Paul Constantinescu

Paul Constantinescu emerged as a prominent figure in Romanian music at a remarkably young age. Born on June 30, 1909, in Ploiești, he quickly established himself as a gifted composer. At just 22, his second opus, "The Romanian Suite," was awarded a prize at the G. Enescu composing competition. By 23, he had become a member of the Society of Romanian Composers, and at 25, he had already composed an opera. His early trajectory suggested a brilliant future in Romanian musical life.

In 1928, Constantinescu entered the Conservatory of Music and Dramatic Art in Bucharest, where he studied with notable teachers including Alfonso Castaldi, Constantin Brăiloiu, George Breazul, Dimitrie Cuclin, and his mentor Mihail Jora. He later pursued further studies in Vienna, focusing on composition, Byzantine paleography, and Byzantinology.

Political Persecution and Accusations

Constantinescu's career was marked by a troubling duality. While his musical achievements brought him recognition, he simultaneously faced persistent political persecution that would shadow him throughout his life. In November 1935, Constantinescu made his operatic debut with "A Stormy Night," based on I.L. Caragiale's comedy. The premiere featured renowned singers and was conducted by Ionel Perlea. Critics such as writer Mihail Sebastian praised the work for its successful musical interpretation of Romanian suburban life.

However, this success was quickly overshadowed by anti-Semitic attacks. Publications associated with the Iron Guard, a far-right nationalist and anti-Semitic movement, began targeting Constantinescu. Nicolae Bogdan, writing in the Iron Guard newspaper "Porunca Vremii," published an article containing anti-Semitic remarks about the composer. This was the first in a series of similar pieces that would appear in both "Porunca Vremii" and another Iron Guard journal, "Acțiunea Românească."

These attacks persisted, and by 1940, they had escalated to the point where the management of the Radio Corporation, where Constantinescu had been employed since 1936, demanded that he prove he was an Eastern Orthodox Christian, as were his parents and grandparents. Despite providing this documentation, after the Iron Guard rebellion in January 1941, Constantinescu was dismissed from the Radio Corporation on the grounds that he was "not trustworthy enough."

Surveillance and Investigation

Following his dismissal, Constantinescu was placed under nearly continuous surveillance by the police for 22 years. After the Communist regime took power, this surveillance was continued by the Securitate, Romania's secret police.

Two primary allegations were made against him: Firstly, that he had been a member of the Iron Guard, and secondly that during the Iron Guard rebellion, he had participated in events at the Radio Corporation. In a memo to the Bucharest Police Prefect dated January 23, 1943, Constantinescu refuted these accusations, stating that he had never been a member of the Iron Guard and had not participated in the rebellion, having taken time off during the events. He explained that his orchestration of Iron Guard hymns had been done as part of his professional duties at the Radio Corporation, at the request of the Director of Programs.

Despite multiple investigations by the Secret Service, the General Direction of the Police, and the Bucharest Police Prefect, no evidence was found to support these allegations. Nevertheless, a "special file" was opened on Constantinescu, and he remained under surveillance.

Communist Era and Continued Persecution

The political changes in Romania after August 23, 1944, and the rise of Communism only exacerbated Constantinescu's difficulties. In September 1945, he was again placed under surveillance to monitor "his current and future attitude, political actions, and links."

New accusations emerged during this period. Police documents, without providing evidence, began to assert that Constantinescu had been hired by the Radio Corporation in 1936 because of his sympathy for the Iron Guard—a claim that contradicted the fact that he had been persecuted by Iron Guard publications. Other allegations suggested that during the Iron Guard rebellion, he "would have helped other rebels in pouring petrol into bottles to be used against the army."

In 1951, the newly established State Securitate renewed its focus on Constantinescu, opening an investigative file describing him as "a dubious element, who at present is acting in an unfriendly way towards progressive music." The surveillance was comprehensive: his telephone calls were monitored, his correspondence was intercepted, and informants were placed among his closest friends.

Five Securitate agents, codenamed "Hans Roth," "Raul," "Ion Balotă," "Rodica," and "David," were assigned to gather information on Constantinescu. The Head of Personnel at the Composers Union, Ion Dragomir, provided negative characterizations, describing Constantinescu as displaying "an attitude hostile to the regime" and possessing "a poor political and ideological awareness."

In 1959, the surveillance intensified. Constantinescu's family phone was bugged, and his personal correspondence was intercepted and photographed. When his wife fell seriously ill and needed treatment in Vienna, his passport application was initially denied, and it was only through the intervention of a high-ranking official, Constanța Crăciun, that he was finally able to arrange for her care.

Professional Recognition Amid Persecution

Despite the constant surveillance and political obstacles, Constantinescu's creative work continued to develop and gain recognition. His compositions ranged from songs and carols to major orchestral works, including:

• "The Lord's Passion" (awarded a prize in 1946)
• "Christ's Birth" oratorio
• "Concerto for String Quartet" (later reworked as a concerto for string orchestra)
• "Olteneasca," a folk dance for symphony orchestra

He also composed successful film scores, including music for "The Fishermen's Eden" (awarded a prize in 1943) and "The Lost Letter." His ballet "A Carpathian Wedding," which had been highly praised at its premiere, was later performed at the Vienna State Opera in 1943, prompting the Viennese press to "extol at length the young composer and Romanian music."

Throughout this period, Constantinescu received numerous awards and honours:

• The Class II Cultural Merit order (1940)
• The Class I Cultural Merit order (1943)
• The Order of the Romanian Crown (1943)
• The State Prize class II (1951)
• The State Prize class I for his Concerto for Piano and Orchestra (1954)
• The title of Emeritus Maestro of Arts (1955)
• The Order for Work (1959)

Ironically, in the same year that he received the Order for Work "for special merits in the field of musical creation," a Securitate memo resolved to move him "to the category of suspects."

Final Years and Legacy

The last years of Constantinescu's life were marked by concern for his wife's health and his own declining health. His creative output continued, however, with significant works including:

• The Concerto for Harp and Orchestra (Bucharest, May 4, 1961)
• The Ploiești Symphony, dedicated to his hometown (September 29, 1961) 
• The Triple Concerto for Violin, Cello, Piano, and Orchestra (Bucharest, December 28, 1963)

Although his Securitate file was officially closed on January 28, 1963, because "it was not established that the above named is involved in espionage," the authorities nevertheless resolved to "maintain the monitored subject on the list of hostile elements."

Paul Constantinescu died on December 20, 1963, after a long illness. Just before his death, he was able to listen to a recording of a rehearsal of his Triple Concerto.

Musical Impact and Contributions

Constantinescu's importance in Romanian music extends beyond his personal struggles. As a fervent supporter and promoter of Romanian musical folklore and Byzantine chant, he helped shape the direction of Romanian classical music in the post-Enescu generation. His works demonstrate a synthesis of classical forms with Romanian folk traditions and Byzantine influences. This approach created a distinctive national style that built upon the foundations laid by George Enescu while exploring new directions.

Constantinescu's compositional output included works that would become cornerstones of Romanian musical heritage. Beginning with his 1935 opera "A Stormy Night," based on I.L. Caragiale's comedy, he established himself as a major compositional voice. His choreographic poem "Carpathian Wedding" (1938) represented one of the first Romanian ballets inspired by folklore, drawing from ethnographic research conducted in the village of Fundu Moldovei. His religious works, including "The Passion and Resurrection of Our Lord" (1943) and "The Nativity" (1947), demonstrated his deep engagement with Byzantine traditions, transforming medieval texts into modern oratorios. The "Concerto for Piano and Orchestra" (1952) exemplified his ability to synthesize classical Western forms with traditional Romanian musical elements, while his final major work, the "Triple Concerto for Violin, Cello, Piano, and Orchestra" (1960), completed shortly before his death, demonstrating his continuing creative evolution.

Constantinescu's music is characterized by its integration of Romanian folk elements, Byzantine church music, and classical Western forms. His approach to composition paved the way for subsequent generations of Romanian nationalist composers, showing how traditional material could be transformed into sophisticated concert works.

Beyond his compositions, Constantinescu's work as a teacher at the Academy of Sacred Music in Bucharest (1937-41) and at the Conservatory (1941-1963) influenced many young musicians. His approach to composition, drawing on both folk and religious traditions, provided a model for developing a distinctly Romanian musical language.

Constantinescu's life and work represent a complex intersection of artistic achievement and political persecution. Despite the challenges he faced—from anti-Semitic attacks to communist surveillance—he created a body of work that remains central to Romanian musical culture. His ability to combine traditional elements with modern compositional techniques established him as a pivotal figure in the development of Romanian music in the twentieth century.

Sources

Ioana Raluca Voicu-Arnauțoiu, Paul Constantinescu, accessed March 2025

Andreea Kiseleff, Paul Constantinescu, accessed March 2025

Tomescu, Vasile. Paul Constantinescu. București: Editura muzicală, 1967