Documents from the Archives of the National „George Enescu” Museum

IRINA NIȚU

NATIONAL „GEORGE ENESCU” MUSEUM

ABSTRACT: The archives are real treasures. Sometimes they reveal forgotten things, resurrect memories, confirm, or disprove facts. A simple document thus acquires an invaluable value. The archive of the "George Enescu" National Museum consists of invaluable patrimony, made up, among other things, of documents such as musical manuscripts, photographs, posters, concert programs, telegrams, cards, letters, many of them discovered and already included in the list of cultural goods. Most of them refer, as is natural, to the life or work of George Enescu and are subject of new editorial appearances and thematic exhibitions of the museum. For this presentation, we bring to front some of the documents from the institution's archive, more precisely – pages of correspondence (telegrams, letters) addressed to George Enescu, a charcoal portrait representing the musician, as well as a concert statement. Two of the senders were personalities of the Romanian political life and the Romanian science (Eugeniu Grigore Neculcea and Constantin Motăş), and the other two – musicians: one French (Fernand Halphen) and another Romanian (Clara Haskil). The first ones wrote to Enescu on the occasion of some anniversary days, pointing out certain facts less known from his biography, and the latter referred to known events, giving us a subjective point of view on them.

KEYWORDS: NECULCEA, HASKIL, CAUDELLA, ARCHIVE

GEORGE ENESCU AND EUGENIU GRIGORE NECULCEA

RESEARCHING George Enescu's correspondence in 1931, we were fascinated by a letter received by the musician on the occasion of the fulfillment of half a century. George Enescu, already established as an international personality, received congratulatory messages from outstanding representatives of the Romanian and universal culture. Among these we mention Eugeniu Grigore Neculcea (1876-1954), Doctor of physicomathematical science at the Sorbonne, Professor at the University of Iași and who worked in the Ministry of Finance, being, among others, Ambassador of Romania and diplomat, appointed, after the First World War, member of the Romanian delegation to the Peace Conference in Paris.

Fig. 1: Eugeniu Grigore Neculcea

Proceedings of the „George Enescu“ International Musicology Symposium „George Enescu” International Musicology Symposium Over time, the destinies of these two men of culture intersected; thanks to them and the fact that the meetings were recorded in a signed document, dated but also preserved, we can now enjoy the special atmosphere evoked that brings George Enescu to the attention. Filtered, of course, by the subjective memories of the recipient, the musician's image is outlined through the prism of events that brought the two closer together, both in childhood and in adulthood. From Eugeniu Neculcea's letter we learn various facts: that he met George Enescu in Slănic, then that their parents knew each other and, finally, hearing the little musician playing the violin in his parents' house, he also wanted to study this instrument. And in 1888, Enescu was enrolled as a student at the Vienna Conservatory and a year later, back in the country in holydays, he went with his parents to Slănic where he played for the first time as a violinist, in public. It is therefore possible that the two of them met on that occasion. From his own confessions, Neculcea was impressed by the charm of the performance of little Enescu, which is why, probably, his parents also appealed to the guidance of Professor Eduard Caudella, and as they had done a while ago Costache and Maria Enescu. We also find out details – not necessarily amazing, but impressive, though – about a concert given in Iași by little Enescu, which records the presence of the musician's father. Full of emotion (or thus left in Neculcea's memory) he was presented to him by Eduard Caudella.

Fig. 2: Letter – Eugeniu Neculcea to George Enescu, pg. 1, MNGE archive

The friendship of the two young men was preserved over time, as evidenced by those memories, placing them both in Paris. The author of the letter evokes Enescu's recitals at which he was almost always present, as well as a special event, which took place in 14 Brussels Street (the musician's residence since 1904). Here he would have played, in front of Montoriol Tarrés, the Piano and Violin Sonata in A major by César Franck. We recall that Enrique Juan Montoriol-Tarrés (Figueres, October 28, 1876 – Figueres, February 1, 1951) was a Spanish pianist, close to his fellow countrymen Enrique Granados (1867–1916), dedicated to scores such as El Pelele in the Suite for Piano entitled Goyescas. Settled in Paris, he made Granados' creations known to the public in the French capital, including an article about the Spanish composer, published in the Parisian magazine La Revue Musicale in January 1913.

Fig. 3: Enrique Montoriol-Tarrés (Drawing, about 1900-1906 © Hermenegildo Anglada i Camarasa)

The moment of Enrique Montoriol-Tarrés' meeting with George Enescu evoked by Neculcea could have taken place in 1913 or 1914, when the Spanish pianist, with the help of critic Emille Vuillermoz, would have made possible a concert entirely dedicated to Granados' creation (on April 4, 1914), organized by Société Musicale Indépendante in Paris. It is important to note that both the founders of the society – Gabriel Fauré, Maurice Ravel, Charles Koechlin, Florent Schmitt, and the critic mentioned above were professors and colleagues of George Enescu. Obviously, things are related, despite the limited information and their corroboration is essential, however, for the recovery of past events, especially when referring to George Enescu. Returning to C. Frank's Sonata, it was composed in 1886 as a wedding gift for violinist Eugène Ysaÿe, but it became a piece de resistance in George Enescu's repertoire. As far as we knew, he played it before 1900 in princess Bibescu's salon in Paris, where Proust would have listened to her in Enescu's interpretation, a fact recounted in his novel, In Search of Lost Time. Then there are noted other recitals in Paris, where he performed C. Frank's Sonata with Paul Goldschmidt (15 and 19 April 1913) and in Bilbao – Spain, with Maurice Dumesnil (12 January 1914). From this perspective, it could certainly be presented to Montoriol Tarrés at that time.

Fig. 4: George Enescu, violinist (MNGE Archive)

Another memory evoked in the letter is related to the concerts during the Great War, when Neculcea and Enescu met again in Bucharest and Iași, "in my house in Carol Street where the representatives of the French military mission came to admire you, with Marioara Ventura, Barozzi... " (Neculcea). The concerts held by George Enescu in the company of Romanian musicians during the terrible period of the First World War are well known, and here, considered memorable by one of the witnesses. Last but not least, it is worth noting the testimony of the admiration and attention shown by the Royal House of Romania to George Enescu, with whom, moreover, the author begins his letter. Queen Mary's article about the fulfillment of the "50 springs" of the Romanian musician had been read by Eugeniu Neculcea, on which occasion he considered it opportune to send him "some small common memories about our young women" (Neculcea). We are glad that he had this initiative, because it constitutes on the one hand – a new proof of the connection between two people of culture, and on the other hand – a reason to investigate more closely certain aspects of the musician's life. Dated Paris, October 22, 90 years ago, written in French, the letter ends with the following passage: "This will remind you of [...] the first young woman and I

Proceedings of the „George Enescu“ International Musicology Symposium „George Enescu” International Musicology Symposium will prove that Moldovans, [...] when they have common memories, and tell them, thus strengthening - to say the least - their sincere friendship, a friendship that, in my case, is doubled by an admiration and unseen. " (Neculcea).

ENESCU-MOTĂȘ

On the occasion of his 65th birthday, George Enescu was congratulated by numerous personalities, including Constantin Motăș and Romanian biologist, university professor, and taxonomist of international prestige, considered the founder of freato-biology.

Fig. 5: Constantin Motăș

Born on July 8, 1891, in Vaslui, he was one of those who greeted the musician on the occasion of his anniversary on August 19, 1946, addressing him the following wishes through a telegram, in Sinaia: "Many and fruitful years for the everlasting glory of Romanian music! The Motăș family and Professor Motăș".

Fig. 6: Telegram from C. Motăș to George Enescu, 19 Aug. 1946

We find out, therefore, that in George Enescu's entourage there was also a Romanian scholar with complex studies in Romania and France, who obtained a bachelor's degree at the Institute of Pisciculture and Hydrobiology in Grenoble in 1926 and his PhD in Biological Sciences at the University of the same city, two years later. Returning to the country in 1937, Constantin Motăș became a tenured professor at the Faculty of Scientific Studies of the University of Iași, then at the Faculty of Science of the University of Bucharest, subsequently occupying various other functions of management. We recall the management of the Museum of Natural Sciences in Iași (1937-1940), the Marine Zoological Station in Agigea-Constanta (1937-1940), the Zoological Station in Sinaia (1940-1957) and the "Grigore Antipa" Museum of Natural History in Bucharest (1944). After tough years of political imprisonment (1949-1956) – dictated by the political leadership of the time, Constantin Motăș was rehabilitated, being appointed Director of the Institute of Speleology "Emil Racoviță" in Bucharest. After two years (1958), he was assigned the quality of full member of the Romanian Academy, and until his death (January 1980, Bucharest) he presented his research in numerous international and national societies of hydrobiology, limnology, freato-biology, speleology, ecology, a.s.o. The common point of the two personalities of the Romanian culture and science, Enescu –Motăș, seems to have been Sinaia. Villa "Luminiş"– the house built by the musician at the foot of the Carpathians–is also the place where a work of fine art signed by Constantin Motăș, dated 1944, is kept. An amateur passionate about painting, he made the portrait of the composer who can still be admired today the walls of the living room of the villa. It is an expressive composition, in charcoal, which immortalizes George Enescu at the age of 63. Working as director of the Sinaia Zoological State between 1940-1957, it is assumed that C. Motăș was the guest of George Enescu at the Villa "Luminiș" during this time, leaving as a memory a portrait completed two years before the final departure from the country of the maestro.

Fig. 7: Charcoal portrait by C. Motăș, 1944 In the absence of other testimonies, a portrait from 1944 and a telegram from 1946 – both cultural assets from the patrimony of the "George Enescu" National Museum – attest to the friendship of two important academics, Enescu-Motăș, connects their names to the city of Sinaia, while creating a bridge between Romanian music and science. FERNAND HALPHEN TO GEORGE ENESCU

The last two names presented in this paper are, as I said, of some musicians who knew George Enescu. The first is Fernand Halphen. There are two letters in the MNGE Archive signed by him, both addressed to the Romanian musician. It is known that George Enescu was a colleague of F. Halphen during his 4 years at the Conservatoire de Paris (1895-1899). A French composer born in 1872, who became a friend of George Enescu despite the age difference, Fernand Halphen remained the sender of short epistles from which today we can find out directly not only the feelings of camaraderie that connected the two, but even some interesting adjacent information.

Fig. 8: Fernand Halphen, letter, 23 May 1897 (Arhiva MNGE)

This is the case of the meeting of the young Romanian musician with Gustave Lyon (18571936), the director of the Pleyel instruments factory in Paris, acoustician and renowned instruments builder. Appearing to be the intermediary of one of these meetings, Fernand Halphen wrote to George Enescu on May 23, 1897: "My dear friend, nothing could make me happier than the story of your meeting. I was convinced that you would pique Mr Lyon's interest. I wrote to him to thank him." The interest was probably mutual, if we consider that, later, George Enescu dedicated to Gustave Lyon Concert Allegro for chromatic harp, composed in 1904 as a competition repertory piece for the Paris Conservatory. And coincidentally or not, in his home in Paris Enescu had a Pleyel piano that today is in the museum's patrimony.

Fig. 9: Gustave Lyon

Fig. 10: Allegro de concert pentru harpă cromatică by G. Enescu; Cover of the score, with dedicated to Gustave Lyon

notes. Five years later, in 1909, Fernand sent George Enescu an invitation to lunch, written on musical

Fig. 11: Fernand Halphen, letter, 17 February 1909 (Arhiva MNGE)

A joke between two musician friends, fondly kept by its recipient... Despite the busy agendas of that period, of George Enescu's busy concert life, both composers kept in touch, as can be seen in some of the situations recorded in the press articles of 1910.

Fig. 12: George Enescu, aprox. 1909 (Arhiva MNGE)

George Enescu – as a violinist, accompanied on piano by his colleague, performed on April 1st, in a private matinee organized by Mrs. Willy Blumenthal, Fernand Halphen's Sonata for violin and piano. As a rematch, Enescu’s Octet received a presentation due to Geloso and Chailley Quartets in the Parisian salon of the Halphens, on May 8.

Fig. 13: Fernand Halphen, oil on canvas, by Auguste Renoir. ©RMN – Grand Palais (Musée d' Orsay)/ René Gabriel Ojéda

Even 9 years older, coming from a family with a significant material situation (which is why the Orsay Museum in Paris still preserves today a portrait of the little Fernand commissioned by the parents to the painter August Renoir, in 1880), the two musicians had as common points the same teachers and colleagues at the Paris Conservatory, but especially the passion for music, manifested even during the First World War. Like George Enescu, Fernand Halphen tried to mitigate the impact of horrors on the front, appealing to amateur musicians whom he organized in an orchestra with which he performed between 1914-1917 in France. Put in the service of the homeland, Fernand Halphen's life came to an abrupt end, at just 45 years old, in 1917. And for this reason, the documents from the archive of the "George Enescu" National Museum that keep the evidence of the friendship between the two musicians seem to us even more valuable, deserving to be brought to the attention of the general public.

GEORGE ENESCU AND CLARA HASKIL

Finally, Enescu – Haskil: two names with a special resonance in the history of Romanian and universal music; two personalities marked by genius, united by the same and great passion for music. Their connection is brought to the fore through documents from the Archive of the "George Enescu" National Museum, brought to light on the occasion of the publication of the volume George Enescu. Correspondence – Vol. II, Editura Muzicală, București, 2020 edited by myself. The destinies of the composer and of the pianist intersected, the latter "stepping" – symbolically – in the footsteps of the master. Endowed with that fabulous musical memory and the ability to learn an instrument without a teacher (violin), she studied also in Vienna, then at the Paris Conservatory, later knowing that elite musical world, having joint stage partners, friends or even those and meccena. It is difficult to say to what extent the few concerts given together with George Enescu over time, the few direct (or indirect) correspondence sheets aimed at the two, the memories of third parties that place them simultaneously on the same stage constitute the evidence of a close friendship, the fact is that without significant admiration and mutual respect, these human and professionals would not have been preserved over more than 3 decades.

First meetings With a notable concert debut in Vienna and amazing chronicles at just 10 years old, Clara Haskil was taken by her uncle to Paris, where she tried two years in a row, without success, to be admitted to the piano classes of the Conservatory. However, following the preparatory ones of Mrs. Chéné, encouraged by professors Joseph Morpain and Gabriel Fauré, she was admitted, in 1907, to the piano class of Alfred Cortot, then in her first year of teaching. Clara Haskil graduated from the Conservatory with a "Premier Prix" in 1910, when George Enescu was part of the jury (Haskil, 1992, p. 336).

Haskil sings Enescu It is interesting to note that in 1911, Clara attended a recital (recorded in the press by E. D. Fagure, in Adevărul, February 23, 1911) which included Pavana from the Suite for Piano Op. 10 by George Enescu (finalized and awarded by the French magazine Musica in 1903, then published in 1904). This will become one of the few Enescu creations included in the pianist's repertoire (along with the Third Sonata for piano and violin op. 25, "in Romanian folk character" and the 3rd Sonata for solo piano in D major), Clara not being – according to the confessions of her collaborators, confirmed by the titles in the repertoire of concertos – too fond of modern music. How exactly she came into contact with suite op. 10, not tim tim, but the fact that Alfred Cortot, her piano teacher, was in the jury that awarded this Enescu work the First Prize – may be a mere coincidence – or not.

Fig. 14: Clara Haskil, photo – post card (arhiva MNGE)

Enescu, Haskil and the Royal House of Romania And because we have proposed a survey of the "common points" between Enescu and Haskil, we note the presence of both on the stage of the Romanian Athenaeum in 1909, a moment that marks the concert debut of Clara in Romania. Both she (being 14 years old) and George Enescu (aged 28) played, in different concerts, under the baton of Dimitrie Dinicu, the founder of the Orchestra of the Ministry of Public Instruction in Romania: Haskil – in January, Enescu – in December. Moreover, it seems that the cellist Dimitrie Dinicu presented Clara to Queen Elizabeth (Carmen Sylva – the protector of George Enescu). The tradition would have continued, the pianist being then introduced by George Enescu and his wife, Maruca, to the next sovereigns: Queen Mary and King Ferdinand (Cf. Curierul israelit, 19 Nov. 1922, cited by Jérôme Spycket in: Clara Haskil, Ed. Muzicală, București, 1987, pg. 336-337).

Mutual Meccenas: The Princess of Polignac and Queen Elisabeth of Belgium If George Enescu has enjoyed a growing success in the French capital, he manages to assert himself both as a composer and as a performer and conductor, about Clara Haskil cannot be said the same thing. For her, Paris has always been a place she has repeatedly tried to conquer. The city didn't seem to be favorable to her, either during her studies or afterwards. The scoliosis and inhumane treatments to which she was subjected for a period of 4 years (1914-1918) at the sanatorium in Berk removed her from the capital of France, where – once restored, she returned burdened by hard weights. She lived for a long time her his protector, Uncle Abraham, who had (beyond his good intentions) a rather negative influence on the pianist's psyche. After his death, Clara saw herself almost alone. But she enjoyed the friendship of people who always remained loyal to her. Among them were several people who were also in George Enescu's entourage: Winaretta Singer, Prince of Polignac and Elisabeth, Queen of Belgium.

Fig. 15: Winnaretta Singer, Princess de Polignac, self portrait in oil

The wife of Prince Edmond de Polignac – a French aristocrat, composer and meccena, the director of the Singer sewing machine business, Winaretta Singer created with her husband an influential artistic salon in Paris, which became the center of an effervescent cultural life that brought them together in the early 1900s, some of the most important representatives of the arts: Proust, Cocteau, Monet, Chabrier, d'Indy, Debussy, Fauré, Ravel, Stravinsky, Enescu and many others. A controversial figure, however, she supported many artists, including, notably, Clara Haskil. Not having for a long time a home of her own, Clara had become a constant presence of the Princess’ salons (sometimes referred to, in her correspondence, as aunt),who not only housed her, but supported her, motivated her, put at her disposal her pianos to study, traveled together to her various residences from Italy (Palazzo Contarini Polignac in Veniceti) or Switzerland, giving her for years a comfortable monthly annuity to cover her various expenses. Without having any other job other than that of a pianist, Clara Haskil went through extremely difficult periods, the only sources of income being her concerts – not too numerous (in her youth, at least). There were other friends who supported her financially in the difficult times, too (Mrs. Gelis, Mrs. Desmarais), but the Prince of Polignac is distinguished by his circumstances and generosity. Remaining in the sphere of patronages, it happens that in the house of George Enescu in Meudon, where she settled after the First World War, Clara Haskil remembers that she met Elisabeth,

Vol . XX, 2021 Vol. XX, 2021 Queen of Belgium. The situation is depicted with humor in one of the letters of the pianist who, at that time, does not know who she is talking to, behaving very naturally even when Elizabeth invited her in her car to leave together from Enescu. A violinist, but she is also a student and a good friend of the maestro, the one accountable for the Belgian premiere of the opera Oedipe and one of the few friends who were close to the musician in the years before the end, Elisabeth of Belgium is therefore also among the protectors of Clara Haskil.

Fig. 16: Queen Elisabetth of Belgium

Enescu-Haskil Recitals Over time, the direct collaboration between Clara Haskil and George Enescu resulted in several recitals and joint concerts, held in Switzerland and France. The first occasion when the names of both musicians were found on the same poster was a concert made up exclusively of Enescian creations. Next to a sonata for piano and violin and the Quartet op. 22, no. 1, the program featured the Suite op. 10 by George Enescu, performed by Clara Haskil. The concert took place in the Lausanne Conservatory Hall on 5 February 1921 (the date of the first audition of Enescu’s Quartet). Interestingly, Enescu introduced himself to the public both as a pianist and as a violist – performing also the braccio part from his quartet. 1929 was the year of another Enescu-Haskil collaboration, this time playing together, at the Salle des Agriculteurs in Paris, within a soiree of Romanian music organized by the Rotschild Foundation. On that occasion, the two presented to the public the Sonata for Piano and Violin of the composer Marcel Mihalovici. Becoming a close friend of George Enescu, Mihalovici was awarded the "George Enescu" Composition Prize in 1919, 1921 and 1925, for the pieces: Nocturne for piano, Sonata for piano and violin, Introduction et mouvement symphonique. In 1954, one year before his death, George Enescu entrusted him with the last indications for the completion of the score of the Chamber Symphony, op. 33. Returning to George Enescu and Clara Haskil, we highlight a series of four recitals and concerts held in1935, 1948 and 1952, supported by the two artists and consecrated to the two artists and consecrated to the two artists, scattered in three different decades of the 1900s, they remained true landmarks in the international musical life. On 8 February 1935, in Vevey (Switzerland), they performed Sonata No. 1, op. 78 by Johannes Brahms. Three days later, on February 11, 1935, in Geneva (Switzerland), George Enescu and Clara Haskil presented to the public, among others, the creations by Schumann (Sonata no. 2, op. 121) and Enescu (Sonata no. 3, op. 25, "in Romanian folk character").

Fig. 17: Poster of the Geneva recital, 11 Feb. 1935 (MNGE archive)

1935:

"The recital given on Friday in front of a full and vibrant hall was a real delight. Brahms, Schumann, Beethoven at the encore were played with that thrilling perfection that creates life and beauty. As for the technical value of these two artists – which is transcendent – the interesting and acrobatic Sonata in A minor by Enescu, we are shown the indisputable value of these two greats and attractive Romanian virtuosos" (L.V.F.). Regarding the same event, Charles Koella wrote in the Gazette de Lausanne, on February 12, 1935: "One of the most magnificent concerts of the season (...) No word could express the emotion that engulfed us listening to Adagio from Schumann's Sonata in D minor under the fingers of these two Romanians equal through genius, through the deep sense of music, through the incomparable beauty of the performance" (Haskil, p. 317) A few months after these two concerts, Clara sent Enescu, on June 5, 1935, a card signed by her and her close friend, the Swiss composer and pianist E. R. Blanchet, in which she wondered when they would play the master's sonata together.

Fig. 18: Card adressed to G. Enescu by Clara Haskil & E. R. Blanchet, 5 June 1935 (MNGE archive)

Even if this did not happened, fate will bring back together the two Romanian musicians in 1948, when, on October 8th, the same Swiss city Vevey hosted a new recital of sonatas for violin and piano by Mozart, Bach, Beethoven and Brahms in the performance of the duo Enescu-Haskil. In the Gazette de Lausanne of October 12, 1948, it is mentioned: "Never before has Romania made us such a great gift. For two hours the very numerous auditors– there was no free place – experienced a state of mind full of exaltation (...) The success of the two artists reached its maximum when they performed in the encore, in a fusion of two souls and two voices, the admirable Andante in Beethoven's Ninth Sonata". (Clara Haskil, A life given to music, p. 323). The event was also described by Madeleine Lipatti, the wife of pianist Dinu Lipatti, who said: "With Enescu it was not only a musical collaboration, it was the same spring that erupts, the same breath that animates them, that same blood that gave life to music. I then had a vision of paradise." (in an interview for Radio Cologne, December 5, 1965, quoted in the volume Clara Haskil, A life given to music, p. 183). The last concert of the two was held on June 19, 1952, in Strasbourg, in France, where Clara Haskil performed Concerto no. 4 by L. van Beethoven, with George Enescu at the conductor's desk. Dernières nouvelles d'Alsace of 21 July 1952 recounts this fact under the title "Symphonic Concerto

Vol . XX, 2021 Vol. XX, 2021 conducted by Mr. George Enescu", and Carrefour – in his article entitled "The Great Stays of Strasbourg" signal the performance of the two artists in terms of elogio.

Fig. 19: George Enescu and Clara Haskil after the 1952 concert (MNGE archive)

It was one of the significant concerts held in the last years of the composer's life, seemingly tireless, particularly active musically, but reaching an advanced age – 71 years. Enjoying, late, a welldeserved appreciation, Clara Haskil (herself being 57) was engaged in numerous concert events, exhausting. Knowing a continuous ascent, she collaborated with great performers, conductors, performing both in Europe and in America. A trivial accident, which occurred on December 7, 1960, suddenly ended a life and activity put in the service of music, leaving, like the great spirits, a great void in its wake. We are glad to remember these few common aspects of the biography of the two Romanian musicians: Clara Haskil and George Enescu, illustrated through the prism of the documents from the MNGE archive. So far, a lot has been written about George Enescu and it is difficult to reveal new things about him. However, some of the documents from the institution's archive manage even today to highlight less known aspects of the musician's life. Thus, the personality of the creator takes a firmer shape, sketched by those who have been with him fora while, their testimonies becoming important. World-renowned historians, scholars, composers or performers – the four signatories of the corresponding pages mentioned above have established themselves as leading personalities in their own fields of activity. It is a proof of the type of people who were part of the musician's entourage, of the fact that he was appreciated not only by his colleagues, but also by various other personalities of the Romanian culture and society. All noticed the human and professional qualities of George Enescu, highlighting them in the pages of the cited correspondence. We hope that their presentation at this symposium, revealing them from the archive in which they are kept, will have achieved its purpose stated above.

BILIOGRAPHY: ***. (1917, iunie 17). La musique pendant la guerre: revue musicale mensuelle. (9b). ***. (n.d.). Academician Constantin C. Motăș. Retrieved iunie 29, 2020, from www.familiamotas.ro ***. (n.d.). Constantin Motăș. Retrieved iunie 29, 2020, from http://150.uaic.ro/personalitati/biologie/constantinmotas/?lang=en ***. (n.d.). Dr.Constantin Motăș. Retrieved iunie 29, 2020, from https://antipa.ro/personalitati/dr-constantin-motas/ Enescu, G. (2020). Corespondență (Vol. II). (I. Nițu, Ed.) București: Editura Muzicală. Florinela Popa, Camelia Anca Sârbu. (2009). Documente din arhiva MNGE (Vol. II). București: Editura Muzicală. Haskil, C. (1992). O viață dăruită muzicii. București: Editura Muzicală. S. Cărăușu, D. Cărăușu, V. Cărăușu. (1976). Scrieri asupra vietii si operei profesorului Constantin Motas. Studii și comunicări, revista științifică a Complexului Muzeal de Științele Naturii. Retrieved from Studii și. Spycket, J. (1987). Clara Haskil. București: Ed. Muzicală.