telling for the intergenerational connection: the conductor was the tribute, the one who convinced little George's father to teach him musical notation and send him to study in Vienna, and the violinist gave life to the Concerto for Violin and Orchestra which the veteran of the musical life dedicated to the great violinist of the time. George Enescu's work in Yassy was a work of the composer. That is why the artist, an honorary citizen of the city, strived to shed light on the real musical potential of the city that had given him a generous host. On October 7, 1918, in the hall of the National Theatre's power plant, the celebration of the founding of the company, whose president for life is proclaimed the musician who had identified his years in Iasi with the highest ideals of the inhabitants of the city and of Moldova. A month later, the Conservatory of Music and Dramatic Art gave him the title of honorary teacher6 . On January 31st 1919, the City gave their distinguished guest the title of honorary citizen of the city, Vovidenia Street to wear its rununes. Eduard Caudella, the eulogy of the heroic season and Enescu's special role in laying the solid foundations of the ieshean symphony orchestra: „All these 21 concerts were conducted outside by Master Enescu who attracted the amateur music audience in an unusual way to us” and believes that the society bearing his name will be able to determine the continuation in the „winter following with the concerts started in 1918 by Master Enescu” (Caudella, Concertele simfonice în Iași, 1920, p. 2). In Enescu's presence, the relay handover of the baton of Mircea Bârsan and then Antonin Ciolan occurs. The stage between November 15th 1918 and May 11th 1919 grouped 25 concerts (of which only two conducted by Enescu) plus the farewell, also conducted by the president of the symphonic society George Enescu. What happened to the Enescian cultural ctitoria in the years of the terrible world slaughter goes beyond a communication, but unfortunately the return to the standards achieved under Enescu's guidance will be delayed for decades, the symphonic society bearing the name of the brilliant musician will overcome egos, lack of interest, intrigue, envy, even pettiness, outlined in the monograph I dedicated to the conductor Antonin Ciolan presented between artistic „eternality”7 . The out-of-the-day period of Enescu's activity also records activities to increase and affirm valuable musical performers and composers who worked directly with the one who paid his tribute to his forefather, who directed his steps towards the melopolis of the era, Vienna. As „the oldest teacher of the Yassy Conservatory of Music and the only one who is still alive among the teachers with whom this school started”, Teodor Burada expressed his hope of remeeting and his thanks „for all you did during the time you were in our midst” (Burada, 1919). A complex musician, even more complex than some scholars believe, seduced by the quasiromantic aspects of his life, George Enescu also supported the movement that contributes to the preparation of the 1921 act – the establishment of the Romanian Opera, as an independent institution financed by Greater Romania. In the same years of terrible atrocities, Enescu's name is associated with those of Wagner and Rossini, whose works are designed to be mounted in Yassy, which would have led to the organization a few years earlier of what Edgar Istratty called „an opera institution that could rival those in the big centers”. The Wagner designed in Yassy will be the debut of the Romanian Opera in Bucharest, with George Enescu, who shines from Ion Jalea's bronze to the future of the emblematic institution of Romanian culture (Istratty E. , 1918).
6 State Archives in Yassy – Music Academy Fund, File 7/ 1918, f. 222. 7 Vasile, Vasile: Antonin Ciolan – between artistic „eternality” and „eternality” in Iasi, acquired by the Romanian Composers and Musicologists Society, in publication process.
Vol . XX, 2021 Vol. XX, 2021 Although blocked by interpretive work, violinist, conductor, pianist and not least managerial, Enescu does not completely neglect the composition. „Conceived during the war, in a state of mind alternating between heroic momentum, reminiscent of the joys of peace, of the sacrificed youth, of torments and indeed fear of hell in the midst of the great struggle and, finally, with the aurora of hope of a metaphysical world of reconciliation, comfort and ecstasy – this huge triptych cannot be considered apart from its vast human and symbolic meaning” (Ciomac, 1968, pg. 192-193) affirmed Emanoil Ciomac, referring to the Third Symphony –presented in Bucharest in the spring of 1919, after the return to Bucharest of the Apostle of Music. Analyzing with the characteristic professionalism of the Enescian symphony, Pascal Bentoiu recalls a „programmatic evolution” of the work, but finds that „it is difficult to superimposed, indeed, a particular literary argument for symphonic drama”, accepting that „the rethinking and recomposition of a world in the end, was determined by the experience of war” and „drama, as people lived at the time (free Romanians being crammed into a piece of Moldova)” , the work being „written there and then” (Bentoiu, 1999, pp. 205-206). The coordinators of the music life of Yassy take care to invite Enescu frequently to Yassy, where a bust was unveiled and proclaimed honorary rector, hoping to support the help needed to establish the institutions. In the same year, 1931, it is proposed that the Academy of Music and Dramatic Art of Iasi bear its name, a proposal enthusiastically acclaimed „by the notabilities of the city, the faculty and the students” of the institution. On December 1st, 1931, the proctor Antonin Ciolan signs address No. 103 which bore the new title, which means that the Ministry had approved the proposal.8 In 1931 the genius artist turned 50 years old, an opportunity to honor his music lovers and his Romanian admirers again, starting with those from Giurgiu and Turnu Măgurele and continuing with those from Oraviţa and Arad. On November 15th, 16th and 17th he is the guest of Chisinau, from where he leaves for Iasi for the next three days, where the memorable events will take place, The honorable gestures of the outgoings increase in size if we also take into account what we have called " a reluctance illustrated by the attitude of indifference manifested by some Bucharest cultural officials towards the 1931 anniversary of the great musician, who will step into the next stage, with recognized dignity, in the Academy Romanian (Vasile, George Enescu as a member of the Romanian Academy, pg. 104-109). The refusal of some of the leaders of Bucharest's artistic life to accept the desired anniversary through a series of popular concerts, leads Enescu to realize his plan to address the general public this anniversary year, in Iasi, where he had experienced the great joys and fulfillments in the hard times of the war. The center of the celebration of the illustrious Romanian culture writer moves from Bucharest to Iasi. It is stated, even through the voice of the rector of the Moldovan Academy of Music, Mircea Bârsan: „But especially to us, the Moldovans in particular and the Iaşi in particular, (we) the duty and honor to pay homage to Master Enescu, knowing that he is ours, son of Moldova. Therefore, the Academy of Music and Dramatic Art of Iasi in union with the George Enescu Society will organize an Enescu week for the end of November, both in Iasi and in the main cities of Moldova” (Bârsan, 1931, p. 7). It was a sincere tribute to the man who had toiled in the Yassy of the terrible slaughter not only to the organization of a memorable symphonic season with an orchestra composed by Enescu's efforts, by organizing the Conservatory that will bear his name, to maintaining musical life in the former capital of Moldova and where most of the Symphony no. III.
Image from George Enescu's celebration in Yassy on his 50th birthday
8 State Archives in Yassy – Music Academy Fund, File 11/ 1931, No. 103.
The crowning of the celebration referred to the ancient musical traditions of the city of Teodor Burada, Eduard Caudella, Athanasie Theodorini, Alexandru Zirra, Antonin Ciolan, not forgetting Gavriil Musicescu and was signed by Al. O. Teodoreanu, grandson of the musician, the famous epigramist, Păstorel:
„The brilliant star of eternity, from eternity I greet you! For hundreds of years my country has been waiting for you, and I thank the One above for allowing my ears to see you and my brotherly hand to shake your master hand (...) You suddenly appeared and just when you must, like the Other, like Mihai Eminescu, who unexpectedly burst like a havuz of living water in a barren wilderness. He made the Romanian language sing. You made the song speak. Be welcome in the house at which I have laid with the few bricks, a burning soul and a hope, which through you is fulfilled. Welcome to your home!” (Teodoreanu, 1931)
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