|ORCHESTRA,: Symphony; Symphonie Concertante; Second Symphony; Third Symphony; Three Dances; Second Suite; Rumanian Rhapsodies.|
|CHAMBER MUSIC: Octet; String Quartet; Dituor for Wind Instruments; Chansons de Clement Marot (for violin and piano).|
|Pieces for piano, etc.|
About Georges Enesco:
Monde Musicale 41 :223June 1930; Revue Musicale 13 :206November 1932.
Important recordings of music by Georges Enesco:
VICTOR: Rumanian Rhapsody No. 2.
"His almost angular drawing . . . depicts now a jota danced in some shady patio, now a tiny splash of water on a moonlit terrace, now a monk, now a Moor; now the pomp and circumstance of a Spain that is past; now the healthy vitality of a Spain that is alive."--A. A. FRASER
MANUEL DE FALLA, the uncontested dean of modern Spanish music, was born in Cadiz, in Andalusia, on November 23, 1876. His mother, a very talented pianist and sensitive musician, gave him his first instruction upon the piano. Her teaching proved to be so fruitful that, at an early age, Manuel could make his first public appearance with her in a performance of Haydn Seven Words from the Cross arranged for four hands. The playing of the piano, however, never appealed very strongly to de Falla; from an almost tender age he knew that he would be a composer, and not a virtuoso. And so, entering the Madrid Conservatory, he studied composition with great seriousness under Felippe Pedrell, often referred to as the father of modern Spanish music, who influenced the boy's entire outlook and first inspired him to resort to indigenous Spanish music as the idiom for all his future composition.
Maturity and fame came to de Falla at a comparatively early age. After experimenting with several unimportant works for the stage in a light idiom, de Falla composed, in 1905, La Vida Breve which earned the enviable distinction of being crowned by the Academia de Bellas Artes, bringing him, therefore, an immediate prestige. La Vida Breve is a remarkably mature work, and ranks with the better creations of de Falla. "He has surrounded the story with all the color and glory of a full, copious, symmetrical art, entirely free from grandiloquence and far-fetched affectation," commented Georges Jean-Aubry.
"All the musical drama unfolds, expands, and ends tragically without any useless thunder. . . . But the rarest and most wonderful thing in all this is the taste with which he has everywhere expressed the feelings of his personages, the framing scenery, and the modulations of the action. Scattered all over____________________