别名：杰拉尔德·穆尔 国籍：英国 生日：1899 年 7 月 30 日 逝世日期：1987 年 3 月 13 日 简介：Gerald Moore 1899年7月30日生于沃特福德。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。 Gerald Moore ，三岁起开始学习钢琴，十岁的时候就是公认的钢琴天才了。但是后来为了生活，不得不放弃成为钢琴演奏家的梦想，而以为人伴奏来养家餬口。没想到因为表现得太优秀了而出了名，不但成了近代的伴奏之父，而且也写了不少关于伴奏艺术的书。 他在着作中曾说，一般人把伴奏当作是一条退路，只有在独奏竞赛中落败了之后，才会心不甘、情不愿的从事伴奏工作。其实这种想法是不正确的！以Moore的经验而言，伴奏的音乐生活是相当重要而且也充满趣味的。 从艺历程：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.