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Hans Hotter sings J.-S. Bach and Brahms
19.09.2013, 19:06


Ханс Хоттер (нем. Hans Hotter; 19 января 1909, Оффенбах, Германия — 6 декабря 2003, под Мюнхеном) — немецкий певец (бас-баритон). Известен прежде всего как исполнитель партий в операх Рихарда Вагнера и песен немецких композиторов. Один из величайших певцов XX столетия.

 

Изучал философию и церковную музыку в Мюнхене, обучался пению у известного тенора Маттиаса Рёмера. Первое выступление состоялось в Мюнхене в 1929 г. В 1930 г. состоялся оперный дебют певца в Троппау (Опава) (в партии Оратора в «Волшебной флейте» Моцарта). В 1932 1934 гг. выступал в Праге, в 1934 1938 — в Гамбургской опере (здесь он участвовал в премьере оперы Винфрида Циллига «Жертва»), с 1939 г. — в Венской опере.

С 1937 г. стал членом труппы Мюнхенской оперы. Участвовал в премьерах опер Рихарда Штрауса «День мира» (24 июля 1938 г., роль Коменданта) и «Каприччио» (28 октября 1942 г., роль Оливье). Предполагалось и его участие в премьере оперы «Любовь Данаи», но из-за войны премьера была отложена и впоследствии осуществлена с другим составом исполнителей. В 1941 г. дебютировал как исполнитель песенного репертуара, исполнив цикл Шуберта «Зимний путь».

 

С 1939 г. гастролировал в Париже, с 1940 г. — в Милане, с 1947 г. регулярно выступал в Лондоне, с 1949 г. — в Буэнос-Айресе, в 1950 1954 — в Нью-Йорке. Принимал участие в Зальцбургском и Эдинбургском фестивалях. Вершиной карьеры певца стали регулярные выступления на вагнеровском фестивале в Байрейте (1952—1966).

В 1971 г. участвовал в премьере оперы Готфрида фон Эйнема «Визит старой дамы» в Венской государственной опере.

В 1972 г. официально закончил оперную карьеру, но ещё долго выступал в небольших ролях и продолжал исполнять песни. Работал как оперный режиссёр в Лондоне, Вене, Мюнхене, Цюрихе и Гамбурге. Занимался преподавательской деятельностью (с 1977 г. — профессор Венской музыкальной академии).

 

Ханса Хоттера отличали прекрасный голос, сочетавший яркость баритона и мощь баса, безупречная дикция, внимание к тексту и незаурядное актёрское дарование. Его репертуар включал в себя около 120 партий в операх самых разных композиторов (Вольфганга Амадея Моцарта, Рихарда Штрауса, Джузеппе Верди, Людвига ван Бетховена, Модеста Мусоргского, Альбана Берга и т. д.). Особую славу принесло ему исполнение вагнеровских ролей (он пел едва ли не все вагнеровские партии, подходящие для его голоса), и, прежде всего, Вотана в «Кольце нибелунга». Но сам Хоттер особенно ценил песни и духовную музыку. Его записи песен Шуберта (среди прочего несколько записей «Зимнего пути»), Брамса, Шумана, Лёве, Вольфа, Штрауса свидетельствуют о выдающемся даровании. Особенно следует отметить его исполнение 82-ой кантаты Баха.

Сотрудничал со многими выдающимися дирижёрами, такими как Ханс Кнаппертсбуш, Герберт фон Караян, Карл Бём, Клеменс Краус, сэр Джордж Шолти, Отто Клемперер и др.

 

Anthony Bernard (Conductor)

Born: 1891 - London, England

Died: 1963

The English conductor and composer, Anthony Bernard, studied composition with Granville Bantock, Borwock, John Ireland, and also with the composer Joseph Holbrooke.

 

Anthony Bernard was firstly organist and a piano accompanist, choir director, before becoming a conductor. He is best remembered for his conductorship of the London Chamber Orchestra (and Singers), which for upwards of thirty years explored unfamiliar repertoire; but he also directed the British National Opera Company (1924-1925) and at Stratford-on-Avon (1932-1942), Canterbury, and Cambridge Festivals, and from 1924 onward took part in broadcasts. He also appeared in France, Holland, Greece, Spain, Czechoslovakia, Denmark, Switzerland, etc. The English composer, Robert Simpson (1821-1997), dedicated his Symphony No.2 (1955-1956) to Bernard, who conducted the premiere of the work with the London Chamber Orchestra.

 

Anthony Bernard wrote much incidental music for radio productions late in life. His scores included Iphigenia in Aulis (1951, later re-used with additions of his own by Rae Jenkins, himself sometime conductor of the BBC Welsh and BBC Variety Orchestras), The Tempest (also 1951), A Midsummer Night's Dream and the Ion and Bacchae of Euripides. In 1956 Bernard made a version for the BBC of The Beggar's Opera, scoring it for flute, oboe, bassoon, harpsichord and strings. His earlier works include an organ prelude, Rorate Coeli (1916), Variations on a Hill Tune, for piano (1920) and songs like The Cherry Tree Song.

 

Anthony Bernard was honoured as Officer de l'Academie in 1948. He was married twice, first with Marie Augustine Jourdan (divorced), second with Mary Catherine Beattie, and had two daughters.

 


Geraint Jones (May 16, 1917, Porth (Wales) - May 3, 1998)

The Welsh organist, harpsichordist, and conductor, Geraint (Iwan) Jones, studied at the Royal Academy of Music in London.

Geraint Jones made his debut as harpsichordist in the National Gallery in 1940. Subsequently he gave numerous recitals as an organist, often on historical instruments in Europe. In 1951 he founded the Geraint Jones Singers and Orchestra, which he led in many performances of Baroque music. He also was a music director of the Lake District Festival from 1960 to 1978, a music director of the Kirckman Concert Society from 1963, artistic director od the Salisbury Festival of Arts from 1972 to 1977, and artistic director of the Manchester International Organ Festival from 1977.

 

На фотографии слева направо: гобоисты Сидней Сатклифф, Теренс Магдонаг; Джон Вулф (английский рожок).

Sidney Clement "Jock" Sutcliffe (October 6 1918; - July 5 2001) was one of the finest British oboists of the post-war era. As first oboe in the Philharmonia Orchestra he was one of "Legge's Royal Flush", the outstanding principal wind players of the legendary orchestra assembled by record producer Walter Legge. Born in Edinburgh, "Jock", as he came to be universally known, had a cellist as father and a pianist as mother. They were members of the Salon Picture House orchestra and of a trio that played in theatres and hotels.

 

At the age of seven, Jock was given a three-quarter-size cello, but apart from some help from his father he had no formal lessons and did little serious practice. However, at the age of 12, he heard a girl of seven play the Sicilienne by von Paradis. Her performance was so enchanting that he went straight home and got down to work.

Soon after this, the advent of talking pictures made his parents redundant. Seeing their careers destroyed made it seem fruitless to think of a career in music for himself. He left school at 14, and was advised by a family friend to join an army band.

 

In 1934, he enlisted in the King's Royal Rifle Corps and was ordered to learn the clarinet. Two months later, the regimental oboe, a sharp-pitch Louis model (the British army had officially lowered its pitch in 1927; since the turn of the century it had been out of step with that used by concert musicians), came back from being repaired.

The bandmaster gave it to Jock and told him to learn that instead: the more relaxed embouchure called for by the sharper pitch made him capable in later years "of producing some of the most spectacular pianissimos ever heard from this instrument", as the New Yorker put it in 1955.

He was soon awarded a Kneller Hall scholarship to study at the Royal College of Music. For the first year, he was taught by William Shepley, and then had "three lovely years" with Léon Goossens. He also studied the cello with John Snowden.

 

In 1938, he received a telegram inviting him for an audition, which he sailed through, for the opera and ballet orchestra at Sadler's Wells.

When war broke out in 1939, he was recalled to his unit, which was to be sent to Calais to divert the Germans during the evacuation of Dunkirk. But he was discovered to have astigmatism, and was kept on home duties, being sent to Winchester to help to form a new band.

He soon found himself playing saxophone in a Dixieland group and a big band, for both of which he wrote many arrangements.

It was during a recording with the big band at Abbey Road Studios that he was overheard by Michael Dobson of the London Philharmonic Orchestra, who asked him whether he could deputise for him for a session.

 

Soon after, he received an invitation to be principal oboe in the LPO, and spent four "happy but strenuous years" playing under, among others, Bruno Walter, Victor de Sabata, Sir Adrian Boult, Basil Cameron and Eduard van Beinum. In 1948, he married Thelma Roberts, one of the orchestra's secretaries.

Twice he was approached by Walter Legge to join the Philharmonia, and the second time he agreed.

Very occasionally during what he called his "glorious era" he appeared as a soloist, performing the Strauss concerto under Igor Markevich, Mozart's Sinfonia Concer tante with Bernard Walton (clarinet), Cecil James (bassoon) and Dennis Brain (horn) under Karajan, and the Brandenburg Concertos with Klemperer, but he derived supreme satisfaction from orchestral playing.

 

Those years were intensely busy, and one night in 1963 he met his eldest daughter on the stairs at midnight and realised that, although they lived in the same house, he hadn't seen her for two months. So when he found that the BBC Symphony Orchestra had just introduced its workload-sharing "co-principal" system, Jock took the opportunity to move to it.

In 1971, he decided to become a freelance player, and took on some teaching at the Royal College of Music and the ILEA Music Centre in Pimlico.

 

Retirement from these two appointments in 1983 was followed by the death of his wife. Life suddenly seemed rather bleak, but then he had an offer of cello teaching in Iceland.

However, being asked to take over as the cello teacher for Surrey and to help supervise pupils at the Yehudi Menuhin School, Cobham, in the same county, proved "such a thrill" that he decided to stay in England.

Jock's great delight in later life was to play the cello in regular chamber music sessions, often with Menuhin school pupils. However, he also continued to play the oboe and cor anglais, retaining his formidable technique and marvellous control.

 

As well as music, Jock loved motorbikes and golf, and always bubbled with energy and amusement: his broad smile and discriminating love of good beer made him the readily recognisable model for the oboist in Gerard Hoffnung's imaginary orchestra.

He was busy teaching at the Menuhin school right up to his collapse at a chamber music concert at the Wigmore Hall, London; he leaves his three daughters, Jill, Sally and Jeannie.



Джеральд Мур (англ. Gerald Martin Moore; 30 июля 1899, Уотфорд — 13 марта 1987, Пенн) — британский пианист.

Юность провёл в Торонто, где обучался у Михаила Гамбурга. В качестве аккомпаниатора сотрудничал со многими выдающимися певцами своего времени: Кирстен Флагстад, Элизабет Шуман, Дитрихом Фишером-Дискау, Элизабет Шварцкопф, Викторией де лос Анхелес, Хансом Хоттером, Кэтлин Ферриер, Дженет Бейкер, Кристой Людвиг, Николаем Геддой, Джоан Сазерленд и другими. Работал со скрипачами Иегуди Менухиным, Йожефом Сигети и Йозефом Хассидом, виолончелистами Пабло Казальсом и Жаклин дю Пре и многими другими. Его заслугой является то, что он повысил статус аккомпаниатора от подчинённого лица до равноправного творческого партнёра. Прекратил выступления в 1967 году, но и после этого осуществлял студийные записи.

В 1954 году Мур стал Кавалером ордена Британской империи II степени. Он был доктором музыки Кембриджского университета и почётным доктором литературы Сассекского университета, почётным членом Королевской музыкальной академии.

Автор нескольких учебных книг и воспоминаний.

 

Об оркестре «Филармония» см. например

http://raritetclassic.com/load/4-1-0-438

 

 

I. J.-S. Bach.

 

Cantata BWV 82, „Ich habe genug"

(текст неизвестного автора)

 

Hans Hotter, bass

Geraint Jones, organ

Sidney Sutcliffe, oboe

 

Philharmonia Orchestra

 

Conductor: Anthony Bernard

Rec. 1950

 

(Партитура и отдельно немецкий текст с русским переводом прилагаются к материалу)

 

 

J. Brahms.

 

14 Lieder.

 

Vier ernste Gesänge Op.121:

 

1. Denn Es Gehet Dem Menschen Wie Dem Vieh

2. Ich Wandte Mich Und Sahe An

3. O Tod, wie bitter bist du

4. Wenn ich mit Menschen und mit Engelszungen redete

Rec. 1951

 

5. Feldeinsamkeit, Op. 86 No. 2

Rec. 1951

 

6. Minnelied 3, Op. 71 No. 5

7. Sapphische Ode, Op. 94 No. 4

8. Botschaft, Op. 47 No. 1

9. Sommerabend, Op. 84 No. 1

10. Mondenschein, Op. 85 No. 2

11. Ständchen, Op. 106 No. 1

12. Heimweh #2, Op. 63 No. 8

13. Auf Dem Kirchofe, Op. 105 No. 4

14. In Waldeseinsamkeit, Op. 85 No. 6

Rec. 1956

 

Hans Hotter, bass

Gerald Moore, piano

 

Ноты песен прилагаются.

Отдельно прилагается немецкие тексты «Vier ernste Gesänge» вместе с русским Синодальным их переводом.

 

Категория: Аудио | Добавил: skass2007 | Теги: Brahms, Bach, Hotter
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