An Accompanist's Story

Press, Volume CI, Issue 29892, 4 August 1962, Page 3

An Accompanist's Story

As 1 To* Lend. The autobiography *f Gerald Moore. Hamish Hamilton.

Unassuming, yet forceful, bold but humble, imaginative dreamer but practical and energetic realist, patient, yet perfectionist, tactful but frank —these are some of the i many fascinating contradictions which emerge from this autobiography by the worldfamous piano accompanist and musician, Gerald Moore, the only artjst to have appeared each year at the international Edinburgh Festival since its inception in 1947. With this third and latest sally into print entitled. "Am I Too Loud'.'— Memoirs of an Accompanist.” Mr Moore embarks on a pleasantly colloquial resume of his diversified 40-year-long career, interspersed with some penetratingly human word pictures of the great musicians of this century. Throughout, the book is illustrated by full-page black and white photographs of famous personalities referred to.

Beginning from the time when as a "snivelling and unwilling child” he was first "seized and flung literally at the piano.” Mr Moore steers casually and with surely’ unprecedented self effacement through the succeeding stages of his life. From his days as the "unrewarding pupil of the famous Mark Hambourg" he engages the reader confidentially in reminiscences, through the early phonograph and microphone eras, to the present rushed age of television, tape recordings and inter-contin-ental jet traveL Always with disarming modesty and sometimes an impish humour, he shows himself not merely as a man deeply engrossed in his work of accompanying, lecturing, teaching, broadcasting, writing and travelling, but something of a philosopher and humanist.

But as readers of his book. “The Unashamed Accompanist” (published in 1943 and since translated into several languages) will remember, Mr Moore is also emphatic about the need lor wider recognition of the present day accompanist’s status. From his farmer mouse-like and unassuming anonymity, the accompanist has today emerged into a role of more or less equal partnership, although unfortunately in some countries still regarded as a nonentity. Thus, Mr Moore shows himself as a man with a mission, that is to make of his work something more than a mere craft. “It is an art to a great extent an unselfish one. a life spent listening to and considering the other fellow, a life necessitating constant diplomacy, compromise and adaptation.” The real meaning of technique too comes under his close scrutiny, it being in fact “the very foundation without which love and feeling will go for nought.” Believing that “the finer and more serious the artist, the greater his modesty when approaching his work.”. Mr Moore admits unashamedly that he learnt something from nearly everyone tor whom he played. He has also the courage of his convictions, to question the opinions of those with whom he disagrees, however seriously these may be generally regarded. Of the finer critics of music, he has the utmost praise, but deplores those whose ignorance is a threat to the musical life of their readers. “Knowing an art without any personal experience of its practical problems is a very doubtful form of human culture,” he says. He particularly admonishes “anyone who can hold a pen who feels qualified to criticise cruelly. It is easier to talk than to write.” he reminds us later.

However, it is In his description of the great that Mr Moore really comes into his own. Probably few living musicians can have known so intimately so many famous figures in music. From a large number mentioned, including Peter Dawson, Maggie Teyte, John McCormack, Albert Sammons, Elena Gerhardt. Solomon. Elizabeth Schumann and John Coates and Chaliapin, Moore has always something individual and unique to say. All is remembered without help of diaries but “dug up from the recesses of my memory." Reaching to the heart of each subject. he discovers in each unexpectedly human touches.

Of the world famous German singer Dietrich FischerDieskau. Moore writes of "his insatiable thirst for music,” of the late Kathleen Fterrier "her soul stirring humanity.” of the great Elizabeth Schwarskopf her tremendous capacity for work and of the “shy. home-loving Victoria de Los Angeles.” Throughout the book the popular belief that eccentricity and egocentricity are synonymous with greatness is refuted by Mr Moore. There is no doubt that “the finer and more serious the artist, the greater his modesty.” he says, instancing the world famous violinst. Yehudi Menuhin. But Mr Moore finds himself occasionally at a loss. I Writing of the world famous cellist Pablo Casals, “the

greatest living musician,” he says simply, "of the man's music . . ■ words fail me . . .

he begins where other! musicians leave off.” Music is more to Gerald Moore than a means of per-! sonal expression. Of all human occupations today hej believes it to be one of the' few vehicles left where, mutual understanding be-| tween nations can become} truly meaningful. Where international sport "so often] creates bad blood” where summit conferences are] "freezing,” the interchange! of artist between countries can do nothing but good, in 1 his opinion. "Unlike statesmen we have no differences to iron out. unlike sportsmen we need no referees to see fair play. We are all bound togetlier by our love of music.” he writes. And with his vast experience around the globe throughout the United Kingdom, Europe. America, Asia and the Pacific. accompanying most of the world’s great musical j virtuosi. Gerald Moore un-i wittingly shows himself to have contributed in no' small measure to this valuable international exchange.