The destiny of Constantin C. Nottara seems written under the sign of art from the very first day of his life. Born into a family in which stage, music, and literature were everyday realities, he grew up in an environment where talent was not only encouraged, but breathed in. The son of renowned actors of the National Theatre in Bucharest, Constantin C. Nottara managed to build his own path, stepping out from the shadow of his father’s name and asserting himself as a violinist, composer, professor, and music critic. His life crossed complicated historical periods – from the cultural effervescence of the early 20th century to the trauma of the First World War and the interwar turmoil – yet in all these stages music remained the central axis of his existence. His story is that of a thoroughly trained artist, who understood that vocation implies discipline, study, and constant involvement in the cultural life of the community.

Childhood in a family of artists

Constantin C. Nottara was born on October 14, 1890, in Bucharest, and spent his first years in an apartment located on Teatrului Street no. 5. It was not a simple coincidence of address: his entire childhood unfolded in the vicinity of the National Theatre, the institution where his parents, Eleonora and Constantin I. Nottara, were appreciated actors.

His father was a prominent personality of the Romanian stage, and his mother, Eleonora, not only performed important roles, but was also endowed with genuine musical talent. From her, young Constantin inherited artistic sensitivity and an inclination toward music. In their home, rehearsals, the reading of dramatic texts, and discussions about art were part of daily life. For the child, the stage and the sound of the violin were not abstractions, but living experiences.

Observing their son’s talent, his parents decided to guide him seriously toward music. Eleonora Nottara played an essential role in this decision. Convinced that the child’s inclinations had to be cultivated rigorously, she hired as his teacher Nicolae Cerchez, a member of the orchestra of the National Theatre and a student in his final year at the Conservatory of Music and Declamation, in the class of Robert Klenck. Under his guidance, young Nottara took his first solid steps in the study of the violin.

The first steps toward recognition

At only eight years old, Constantin C. Nottara presented himself at the Conservatory in Bucharest, convinced that his place was there. His enthusiasm was, however, tempered by the institution’s regulations: he was rejected because of his too young age. The moment did not discourage him, but rather motivated him.

Two years later, at the age of ten, he was admitted and began to study the violin with Professor Robert Klenck. At the same time, he attended courses in solfeggio and harmony with D. Kiriac, acquiring a solid theoretical foundation. His progress was rapid and visible, and on June 15, 1907, he obtained first prize in violin, confirming his talent and seriousness.

Even before becoming a student of the Conservatory, the young musician had already had a particular stage experience. In 1906, he performed from behind the scenes a waltz from the play “The Guilty One,” by the German playwright Woss, a performance in which his father held the leading role. It was a symbolic moment: the son accompanied, unseen, the scenic brilliance of the father.

On October 1, 1906, even before completing his studies, he was hired as second violin in the orchestra of the Ministry – the Philharmonic of Music in Bucharest. He worked in this position until September 30, 1907, gaining valuable professional experience.

The Parisian experience and the meeting with George Enescu

The summer of 1907 marked a decisive stage in his evolution. On July 25, he gave a concert in Slănic Moldova, where he accompanied his parents who were on vacation. This was followed by a concert at the Romanian Athenaeum, appearances that brought him recognition and opened the path toward studies abroad.

He left for Paris, the European center of musical culture at that time. Here he met George Enescu, an already established personality, with whom he studied the violin for two years. Contact with Enescu was essential for his artistic formation, offering him not only high-level technical training, but also a broad vision of music.

In the French capital he also studied with Berthelier in violin and with Dufay and Thodou in composition. The Parisian period broadened his aesthetic horizon and consolidated his musical identity, placing him in contact with the modern tendencies of the time.

Training in Berlin and international affirmation

After two years spent in Paris, Constantin C. Nottara headed to Berlin, where he was admitted, following a rigorous examination, to the Royal Academy of Music. He graduated from the institution in 1913, after five years of intense studies.

At the Hochschule für Musik he studied counterpoint and composition with Schtratenholz, first violin with Karl Klinger, conducting with Kleffer, piano with Hischberg, and music history with Kressla. This complex training offered him a complete perspective on musical art, from performance to creation and analysis.

At the completion of his studies, he gave a concert in Berlin, as a result of which he was hired as concertmaster at the Charlottenburg Opera, with a ten-year contract. His international career seemed to be shaping up spectacularly.

The war and the return to the country

The outbreak of the First World War, in 1914, however interrupted his international ascent. He was forced to return to Romania, where he decided to continue his musical activity.

He founded his first quartet, consisting of Constantin C. Nottara – first violin, Drăgulinescu – viola, Eliad – second violin, and A. Moldrick – cello. The ensemble gave numerous concerts, many of them for charitable purposes, both in Bucharest and in other cities of the country.

During the war, the family took refuge in Iași. There, Nottara was appointed substitute music teacher until 1917. At the same time, he gave chamber music concerts alongside C. Bobescu, Ciolan, and Brevimann, performing for the wounded. Music had become not only art, but also a form of solace.

Composer, professor, and cultural animator

The war years were also a period of intense creation. Constantin C. Nottara composed numerous lieder, stage music for the tragedies “Hecuba” and “Polyeuct,” as well as a symphonic poem. In 1918, the family returned to Bucharest, and he resumed his activity as concertmaster of the Ministry Orchestra.

He continued to compose chamber music, to teach, and to give concerts. In 1919 he submitted his resignation from the position of concertmaster, choosing to focus his energy on other projects.

In 1924 he formed a new quartet, together with Enacovici, Th. Popovici, and Cocea. Financed by the state, the ensemble gave weekly concerts on Sunday mornings, contributing to the education of the musical taste of the Bucharest public.

A year later he was appointed substitute professor at the Conservatory of Music in Bucharest, at the chamber music class, taking over the chair from D. Dinicu. He also substituted at the orchestra class, in place of Castaldi.

Music critic and founder of an orchestra

Between 1927 and 1936 he carried out intense journalistic activity, signing music reviews in the newspapers Adevărul and Dimineața, as well as in other publications of the Capital. His texts reflected competence, balance, and a profound understanding of the musical phenomenon.

In 1929 he founded the Orchestra of the Municipality of Bucharest, an initiative meant to bring music closer to the public. The orchestra gave open-air concerts in the summer, in the Colos and Cărăbuș gardens, and in the autumn at the Romanian Athenaeum. Approximately 60 musicians were part of the ensemble.

Unfortunately, the lack of funds led to the cessation of the orchestra’s activity. Nevertheless, Constantin C. Nottara continued to compose, to write, and to teach at the Conservatory until 1947.

His life remains the example of a complete artist, trained in the great European cultural centers, but dedicated first and foremost to the development of Romanian music. Born into a family in which art was destiny, he demonstrated that inherited talent must be doubled by work, perseverance, and constant involvement. Constantin C. Nottara was not only the son of great actors, but a distinct personality, who contributed essentially to the consolidation of Romanian musical life in the first half of the 20th century.

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