Singer and Accompanist - The Performance of Fifty Songs, by Gerald Moore, 1953, published by Methuen & Co. Ltd. London. Hardback, 232 pages
This vintage music hardback is in fairly good condition:
- the original dust-jacket, the book covers and the first ten or so pages have some water damage - the dust-jacket has some ruffling and staining on the back; the pages have some ruffling; the book boards have discoloration
- the back of the dust-jacket has a small hole and water staining, and there is a small tear on the front cover, top left corner
Otherwise there is no writing, tearing, creasing or dog-earing.
Contents can be seen in the pics.
Song composers are Arnold Bax -- Beethoven -- Brahms -- George Butterworth -- Debussy -- Delius -- Manuel de Falla -- Henri Duparc -- Gabriel Faure -- Gerald Finzi -- E. Granados -- Grieg -- Ivor Gurney -- Reynaldo Hahn -- Hadyn -- John Ireland -- Mendelssohn -- Moussorgsky -- C. Hubert Parry -- Robert Quilter -- Rachmaninoff -- Ravel -- Schubert -- Schumann - CV Stanford -- Richard Strauss -- Tschaikovsky -- Vaughan Williams - Hugo Wolf -- Charles Wood
22cm x 14.5cm x 2.5cm approx.
Blurb reads:
A book of extreme interest to singers and accompanists whether professional or amateur and to all lovers of music. It takes fifty songs at random (English, German, French, Spanish, Scandinavian, Russian) and with numerous illustrations explains how they should be sung and played. Through the author's vast experience we are told the tempo that Chaliapin, Gerhardt, John McCormack, Elisabeth Schumann, Kathleen Ferrier, Victoria de los Angeles, Schwarzkopf, Seefried etc., etc. would adopt in various songs; their phrasing; their conception of the music; the way they would prepare a song and overcome its technical difficulties.
The accompanist, who is given equal consideration, is shown how to coax an infinite variety on tone colours from his instrument and how, by his subtly informed playing, he can help the singer to tell his story.
Although technical problems are never evaded (we are frequently told 'how to do' by being shown, very amusingly, 'how not to do') it is Mr Moore's uncanny instinct for getting to the heart of a song and revealing the inner meaning or spirit lying beneath the surface of the notes, his lucid thinking on the sympathy or rapport between the two artists, that gives this books its unique flavour. 'Singer and Accompanist' cannot be read without amusement. It abounds with those charming touches of humour and wit which made Mr Gerald Moore's The Unashamed Accompanist such stimulating reading.
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