Gerald Moore简介

杰拉尔德·摩尔（Gerald Moore，1899年7月30日－1987年3月13日），英国钢琴家。生于沃特福德。1913年首次登台担任独奏和伴奏。1919年后不久在巡回演奏中担任伴奏，并接受指挥家罗纳尔德的建议专门从事伴奏。1925年，英国男高音科茨请他担任伴奏，使他在 艺术上和技艺上获益不少。1926年在伦敦担任科茨独唱会的伴奏，从此时起到1967年退出舞台止，一直担任国内外着名声乐家独唱会和器乐家独奏会的伴奏，成为世界着名的钢琴伴奏家。他不但有着优美的连奏、丰富的音色变化与巧妙的踏板运用，更主要的是他能根据不同的合作者变化他的伴奏艺术，使合作者得到音乐会上的激奋和启发。此外，他的伴奏艺术的讲演会也是很有名的，曾到欧美各国巡回讲演并举办伴奏高级班。后来他的讲演内容被写成《无愧的伴奏家》一书。 他四次获得唱片大奖，1962年获皇家音乐院奖，1973年获维也纳沃尔夫金质奖章，剑桥大学授予他音乐博士学位。他写的有关钢琴伴奏的书还有：《伴奏家》、《歌唱家与伴奏家》、《我太响了吗？》、《舒伯特的声乐套曲》、《告别音乐会》等。

详细介绍

Gerald Moore CBE (30 July 1899 – 13 March 1987) was an English pianist best known for his career as an accompanist, playing for many of the worlds most famous musicians. Among those with whom he was closely associated were Pablo Casals, Elisabeth Schumann, Hans Hotter, Elisabeth Schwarzkopf, Victoria de los Ángeles and Dietrich Fischer-Dieskau.
Moore gave lectures on stage, radio and television about musical topics. He also wrote about music, publishing volumes of memoirs and practical guides to interpretation of lieder.
Early years-----
Moore was born in Watford, Hertfordshire, the eldest of four children of David Frank Moore, owner of a mens outfitting company, and his wife Chestina, née Jones.He was educated at Watford Grammar School, and took piano lessons from a local teacher Though innately musical, with perfect pitch, Moore was a reluctant piano student: he later said that his mother had to drag him to the piano, "an unwilling, snivelling child – I did not absorb music into my being until my middle twenties."
When Moore was 13 the family emigrated to Toronto, Canada, where he studied with the pianist Michael Hambourg, a former pupil of Anton Rubinstein. Moore was distracted from his musical studies by a strong attraction to Anglo-Catholicism; he thought for some time that he had a vocation to become a priest. In 1915 Hambourg died, after which his son, the cellist Boris Hambourg, took Moore as his accompanist on a tour of forty engagements in western Canada.
On his return to Toronto Moore was engaged as organist at a local church, and later as a cinema organist, providing a musical accompaniment to silent films. This post was reasonably remunerative, but Moore described a cinema organ as an "instrument of torture … shar[ing] pride of place for sheer horror with the saxophone, the harmonica and the concertina." His parents concluded that Toronto was not the place for him to build the career as a pianist that they hoped for. They sent him back to England, to lodge with relatives in London, and pursue his studies with Michael Hambourgs pianist son, Mark.
Early career as accompanist-----
While studying with Mark Hambourg, Moore earned money as an accompanist. The director of the Guildhall School of Music, Landon Ronald, heard him play at a recital and advised him to pursue a career as an accompanist.
In 1921 Moore made his first gramophone recording, accompanying the violinist Renée Chemet for His Masters Voice (HMV). They made several more recordings together, but Moores preference was for accompanying singers rather than instrumentalists. He recorded frequently with Peter Dawson in the early 1920s, and went on a recital tour of Britain with him; it was Dawson who recommended him to the tenor John Coates, who became an important influence on Moores career.
Moore credited much of his early success to his five-year partnership with Coates, whom Moore credits with turning him from an indifferent accompanist into one who was sensitive to the music and the soloist, and an equal partner in performance. Another influence, figuring prominently in Moores memoirs, was the pianist Solomon, whose technique Moore admired and studied.
Peak years-----
By the end of the 1930s Moore was so well known as an accompanist that Myra Hess invited him to give a talk about his profession at one of her of lunchtime concerts at the National Gallery. The pianist Joseph Cooper wrote of this, and later similar talks, "He revealed a sense of verbal timing of which any professional comic would be proud. His unique blend of wit and wisdom not only pleased the cognoscenti but also won over ordinary people who had no idea that classical music could be fun." Moores first book, The Unashamed Accompanist (1943) had its origins in these talks.
Moore is credited with doing much to raise the status of accompanist from a subservient role to that of an equal artistic partner. Dietrich Fischer-Dieskau wrote in his introduction to the German edition of The Unashamed Accompanist, "there is no more of that pale shadow at the keyboard, he is always an equal with his partner". Moore jealously protected this status of his art, complaining when accompanists he admired were not given billing in concert. He quoted with disapproval the remark made by a singer to Coenraad V Bos, an accompanist of an earlier generation, "You must have played well today, for I did not notice you."
Later years-----
Moore retired from public performances in 1967, with a farewell concert in which he accompanied three of the singers with whom he was long associated: Dietrich Fischer-Dieskau, Victoria de los Ángeles and Elisabeth Schwarzkopf. This famed concert at Londons Royal Festival Hall concluded with Moore playing alone—an arrangement for solo piano of Schuberts An die Musik. He made his last studio recording in 1975.
Moore was appointed a Commander of the Order of the British Empire (CBE) in 1954. He died in Penn, Buckinghamshire in 1987.
In his memoirs Moore wrote that his services were not needed at Benjamin Brittens Aldeburgh Festival, "as the presiding genius there is the greatest accompanist in the world." In 1967, the chief music critic of The Times, William Mann held that the preeminence was Moores: "the greatest accompanist of his day, and perhaps of all time." In 2006 Gramophone magazine invited eminent present-day accompanists to name their "professionals professional", the joint winners were Britten and Moore.