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.
