Gerald Moore

別名：杰拉爾德·穆?tīng)?/p>

國(guó)籍：英國(guó)

生日：1899 年 7 月 30 日

逝世日期：1987 年 3 月 13 日

Gerald Moore 1899年7月30日生于沃特福德。1913年首次登臺(tái)擔(dān)任獨(dú)奏和伴奏。1919年后不久在巡回演奏中擔(dān)任伴奏，并接受指揮家羅納爾德的建議專(zhuān)門(mén)從事伴奏。1925年，英國(guó)男高音科茨請(qǐng)他擔(dān)任伴奏，使他在 藝術(shù)上和技藝上獲益不少。1926年在倫敦?fù)?dān)任科茨獨(dú)唱會(huì)的伴奏，從此時(shí)起到1967年退出舞臺(tái)止，一直擔(dān)任國(guó)內(nèi)外著名聲樂(lè)家獨(dú)唱會(huì)和器樂(lè)家獨(dú)奏會(huì)的伴奏，成為世界著名的鋼琴伴奏家。他不但有著優(yōu)美的連奏、豐富的音色變化與巧妙的踏板運(yùn)用，更主要的是他能根據(jù)不同的合作者變化他的伴奏藝術(shù)，使合作者得到音樂(lè)會(huì)上的激奮和啟發(fā)。此外，他的伴奏藝術(shù)的講演會(huì)也是很有名的，曾到歐美各國(guó)巡回講演并舉辦伴奏高級(jí)班。后來(lái)他的講演內(nèi)容被寫(xiě)成《無(wú)愧的伴奏家》一書(shū)。

他四次獲得唱片大獎(jiǎng)，1962年獲皇家音樂(lè)院獎(jiǎng)，1973年獲維也納沃爾夫金質(zhì)獎(jiǎng)?wù)拢瑒虼髮W(xué)授予他音樂(lè)博士學(xué)位。他寫(xiě)的有關(guān)鋼琴伴奏的書(shū)還有：《伴奏家》、《歌唱家與伴奏家》、《我太響了嗎？》、《舒伯特的聲樂(lè)套曲》、《告別音樂(lè)會(huì)》等。

Gerald Moore ，三歲起開(kāi)始學(xué)習(xí)鋼琴，十歲的時(shí)候就是公認(rèn)的鋼琴天才了。但是后來(lái)為了生活，不得不放棄成為鋼琴演奏家的夢(mèng)想，而以為人伴奏來(lái)養(yǎng)家餬口。沒(méi)想到因?yàn)楸憩F(xiàn)得太優(yōu)秀了而出了名，不但成了近代的伴奏之父，而且也寫(xiě)了不少關(guān)于伴奏藝術(shù)的書(shū)。

他在著作中曾說(shuō)，一般人把伴奏當(dāng)作是一條退路，只有在獨(dú)奏競(jìng)賽中落敗了之后，才會(huì)心不甘、情不愿的從事伴奏工作。其實(shí)這種想法是不正確的！以Moore的經(jīng)驗(yàn)而言，伴奏的音樂(lè)生活是相當(dāng)重要而且也充滿趣味的。

從藝歷程：Moore was born in Watford, Hertfordshire, the eldest of four children of David Frank Moore, owner of a men's outfitting company, and his wife Chestina, née Jones.[1] He was educated at Watford Grammar School, and took piano lessons from a local teacher [2] 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, Ontario, Canada, where he studied with the pianist Michael Hambourg, a former pupil of Anton Rubinstein.[4] 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.[5] 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."[6] 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 Hambourg's pianist son, Mark.

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 Master's Voice (HMV).[9] They made several more recordings together,[10] but Moore's 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 Moore's 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 Moore's memoirs, was the pianist Solomon, whose technique Moore admired and studied.

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 London's Royal Festival Hall - recorded by EMI and reissued in 1987 as CDC 749238 - concluded with Moore playing alone—an arrangement for solo piano of Schubert's 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 Britten's 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 Moore's: "the greatest accompanist of his day, and perhaps of all time."[18] In 2006 Gramophone magazine invited eminent present-day accompanists to name their "professional's professional", the joint winners were Britten and Moore.

book：The Unashamed Accompanist. London: Ascherberg, Hopwood & Crew. 1943. OCLC 222195191.

Singer and Accompanist – The Performance of Fifty Songs. London: Macmillan. 1953. OCLC 776944495.

Am I Too Loud? – Memoirs of an Accompanist. London: Macmillan. 1962. OCLC 604108.

The Schubert Song Cycles: With Thoughts on Performance. London: Hamish Hamilton. 1975. ISBN 0241890829.

Farewell Recital – Further Memoirs. London: Taplinger. 1978. ISBN 024189817X.

"Poet's Love" and Other Schumann Songs. London: Hamish Hamilton. 1981. OCLC 475543133.

Furthermoore – Interludes in an Accompanist's Life. London: Hamish Hamilton. 1983. ISBN 0241109094.

Collected Memoirs: Am I Too Loud?, Farewell Recital and Furthermoore. London: Penguin. 1986. ISBN 0140074244.

Moore contributed a chapter on "The Accompanist" to A Career in Music (1950, OCLC 3411544) edited by Robert Elkin, with chapters by Harriet Cohen, George Baker and nine others.