George Georgescu, an exceptional career
Key moments from an exceptional journey.
Born in 1887 in Sulina, George Georgescu is the son of Elena Ștefănița and Leonte Georgescu, the head of the Porto-Franco customs. During his childhood, he demonstrated a natural inclination for music, teaching himself to play the violin and leading the choirs at the schools he attended.
After attending classes in Galați, Giurgiu, and Bucharest, he entered the Bucharest Conservatory in 1906, where he studied cello under professors Constantin Dimitrescu and Dimitrie Dinicu. During his student years, he performed with the Orchestra of the National Theater and the Operetta Orchestra, even conducting them on several occasions.
Following his brilliant graduation from the Conservatory in 1910, he continued his studies at the Hochschule für Musik in Berlin, further refining his cello skills under the renowned Hugo Becker and studying conducting and composition with Arno Kleffel and Robert Kahn.
The young cellist had the opportunity to replace his teacher, Hugo Becker, in the renowned Marteau Quartet, following Becker's recommendation. He performed with the ensemble from 1911 to 1914.
During this time, George Georgescu also established himself as a soloist with major symphonic ensembles across Europe, particularly in Germany, and gave chamber recitals, building a solid reputation. At the same time, he earned the admiration of prominent figures in the music world, such as Richard Strauss, Arthur Nikisch, and Felix Weingartner.
“To my dear student-teacher and friend George Georgescu,
With gratitude for the artistic delights of Bucharest.
As a prophet of a glorious conducting career, already affirmed.”
Richard Strauss
In 1916, following a cramp in his left hand, he was forced to give up his solo career. Encouraged by Richard Strauss to devote himself to orchestral conducting, he became, for a year, the disciple of Arthur Nikisch, one of the most acclaimed conductors of the time.
1 - Arthur Nikisch (1855-1922) is considered among the first great modern conductors. He conducted the orchestras “Gewandhaus” in Leipzig, the Berlin Philharmonic, the Boston and London Symphonies. His conducting style influenced the great orchestra chiefs of the 20th century: Furtwängler, Toscanini, Szell, Karajan.
February 21, 1918, marks George Georgescu's debut as conductor with the Berlin Philharmonic Orchestra. The program included Tchaikovsky’s 6th Symphony "Pathetica," Grieg’s Piano Concerto Op. 16 (with soloist Gertrude Hirschler-Marcks), and Strauss's symphonic poem Till Eulenspiegel.
His performance on the podium was met with praise in the press:
"As a debutant conductor, George Georgescu, whom I have known until now as an excellent cellist2, makes his appearance!" wrote the Berliner Tageblatt on February 27, 1918. "Last night's concert under his direction was a brilliant success, leading us to believe that he will experience great satisfaction in his conducting career." 3
On the same date, Das Kleine Journal exuberantly praised the young conductor: "For the first time, George Georgescu conducts a concert with the Philharmonic!"
As a result of his success, the young Romanian musician was invited to conduct additional concerts with the Berlin Philharmonic, earning recognition in the press. On February 20, 1919, the columnist from Allgemeine Zeitung wrote:
"George Georgescu has developed a personal style of conducting, and through his technique, supported by his warmth and musical passion, his elegant, artistic performance envelops and captivates you!" 4
The acclaim he received in Germany soon reached Romania as well. Dimitrie Dinicu, the director of the Ministry of Public Instruction and Cults Orchestra, invited him to perform in Bucharest. His debut with the Ministry of Public Instruction Orchestra on January 4, 1920, at the Romanian Athenaeum marked the beginning of a collaboration that would span four decades. As a result, the period associated with George Georgescu became a landmark in Romanian musical life, known for its unparalleled professionalism on the country's foremost stage.
2 - Leopold Schmidt, “Aus den Konzerten” in Berliner Tageblatt und Handels-Zeitung, Abend-Ausgabe, p. 2, February 27, 1918.
3 - Heinrich Maurer, without specified title, in Das kleine Journal, Berlin, 27.02.1918.
4 - In Tutu Georgescu, George Georgescu, Music Publishing House, Bucharest, 2001, p. 78.
5 - Dimitrie Dinicu (1868-1936) - cellist and teacher of cello and chamber music at the Bucharest Conservatory (who also mentored George Georgescu as a student). For 14 years, he will improve the performance of the orchestra.
In April 1920, George Georgescu was appointed artistic director of the "Philharmonic" Actions Society, and the Orchestra of the Ministry of Public Instruction was renamed the Philharmonic Orchestra. Under his leadership, the Bucharest Philharmonic would become one of the world's foremost symphonic ensembles.
He conducted 748 concerts, undertook more than 15 tours abroad (1922, 1925, 1934, 1941, 1942, 1955, 1956, 1957, 1958, 1959, 1961, 1962, 1963), conducted 214 soloists and recorded 127 first auditions in the orchestra's repertoire (79 works from international literature, 48 from Romanian literature).
From the very first season at the Philharmonic's podium, he conducted 14 concerts and greatly expanded the repertoire. Support also came from King Ferdinand, who summoned him and said :
"Dear Georgescu, until now we have had an orchestral ensemble whose conductor, despite all his efforts, did not possess the brilliance required for this position. Today, through you, we have a true orchestra leader, but we do not yet have a real orchestra. I consulted with the Queen, and we decided to go to Vienna to hold a competition for orchestral musicians to complete the sections. You are capable of recognizing the needs of a Philharmonic. Stay as long as it takes. You will have our full support."6.
As a result of the selection process, the Philharmonic became, for the first time, an ensemble of 100 instrumentalists. Director Georgescu also facilitated the acquisition of new instruments and hired talented foreign musicians from Vienna, who became section leaders in the Bucharest orchestra.
In addition to the many concert series held at the Athenaeum, featuring a wide variety of programs, Georgescu established youth seasons with free admission and regularly organized festivals aimed at introducing the Romanian public to great works of universal music.
These festivals featured the works of a single composer, such as those dedicated to Beethoven, Haydn, Richard Strauss, Brahms, Wagner, Tchaikovsky, Mussorgsky, Rachmaninoff, Prokofiev, Dvořák, and others.
With strict discipline, tact, and rigor in interpreting the musical text, Georgescu succeeded in harmonizing the sound of the ensemble, creating a distinctive tone that is characteristic of any orchestra ranked at the highest level. On March 9, 1921, he conducted the complete Ninth Symphony of Ludwig van Beethoven for the first time in Romania, with the participation of the "Carmen" Choir, conducted by Dumitru Georgescu Kiriac.
6 - From "George Georgescu", by Tutu Georgescu, Music Publishing House, Bucharest, 2001, p. 87.
Beginning in 1920, when he assumed artistic direction of the Orchestra of Public Instruction — later known as the Romanian Philharmonic — the young conductor embarked on a mission to acquaint audiences with classical masterpieces performed by the world's leading orchestras, alongside outstanding contemporary works by both Romanian and international composers.
This goal, pursued with perseverance throughout his career, was his bold vision to bring a new dynamic to the country's musical life and elevate Romania's premier orchestra to the level of the world's most renowned ensembles.
Numerous endorsements of this effort come from the international press and prominent musical figures who shaped the 20th century, as seen in the section Testimonials.
Far-reaching works were performed in Bucharest in the first audition, shortly after their first absolute audition, such as:
- Night Transfigured by Arnold Schönberg in 1922 (p.a.a. 1903),
- The Firebird by Igor Stravinsky in 1925 (p.a.a. 1910),
- The First Symphony by Sergei Prokofiev in 1927 (p.a.a. 1918),
- Petrushka by Stravinsky in 1927 (p.a.a. 1911),
- Impressions from Music-Hall by Gabriel Pierné in 1928 (p.a.a. 1926),
- Pacific 231 by Arthur Honegger in 1928 (p.a.a. 1923),
- The Tomb of Couperin and the Bolero by Maurice Ravel in 1929 (p.a.a. 1917) and 1930 (p.a.a. 1928),
- The Pines of Rome by Ottorino Respighi in 1931 (p.a.a. 1924),
- Rhapsody on a Theme of Paganini by Sergei Rachmaninov in 1937 (p.a.a. 1934),
- Symphony I by Dmitri Shostakovich in 1937 (p.a.a. 1926),
- Le sacre du printemps by Igor Stravinski in 1937 (p.a.a. 1913),
- Rachmaninov's Third Symphony in 1953 (p.a.a. 1936),
- Prokofiev's Seventh Symphony in 1954 (p.a.a. 1952)
- Shostakovich's Piano and Orchestra Concerto No. 2 in 1959 (p.a.a. 1957).
The stage of the Romanian Athenaeum has hosted renowned figures from the international music world, including composers Maurice Ravel, Béla Bartók, Pietro Mascagni, Igor Stravinsky, Alfredo Casella, Karol Szymanowski, and Vincent d'Indy; prestigious conductors such as Felix Weingartner, Hermann Scherchen, Bruno Walter, Erich Kleiber, Herbert von Karajan, Gabriel Pierné, and Paul Paray; pianists Alfred Cortot, Arthur Rubinstein, Claudio Arrau, Wilhelm Backhaus, Marguerite Long, Paul Wittgenstein, Wilhelm Kempff, Eugen d'Albert, and Walter Gieseking; violinists Jacques Thibaud, Joseph Szigeti, Bronislav Hubermann, Alma Moodie, Georg Kulenkampff, and Henryk Szeryng; as well as cellists Emmanuel Feuermann, Gaspar Cassadó, Enrico Mainardi, and Pablo Casals, who all brought brilliance to the concert seasons in Bucharest.
Among the performers who made their debut under the baton of George Georgescu are pianist Claudio Arrau (on February 14, 1919, in Berlin, with the Berlin Philharmonic Orchestra), violinist Henryk Szeryng (on January 6, 1933, in Warsaw, with the Warsaw Philharmonic Orchestra), and cellist Antonio Janigro (in 1937, in Bucharest, with the Bucharest Philharmonic).
Numerous Romanian musicians who would later achieve international acclaim were supported at the start of their careers by George Georgescu. Under his direction, soloists such as Dinu Lipatti, Lola Bobescu, Valentin Gheorghiu, Ion Voicu, Radu Aldulescu, and Vladimir Orlov performed early in their careers.
In 1922, George Georgescu became the director and conductor of the Romanian Opera in Bucharest, while maintaining his role as director of the Philharmonic. This led to the merger of the Philharmonic Orchestra with that of the Romanian Opera, forming an ensemble of 120 instrumentalists that would serve both institutions under his leadership.
In parallel with his work at the Philharmonic, Georgescu conducted the Romanian Opera for eight seasons. His objectives, as with the Philharmonic, included raising the quality of performances, staging a diverse and refreshed repertoire, attracting top-tier soloists, and introducing innovative productions. His leadership significantly elevated the professional prestige of the institution.
During his directorship, Georgescu supported the careers of artists such as George Niculescu-Basu, George Folescu, Maria Snejina, Alexandru Lupescu, Sigismund Zaleski, Constantin Stroescu, Victoria Costescu-Duca, Elena Saghin, Virginia Miciora, Mimi Nistorescu, Elena Basarab, Emilia Guțiora, Margareta Metaxa, Florica Cristoforeanu, Șerban Tassian, Mihail Știrbei, and Petre Ștefănescu-Goanga.
Due to the international prestige of conductor George Georgescu, renowned soloists such as Franca Somigli, Feodor Şaliapin, and Germaine Lubin7 accepted his invitation to perform at the Romanian Opera or on the stage of the Romanian Athenaeum.
During his three terms as director and conductor of the Romanian Opera in Bucharest, George Georgescu conducted 112 performances and introduced 56 premieres to the Opera Theatre's repertoire8.
Among these, 18 works were performed for the first time, including Aida by Giuseppe Verdi, Carmen by Georges Bizet, Fidelio by Beethoven, The Magic Flute by Mozart, Manon and Thaïs by Jules Massenet, L'Heure Espagnole by Maurice Ravel, Parsifal, Die Walküre, The Flying Dutchman by Richard Wagner, Salome by Richard Strauss, Tosca and Iele by Giacomo Puccini, The Bartered Bride by Bedřich Smetana, A Stormy Night and Wedding in the Carpathians by Paul Constantinescu, Faust by Charles Gounod, and the ballet The Toy Box by Claude Debussy, all conducted by him.
On his initiative, the first Romanian ballet school was established, fulfilling the essential need for training performers in the ballet productions of the Romanian Opera.
7 - Mihai Cosma, Opera in Romania of the 20th Century, in New Histories of Romanian Musics, vol. II, Editura Muzicală, Bucharest, 2020, p. 128.
8 - Georgescu added the following 37 titles to the repertoire of the Opera Theatre: Mephistopheles, The Barber of Seville, Lakmé, Navarraise, Samson and Delilah, The Masked Ball, Aragonaise, Cavalleria Rusticana, Pagliacci, La Traviata, La Wally, Boris Godunov, Fedora, Hänsel and Gretel, Rigoletto, Les Contes d'Hoffmann, The King of Ice, Ebreea, The Three-Cornered Hat, La Manzavre, Invitation to the Waltz, Chopiniana, Coppélia, The Secret Marriage, The Girl from the Far West, At the High Road, Tiefland, Andrea Chénier, Ernani, Lucia di Lammermoor, The Great Evening, Madonna's Jewels, At the Market, Iris, Javotte, Daphnis and Chloe, and Luiza.
Between 1918 and 1964, George Georgescu conducted 268 concerts, 86 soloists, and 45 orchestras.
In addition to his work in Romania, he was frequently invited to conduct prestigious orchestras across Europe, including in Paris, Monte Carlo, Vienna, Salzburg, Berlin, Rome, Florence, Dresden, Leipzig, Frankfurt, Madrid, Barcelona, Constantinople, Prague, and Sofia. Once the Bucharest Philharmonic Orchestra reached the desired level of excellence, Georgescu also led numerous international tours with the ensemble.
Between 1926 and 1927, Georgescu was invited by Queen Maria to accompany her delegation to the United States. During this trip, impresario Arthur Judson suggested that the Romanian conductor replace Arturo Toscanini, who was unavailable due to health reasons, at the New York Philharmonic and the Washington Opera, conducting an extensive series of concerts and opera performances.
The chronicles of the time recount the impressions left by the Romanian musician. The Musical Courier of New York, on January 20, 1927, noted:
“George Georgescu, the Romanian conductor, led the New York Philharmonic Orchestra in place of Toscanini, who was still ill. After an electrifying performance of Smetana's The Bartered Bride, he presented a delightful interpretation of Schubert’s Symphony, capturing the deep beauties of the score. It was sentimental enough, without slipping into sentimentality. The balance of the program was performed with expressive means, turning the evening into a true artistic delight. Don Juan by Richard Strauss was executed with liveliness, and Mr. Georgescu’s skill was simply captivating.”9
Conductor Eugen Ormandy, who was a cellist in the New York Orchestra at the time under Georgescu’s baton, recalled many years later:
“Richard Strauss’s Don Juan will remain in my memory as one of the most moving performances of this symphonic poem I have ever experienced.”10
At the same time, Georgescu was invited to conduct the Washington Opera in performances of La Bohème and Carmen. The Washington Evening Star declared,
“The way Georgescu wields the baton in these performances is a historic event in the annals of the Washington Opera. As he conducts, he pours his entire soul into his art. His gestures are full of individuality and extreme expressiveness, achieving the desired effects with brilliance. He pays attention to every note in the score and clearly makes every effort to ensure that the orchestral work does not overpower the singers.”
The Washington Post wrote, “Great interest was sparked by the appearance of the new conductor of the Washington National Opera, George Georgescu, a renowned Romanian musician. [...] Georgescu received strong applause. He was very much in control of himself, and it quickly became clear that Puccini’s complex score, with its delightful and graceful passages, held no secrets for him. Despite the limited time he had for rehearsals, he mastered all the members of the expanded orchestra. A few bars from the first act were enough for the audience to realize that the new conductor was a true master of his art. The attacks were wonderful, and his tempos and nuances were a delight to hear. He conducted not just with the baton, but with his entire body, which moved seamlessly with the rhythm and captivating charm of Puccini’s score.”12
Returning to Europe in the spring of 1927, Georgescu first conducted the Colonne Orchestra, and in the following years, performed numerous concerts in Paris, Monte-Carlo, Rome, Budapest, Warsaw, and beyond. Reflecting on a concert with the Paris Symphony Orchestra under Georgescu's baton,
Florent Schmitt wrote in the Feuilleton du Temps:
“Mr. Georgescu presents us with an extraordinary Domestica, a pearl, a dream! What to say — this heavy, indigestible, long, diffuse, and, above all, irredeemably tonal opera is transformed with a single touch of his magic wand into a masterpiece."
Even Strauss himself would no longer recognize it. [...] Unfortunately, not all conductors possess the extraordinary magnetism of Georgescu, that drive and, at the same time, clarity that captures every detail, that miraculous instinct for nuance, and the ability to discern the more or less significant importance of successive layers.13
Emile Vuillermoz wrote in the Excelsior on January 13, 1930:
“For a long time, the regulars of our concerts had not heard such applause, nor such prolonged ovations. It was delirium. We are not surprised. Georgescu is a conductor whose dynamism extends beyond just guiding the instrumentalists.”
"Its fluidity extends and radiates around the stage, much like a sound wave propagates through the air. Few possess such powerful influence over a collective of performers or an audience. Under his baton, the Paris Symphony Orchestra had an extraordinary sound. [...] As for Florent Schmitt's Burlesque Ronde, Georgescu conducted it with commanding authority, and Schmitt owes part of his success to the mastery of a conductor of the highest caliber, whom I am pleased to salute and congratulate not only for the exceptional service he renders to his country’s music but to music worldwide.”14
At the end of 1930, Georgescu returned to Bucharest to celebrate a decade of the Philharmonic's existence, a period during which he had successfully presented an impressive number of concerts, reaching up to 35 per season.
In May 1931, the Romanian conductor performed in Barcelona, and following his concert, a columnist for La Vanguardia remarked:
"Master Georgescu fully demonstrated the renown he holds in the musical world. He possesses an absolute command of timing, precise gestures, and a refined temperament. His performances are guided by a distinguished artistic taste and a scrupulous dedication to orchestral values. A great artist and an extraordinary talent!"15.
Among the many successes of his tours, a concert conducted in Warsaw in August 1933 stands out, as recorded in a chronicle in the newspaper Kurjer Warszawski:
"George Georgescu achieved a success last night that the Philharmonic had never known. He delighted not only the audience but even the performers, exceeding all expectations. Bach's Passacaglia was recreated by Georgescu, and its sublime interpretation is, of course, the result of his studies, talent, and refinement."16
At the end of 1933, George Georgescu gave two concerts in Monte Carlo, on December 20 and 22, with Gregor Piatigorsky and Jacques Thibaud as soloists. The columnist of the newspaper L'Éclaireur de Nice wrote:
"[...] Georgescu masterfully conducted the overture to Wagner's Singing Masters. [...] The audience applauded frantically for the great orchestra leader who surpassed himself and was truly unmatched." 17
In 1934, the Bucharest Orchestra undertook its second tour in Turkey, Bulgaria, and Yugoslavia under the baton of George Georgescu. A chronicle following the concert conducted in Istanbul noted:
"George Georgescu achieves with his orchestra the most refined sonorities. What variety in dynamic shades! What fine pianissimi and what sonic fullness in fortissimi! [...] He does not let anyone sing separately; each instrumentalist is obliged to give their best. [...] What expressive mimicry, what sovereign force in gesture, what constant mastery of the orchestra!"19
In 1937 and 1938, George Georgescu conducted the Hungarian Philharmonic four times in Budapest, with Alfred Cortot and Zino Francescatti as soloists. Referring to the concert on November 26, 1937, the columnist of the newspaper Hangverseny Zenekas noted:
"The concert of Master Georgescu had a nobility and conception that are inherent only to first-class European artists. In the musical art of Georgescu, the influence of the great masters is felt, he himself being a great master, who knows how to find the right musical style. The audience rewarded him with frenzied applause."20
In May 1940, George Georgescu was invited to conduct five performances of Mussorgsky's Boris Godunov at the Orchestra del Maggio Musicale during the Maggio Musicale Fiorentino Festival in Florence. Confirming the international level of the Romanian orchestra, the series of tours continued between 1941 and 1942, with performances in Austria, Czechoslovakia, Germany, and Bulgaria.
In August 1943, George Georgescu was invited to conduct at the Salzburg Summer Festival, where he achieved great success. The critic Otto Künz noted: "Georgescu conducted in Salzburg, and the frenzied applause could not express the full satisfaction that the hall wanted to show to the only foreign conductor invited to conduct this year in Salzburg."21
11 - Author not specified, title not specified in The Washington Post, New York, 10.01.1927
12 - Author not specified, title unspecified in the Washington Evening Star, New York, 10.01.1927.
13 - Florent Schmitt, “Les Concerts”, in Feuilleton du Temps, 8.02.1930
14 - Emile Vuillermoz, “Les Concerts”, in Excelsior, 13.01.1930.
15 - Author unspecified, “Palacio de la Música Catalana. El Maestro Georgesco”, in La Vanguardia, 22.05.1931, p. 14.
16 - Author not specified, title unspecified, in Kurjer Warsawski, 8.01.1933, in Lucian Voiculescu, George Georgescu. Fifty years of artistic activity, “George Enescu” State Philharmonic, Bucharest, 1957, p. 157.
17 - Author not specified, Title not specified, in L'eclaireur de Nice, 22.12.1933, in Lucian Voiculescu, George Georgescu. Fifty years of artistic activity, “George Enescu” State Philharmonic, Bucharest, 1957, p. 137.
18 - The first was in the year 1922 in Greece and Turkey.
19 - Leon Enkserdjib, “Le second concert de la Philharmonique de Bucarest au Saray”, unspecified newspaper, 24.05.1934.
20 - Tutu Georgescu, George Georgescu, Music Publishing House, Bucharest, 2001, p. 224—225.
21 - Otto Künz, Even the orchestra applauded, in the “Salzburger Zeitung”, 20.08.1943.
The political consequences in Romania following the end of the Second World War also affected George Georgescu's work, leading to his removal from the leadership of the Philharmonic at the end of 1944. Immediately after August 23, Georgescu found himself "purged for life" due to his performances of German music. Despite being an illustrious ambassador of Romanian art, he was unexpectedly abandoned by his former friends and admirers. The accusations against him were unfounded, as the conductor had never adhered to National Socialist ideology nor supported Nazi policies.
In September 1944, the Bucharest press accused him of being close to the German political regime, citing his tours in Germany and performances of German composers. Additionally, he was criticized for receiving invitations from the German legation in Bucharest and for his "dictatorial" conducting style with the Philharmonic Orchestra. Fortunately, this challenging period of his life did not result in more severe consequences, such as arrest by the communist regime. His return to musical life occurred in 1947, thanks to the intervention of George Enescu.
“In this year of George Georgescu's success, the truth is confirmed that art succeeds no matter what.
The light cannot be covered by a veil.”
Mihail Sadoveanu
Under the new policy dictated by ideological priorities, concerts and tours after 1945 were predominantly held in socialist countries. In 1954, George Georgescu's second directorship began at the Bucharest Philharmonic. His main goal was to maintain the Romanian orchestra at the highest level and to turn it into Romania's "visiting card." A sign of his success was the increasingly frequent invitations to participate in the most important festivals abroad.
Between September 21 and October 2, 1955, Georgescu conducted the Bucharest Philharmonic at the prestigious "Spring in Prague" Festival, and on October 22, he conducted the U.S.S.R. Symphony Orchestra in Leningrad, with Mstislav Rostropovich as soloist.
During the same period, Georgescu met Yevgeny Mravinsky, the principal conductor of the Leningrad Philharmonic, who wrote in an article:
"[...] Finally, in the autumn of 1955, I saw George Georgescu at the altar myself. To this day, I still remember that deep impression, that state of mind that the interpretation of Brahms's First Symphony, so dear to me, created for me. George Georgescu, with astonishing depth, revealed the uplifting ethical pages of this lyrico-philosophical symphony. The internalized treatment of the slow episodes of the symphony was of wise and overwhelming beauty. Undoubtedly, this immortal music found echoes in the spiritual and moral features of the conductor himself!"23
Concerts followed in Belgrade, Warsaw, Gdańsk, Poznań, and Leipzig. In all these concerts, crowned with unanimously recognized success, the programs chosen by the conductor included masterpieces of universal classical music as well as first auditions of contemporary music.
Also worth mentioning are appearances at other famous festivals such as "Autumn in Warsaw," the "Summer Festival in Salzburg," the "Franz Liszt Festival" in Budapest, the "Wagner Festival" in Monte-Carlo, the "Strauss Festival" in West Berlin, the Maggio Musicale Fiorentino, and the "Spring in Prague" Festival.
Due to his international notoriety, George Georgescu received an invitation from Dmitry Shostakovich to serve as a member of the jury for the Tchaikovsky Competition (1958–1964) in Moscow. He was also a member of the jury for the Marguerite Long-Jacques Thibaud Competition in Paris (1957 and 1963).
George Georgescu's influence extended to the first two editions of the “George Enescu” International Festival (1958 and 1961).The opening of the 1958 edition took place at the Athenaeum under Georgescu’s baton, featuring Enescu's Symphony No. 1 and Rhapsody No. 1. The highlight of the evening was the unexpected encore with the Bach Double Concerto, with Yehudi Menuhin, the soloist of the concert, and David Oistrakh, who was in Bucharest for another performance. This piece left a lasting memory at the “George Enescu” Festival for its symbolic significance: in the midst of the Cold War, an American and a Soviet artist performed together on stage.Among the festival's guests were conductors Carlo Felice Cillario, Sir John Barbirolli, Gennady Rojdestvenski, Carlo Zecchi, and Sacha Popov, as well as pianists Aldo Ciccolini, Monique Haas, Annie Fischer, and Claudio Arrau, among others.
The opening concert of the second edition was again conducted by George Georgescu and included two works by Enescu — Suite No. 1 and Rhapsody No. 1. Under his direction, concerts with soloists Valentin Gheorghiu and Sviatoslav Richter also took place. Thanks to George Georgescu's contribution, the festival, initially meant as a commemoration of the great Romanian composer, became a true celebration of music and an international landmark.
22 - GG was invited to conduct the Prague Radio Symphony Orchestra in 1951, with Valentin Gheorghiu as soloist.
23 - Viorel Cosma, George Georgescu Conductor. Testimonies in Contemporaneity, Editura Muzicală, Bucharest 1987, p. 62.
In 1960, after 33 years, George Georgescu returned to the United States. During the months of April and December, he conducted 13 concerts in Cleveland, Washington, Philadelphia, and Baltimore. On April 15, 16, and 17, Georgescu conducted the Cleveland Orchestra at Severance Hall.
Immediately after the Enescu Festival, the Bucharest Philharmonic, under the direction of Georgescu, went on tour in Germany, Austria, and France.
The London newspaper “Times”, through its special correspondent in Vienna, published, on October 26, 1961, an important comment, entitled Bucharest Virtuoso Orchestra:
“Enrolled at the end of the program of the “Festival de la Musikverein”, the Bucharest Philharmonic, at its recent appearance in Vienna, asserted itself as one of the best orchestras in Europe. The reception that has been given to him can be appreciated as frenetic. The orchestra turned out to please the Viennese, with great tone, full, wide sound, dynamism, precision and sense of the ensemble. George Georgescu, a musician with a special, precise, expressive performance force, holds the orchestra at his fingertips” 24.
Georges Auric, director of the Paris Opera, wrote about the concert of the Bucharest Philharmonic at Pleyel Hall:
"I have known George Georgescu's mastery for a long time, since 1925. He is truly an exceptional artist, a first-class conductor. Any country would be proud to have such a maestro. The public in Paris is a demanding one. Yet the promptness and intensity of the applause, in short, the great and warm reception received by the Romanian musicians, made this brilliant concert one of the outstanding achievements in the musical life of France!"25
Concerts in Vienna became a regular occurrence for George Georgescu. On October 13 and 14, 1962, he was invited to open the season of the Vienna Philharmonic. These concerts were part of the celebrations marking the 150th anniversary of the founding of the Vienna Philharmonic Society (Wiener Musikverein).
In 1963, the Bucharest Philharmonic, led by George Georgescu, participated in the “Festive Weeks of Vienna,” where valuable orchestras, renowned soloists, and high-class conductors performed. The press highlighted the orchestra and the outstanding merits of the Romanian conductor, who had built an ensemble of great value.
In the Wiener Zeitung, it was written: “The Bucharest Orchestra, under the baton of a true master like George Georgescu, is perfect, with a high sound culture, acquiring all the attributes of a precise and expressive ensemble”!
The Neues Tageszeitung emphasized: “George Georgescu is one of the representatives of a musical tradition that adds to the vast experience of his international career the maturity of a lifetime. We admire him every time with love and respect. His orchestra is appreciated for its unusual freshness, thanks to its delicate and clear sound”27
Also in 1963, Georgescu performed in Rome and at La Scala in Milan. The critic Alceo Toni, who had known the Bucharest orchestra decades earlier, noted in La Notte:
“What a wonderful orchestra, what wonderful musicians [...]. I now meet her more disciplined, more serious, but I find Georgescu the same heartfelt virtuoso, making all the orchestrators vibrate like a single instrument that I would liken to a Stradivarius [...]. Romanians seem to be born with a violin in hand and music in their heart. But we must not forget that they were fortunate to be led for more than 40 years by a conductor of great caliber. The great orchestral mass thus becomes in his hands an instrument of sensitivity capable of expressing both great force and great delicacy. I am amazed at the unbelievable fact of listening to such an extensive orchestral ensemble in number, knowing how to play with delicacy in the piano and reach ineffable pianissimi”
George Georgescu continued to climb the concert stage until almost the last moment of his life. In 1964, he conducted 12 concerts — 6 in Romania and 6 in Germany (Berlin and Leipzig).
The columnist of the newspaper Der Kurier wrote in an article published on March 3, 1964:
“George Georgescu is one of the great seniors of the European baton.” After the Richard Strauss medallion concert on March 9, Der Morgen notes: “For this anniversary, no better performer could be found than the famous artist from Bucharest [...]. In a long time, I have not heard the members of the Berlin Symphony Orchestra sing with so much fire, with so much brilliance!”
His last concert took place in Bucharest with violinist Christian Ferras on June 15, with the following program: Hector Berlioz — Overture of the Roman Carnival, Édouard Lalo — Spanish Symphony, and César Franck — Symphony in D minor.
On September 1, 1964, the news of the disappearance of George Georgescu marked the end of a truly glorious era in the historical course of Romanian music.
24 - In Tutu Georgescu, George Georgescu, Music Publishing House, Bucharest, 2001, p. 424.
25 - Georges Auric, “Following the successes of the “George Enescu” Philharmonic”, in The Contemporary, 1.10.1961.
26 - Author unspecified, “Austrian Press on the success of the George Enescu Philharmonic”, in Scinteia, 28.05.1963.
27 - Idem 26.
28 - Alceo Toni, “La musica addosso”, in La Notte, Milan, 8/9.06.1963.
29 - Reinhard Günter, “Concert-medallion Richard Strauss”, in Der Morgen, Berlin, 18.03.1964.
The repertoire addressed by conductor George Georgescu was remarkably extensive, encompassing works from all eras and styles, with more than 500 titles presented over the years. Among his preferences were the music of Richard Strauss, Richard Wagner, Pyotr Ilyich Tchaikovsky, Johannes Brahms, and especially Ludwig van Beethoven. Additionally, the works of George Enescu, who was also his close friend, held a prominent place in George Georgescu's concerts, both domestically and internationally.
According to Pascal Bentoiu, four important aspects characterized the repertoire chosen by George Georgescu:
- Continuous Programming and Re-Enactment of Symphonic Masterpieces: He regularly programmed and revisited great symphonic works by composers such as Mozart, Beethoven, Berlioz, Schumann, Brahms, and Tchaikovsky.
- First Auditions and Modern Programming: He introduced and performed modern and contemporary music in Bucharest, including works by Stravinsky, Ravel, Strauss, Bartók, Prokofiev, Mahler, Honegger, Roussel, Florent Schmitt, Szymanowski, Schönberg, Respighi, Holst, and even Gershwin’s Rhapsody in Blue and Shostakovich’s Symphony No. 1.
- Patriotic Commitment to Romanian Music: Georgescu championed Romanian music, giving special prominence to Enescu but also performing works by Jora, Andricu, Drăgoi, Negrea, Paul Constantinescu, Rogalski, Filip Lazăr, Stan Golestan, and others.
- Cultural Enrichment through International Collaboration: He significantly raised the cultural level of the public by inviting renowned conductors and soloists from abroad. Many of these guests came to Bucharest thanks to the prestige and personal connections of George Georgescu or George Enescu, with Georgescu often having the decisive role in such initiatives.
“In this year of George Georgescu's success,
the truth is confirmed that art succeeds no matter what.
The light cannot be covered by a veil.”
Mihail Sadoveanu
His style, marked by utmost rigor in rendering the text while embracing a personal vision with a generous and captivating romantic breath, captivated concert halls.
Henri Gagnebin described his conducting mastery as follows:
“George Georgescu was a true master of his art. By merely stepping in front of an orchestra, he commanded his will without resorting to overt displays of authority. He electrified both the musicians and the audience, all while maintaining a supreme elegance [...] 32.” Equally remarkable are the words of composer Zeno Vancea, who recounted his experience at a concert conducted by George Georgescu: “Throughout the performance, I was repeatedly struck by a magnetic force, feeling as though I was being lifted from my seat, carried by the hands and gaze of the maestro as he engaged with the various instrumental sections." 33.
His style, distinguished by meticulous rigor in interpreting the text while infused with a personal vision and a generous, captivating romantic breath, enraptured concert halls. Henri Gagnebin described his mastery of conducting in these terms:
“George Georgescu was a true master of his art. Simply by stepping in front of an orchestra, he asserted his will without any overt display of authority. He electrified both the musicians and the audience, all while exuding supreme elegance [...] 32.” Similarly, composer Zeno Vancea vividly recalled his experience at a concert conducted by George Georgescu: “During the performance, I was repeatedly struck by a magnetic force, as though I was being lifted from my seat, moved by the hands and gaze of the maestro as he guided the various instrumental sections.”34.
Aram Khachaturian's words following a performance of his Second Symphony provide a compelling insight into George Georgescu's interpretation of a score:
“I will always remember January 18, 1958, when you performed this symphony with such brilliance. It is difficult to put into words the thoughts and emotions that overwhelmed me on that unforgettable evening. Your mastery, great artistic temperament, profound interpretive vision, and the vividly evocative colors you achieved, combined with the technical perfection of the performance—these are the hallmarks of a truly great artist and master.”! 35.
“I am happy today to declare that the interpretation you have given to my symphony is one of the most compelling
and impressive of recent times. I also want to honor the great son of the Romanian people,
the unforgettable George Enescu, who, like you,
did me great honor by performing my Violin Concerto inspiringly in Moscow in 1946.”
Aram Haciaturian (1958)
The works of George Enescu came to life in numerous interpretations by George Georgescu. The composer himself expressed in a letter to him:
“For the third or fourth time in my entire life as a composer — which began some 24 years ago — I have experienced the profound, indescribably sweet emotion an author feels when fully understood and interpreted with conviction... dare I say: with love." 36
After Symphony I on Nov. 25. 1921
"Dear Georgescu,
For the third or fourth time in my entire life as a composer — which began around 24 years ago — I experienced the profound, indescribably sweet emotion that an author feels when fully understood and interpreted with conviction... dare I say: with love!I thank you from the bottom of my heart, and I also extend my gratitude to all the comrades in the orchestra. May you live to bring joy to us, Romanians and musicians alike!"
Letter from George Enescu
Pianist Clara Haskil also stated in a 1937 letter to Master Georgescu after a concert held under his baton:
“I have played a lot with orchestras in recent years, but I do not remember ever having the feeling of being understood in my smallest intentions as I did yesterday with you, nor of having felt such a close artistic collaboration!”
The magic that Georgescu exerted on the orchestra and the audience was based on a thorough study of the score, tempo indications, sound plans, and the grand architecture of the works. His performances of Beethoven's symphonies, Richard Strauss' compositions, Johannes Brahms' works, and Richard Wagner's music reflect a balanced yet imaginative approach, full of strength.
George Georgescu's respect for stylistic authenticity is clearly evident from a 1935 chronicle in the Greek newspaper Neos Cosmos:
“He is German when performing Wagner, recreating all the light and joy of the wonderful overture of Die Meistersinger von Nürnberg, bringing all the romanticism of Brahms and all the poetic fantasy of Strauss to life. Then suddenly, he becomes French in The Sorcerer's Apprentice by Dukas, giving it grace, clarity, and an inimitable transparency. And when he is Romanian, he has an exuberance, an energy, and a verve that surpass anything we can imagine!”38
As for the romantic spirit, here is his vision in his interpretation of Hector Berlioz's Fantastic Symphony, commented on by critic Alfred Hoffman:
“The performance was marked by a conception of our own, we would say classicist, from our great conductor. To the impetuous romantic symphonist, a genius of heated imagination and picturesque soundscapes, such a constructed and sober interpretation reveals virtues once left in the shadows. The clarity with which the musical dramaturgy of the work appeared to us, the appropriately proportioned dosage of contrasts, the undisturbed elegance of the thematic relief, and the mastery of sound massiveness within the limits of good taste—all these contributed to giving us a clear picture of Berlioz's masterpiece, as if removing a certain 'wear' that we once felt we knew." 39.
The conductor and critic Eugen Pricope noted the sobriety of George Georgescu's style and his ability to give coherence to the ensemble:
“In George Georgescu's art, you find nothing superfluous. If one were to compare a conductor to an actor, we would imagine George Georgescu in the sober acting of a great Shakespearean verse declaimer, imbued with the intonation of subtle meanings, yet simple in the grandeur of the line. Simplicity, as the ultimate expression of mastery, is a quality of primary importance in conducting art.
When you attend a concert conducted by George Georgescu, the presence of the artist, the aura that emanates from him—from the podium to the orchestra and from there, by reflection, to the audience—makes you forget even other interpretations of his that once seemed the best. You don't even think about the performance of the same work by other conductors. George Georgescu's interpretations must be viewed in their entirety, as if contemplating a monument that needs perspective, with its outlines found in a wide and distant space.” 40.
With the eloquence that characterized him, George Călinescu gives a memorable portrait of the conductor:
“George Georgescu was a great musical orator, attuned to the tumultuous. The conductor dominates and inspires by embodying consciousness in the act. He was, without a doubt, a great conductor, and I cannot imagine my Philharmonic Orchestra without him. At least, I mean that without him, it would not have reached its established form. In front of or in the Athenaeum, George Georgescu deserves a magnificent bronze, one that, when struck with your finger, sounds as sonorous as his soul.” 41.
Pablo Casals, who collaborated on several occasions with the Romanian master, stated:
“Georgescu is considered not only one of the leading figures among contemporary conductors but also an illustrious representative of Romanian culture. Various personalities, both from our country and abroad, have repeatedly expressed their admiration for the truly classical style of conductor George Georgescu and for the extraordinary suggestive power of his interpretations. George Georgescu is music itself, in human form.”42.
30 - Viorel Cosma, Conductor George Georgescu. Testimonies in Contemporaneity, Editura Muzicală, București, 1987, p. 17—19.
31 - Henri Gagnebin (1886-1977). Composer, organist and director of the Geneva Conservatory.
32 - Viorel Cosma, Conductor George Georgescu. Testimonies in Contemporaneity, Editura Muzicală, București, 1987, p. 166.
33 - Viorel Cosma, Conductor George Georgescu. Testimonies in Contemporaneity, Editura Muzicală, București, 1987, p. I'm 76.
34 - Iosif Sava, “George Georgescu”, in The Contemporary, no. 50/1987.
35 - Letter of Aram Haciaturian to George Georgescu dated 19.01.1958, G.G Archive and Library of the Romanian Academy in Bucharest.
36 - Letter from George Enescu to George Georgescu dated 19.11.1921, G.G Archive and Library of the Romanian Academy in Bucharest.
37 - Viorel Cosma, Conductor George Georgescu. Testimonies in Contemporaneity, Editura Muzicală, București, 1987, p. He's 130.
38 - In Lucian Voiculescu, George Georgescu. Fifty years of activity, “George Enescu” State Philharmonic, Bucharest, 1957, p. 147.
39 - Viorel Cosma, Conductor George Georgescu. Testimonies in Contemporaneity, Editura Muzicală, București, 1987, p. 92—93.
40 - Viorel Cosma, Conductor George Georgescu. Testimonies in Contemporaneity, Editura Muzicală, București, 1987, pp. 102-103.
41 - George Călinescu, “The Brilliant Conductor”, in Contemporanul, no. 37, 9/11/1964.
42 - Pablo Casals, title unspecified, in Contemporary, no. 36 (830) of 7.11.1962, p. 6.
