¹ The dates are of completion of composition (excluding any subsequent revisions). Enescu was unaware, when he wrote the op.4 songs, that two of his texts had already been set by Duparc; see Voicana, M. (ed.) George Enescu, Monografie, (Bucharest, 1971) vol. I pp. 181, 187Google Scholar. His early Wagnerianism is described in Les Souvenirs de George Enescu, ed. Gavoty, B. (Paris, 1953), pp.57, 88Google Scholar.

² Gédalge's pupils, in addition to these four contemporaries of Enescu, also included Nadia Boulanger, Honegger, Milhaud and Ibert. Of all these, Gédalge wrote in 1923, Enescu was ‘the only one to have real ideas and inspiration’.— Pincherle, M., The World of the Virtuoso(London, 1964) p. 115 Google Scholar.

³ Another source of modal scales was the Byzantine liturgical music of the Romanian Orthodox Church. Work has only recently begun, among Romanian musicologists, on Enescu's debt to this source; perhaps it was previously suspected of being culturally retrograde. But when Enescu was asked, in a newspaper interview of 1928, about the future of Romanian music, he replied: ‘I myself think that the most important, necessary and urgently useful work that needs to be done in Romanian music is the recovery of church music’ ( Dianu, R., ‘Cu d. George Enescu despre el si despre altii’, in Kampa, 23 06 1928, p.3)Google Scholar.

⁴ Letter dated 4 Sept. 1934, published in La Revue Roumaine d'Histoire de l'Art, V (1968) p. 182 Google Scholar.