Giuseppe Borgatti (born Cento, March 17, 1871—died Reno di Leggiuno, October 18, 1950) was an Italian dramatic tenor with an outstanding voice. (See Michael Scott, cited below, for a laudatory appraisal of his singing.) The creator of the title role in Umberto Giordano's verismo opera ''Andrea Chénier'', he subsequently earned renown for his performances of the music of Richard Wagner, becoming in 1904 the first Italian tenor to appear at the Bayreuth Festival. He sang a variety of leading roles at La Scala, Milan, from 1896 until 1914, but deteriorating eyesight caused by glaucoma put a premature end to his stage career, after which he turned successfully to teaching.

Biography

Borgatti was born into a poor rural family from the Province of Ferrara in northern Italy and grew up illiterate, according to the music-performance historian John Rosselli. This handicap did not prevent Borgatti from finding work as a bricklayer/stone-cutter. He was also called up by the authorities to discharge a compulsory period of military service. Luckily, a wealthy patron happened to hear him sing. Struck by the inherent quality of Borgatti's voice, the patron arranged for him to have professional singing lessons and acquire basic educational skills. His voice teachers included Alessandro Busi in Bologna and, later, Carlo d'Ormeville.

In 1892 (some sources say 1893), Borgatti made his operatic debut at Castelfranco Veneto, singing the role of Faust in the opera of the same name by Charles Gounod. A string of performances at other Italian opera houses ensued in mainly lyric parts. Eighteen ninety-four saw Borgatti successfully undertake the role of the Chevalier des Grieux in a notable production in Venice of Giacomo Puccini's ''Manon Lescaut''. Later that same year he appeared at another major venue, the Teatro Dal Verme in Milan, as ''Lohengrin'' (his first assumption of a Wagnerian part). His career was now gaining real momentum but he would not become a major opera star until 1896 when, at Milan's La Scala, he sang in the premiere performance of ''Andrea Chénier'' to great acclaim.

Although Borgatti continued to appear in a number of Italian operas after 1896, earning particular renown for his performances in works by Giuseppe Verdi, Puccini and the various verismo composers, he fell strongly under the spell of Wagner's music dramas. He worked closely with La Scala's principal conductor, Arturo Toscanini, from 1898 through into the early 1900s, and proceeded to master all the main tenor parts of the Wagnerian repertoire, namely, Lohengrin, Tannhäuser, Walther, Tristan, Siegmund, Siegfried and, finally, Parsifal. In 1898, he toured South America with a first-class troupe of Italian singers which included his fellow tenor Francesco Tamagno, the soprano Luisa Tetrazzini and the baritones Mario Sammarco and Eugenio Giraldoni. He also visited Spain and Russia.

In 1901, he took part in a "grand concert" at La Scala that had been organised to mark the recent death of Verdi. Toscanini conducted the concert and among the array of soloists participating in it with Borgatti were Tamagno and the rising tenor star Enrico Caruso. Borgatti was accorded the honour of being the first Italian tenor invited to sing at Germany's Bayreuth Festival in 1904. Both Cosima Wagner (the composer's widow and the festival's director) and the important Wagnerian conductor Hans Richter praised Borgatti's voice and artistry. In 1906, he made a different venture into the field of German opera when he sang Herod in the La Scala premiere of ''Salome'' by Richard Strauss. Two years later, he was called upon to perform at the new Teatro Colón in Buenos Aires.

Good looking and solidly built—as photographs attest—Borgatti is described in contemporary reviews of his performances as having possessed abundant reserves of stamina and strong histrionic ability in addition to a smooth, well-schooled voice of robust size. Modern-day critics, including Scott, J.B. Steane and John Freestone, have praised him, too, for the clarity of his diction, the limpidity of his tone and the fineness of his phrasing. He took pride in the fact that even after he took on the heavy Wagnerian repertoire, he was still able to put across a bel canto aria like "Una furtiva lagrima" (from Gaetano Donizetti's ''L'elisir d'amore'') with lyrical ease. Oddly enough, despite his exceptional attainments as a singer and interpretive artist, he never performed in London or New York City.

At the height of his career, in 1907, Borgatti began losing his sight due to glaucoma. This affliction grew steadily worse, obliging him to retire from the operatic stage seven years after its onset, even though his voice was still in excellent condition. He kept giving concerts, however, and the theatre in his home town of Cento was named in his honour in 1924. By this juncture, he was blind in both eyes. His last public performance occurred in Bologna in 1928. He taught singing in Milan following the curtailment of his opera house career. His best known pupils were the English lyric tenor Heddle Nash (1894–1961) and the German lyric baritone Willi Domgraf-Fassbaender (1897–1978).

Borgatti married one of his singing teachers, Elena Cuccoli. They had a daughter, Renata Borgatti (1894–1964), who became a concert pianist. Borgatti died at a resort town near Italy's Lake Maggiore in 1950, aged 79.

Recordings

Giuseppe Borgatti's singing is preserved on fewer than 20 acoustic discs that he made in Milan for Fonotipia Records and the Pathé company in 1905 and 1919 respectively. They include extracts from four different operatic works by Wagner, all sung in Italian, and one aria each by Verdi ("Niun me tema" from ''Otello'') and Puccini ("E lucevan le stelle" from ''Tosca''; Borgatti had been La Scala's original Cavaradossi in 1900). For some reason, he recorded nothing from his breakthrough opera, ''Andrea Chénier'', or from some of the other Italian operas with which he had become especially associated, such as ''Mefistofele'', ''Aida'', ''La traviata'', ''La Gioconda'', ''Pagliacci'', ''Manon Lescaut'' and ''Fedora''. He did, however, commit to wax his interpretations of two short examples of lieder by Robert Schumann. Like the Wagner pieces, they are sung in Italian. Borgatti's acoustic recordings are available on various CD anthologies, including those issued by the Symposium label (catalogue number 1199), EMI's "La Scala Edition, Volume One" (CHS 7 64860 2) and Nuova Era Records (PH 5110).

In 1928, he recorded several rare sides electrically for the Columbia company.

References

Scott, Michael, ''The Record of Singing'', Volume 1, Duckworth, London, published 1977.

Rosenthal, Harold & Warrack, John, ''The Concise Oxford Dictionary of Opera'', second edition, Oxford University Press, London, published 1979.

Steane, John, ''The Grand Tradition: Seventy Years of Singing on Record, 1900-1970'', Duckworth, London, 1974.

Freestone, John, liner notes to Symposium Records, UK, Compact Disc 1199, published 1997.

Rosselli, John, ''Singers of Italian Opera'', Cambridge University Press, Cambridge, published 1992 and reprinted 1995.

Phillips-Matz, Mary Jane, ''Puccini: A Biography'', Northeastern University Press, Boston, published 2002.

Biographical sketch

Category:1871 births Category:1950 deaths Category:Italian tenors Category:Operatic tenors Category:Italian opera singers Category:People from the Province of Ferrara

fr:Giuseppe Borgatti it:Giuseppe Borgatti

Willi Domgraf-Fassbaender (February 19, 1897, Aachen - February 13, 1978, Nuremberg) was a German operatic baritone, particularly associated with Mozart and Verdi roles. He is considered to have been one of the best lyric baritones of the inter-war period.

Life and career

Domgraf-Fassbaender studied first in Berlin with Jacques Stuckgold and Paul Bruns, and later in Milan with the prominent Italian dramatic tenor Giuseppe Borgatti (who also taught the English tenor Heddle Nash). His stage debut occurred in 1922 in his native Aachen, as Almaviva in ''Nozze di Figaro''.

He sang at the Deutsche Oper Berlin from 1923 to 1925, at the Düsseldorf opera house from 1925 to 1927, at the Staatstheater Stuttgart from 1927 to 1930, and finally at the Berlin Staatsoper from 1930 until 1948.

Domgraf-Fassbaender was invited regularly to sing at the Glyndebourne Festival in England from the festival's foundation in 1934 until 1937, performing Mozart roles. He also appeared at the Salzburg Festival in Austria in 1937, as Papageno in ''The Magic Flute''. After the Second World War, he performed mostly in Vienna, Munich, Hannover, and Nuremberg, where he was resident producer at the latter city's opera house from 1953 to 1962.

In 1954 he began teaching at the Music Conservatory of Nuremberg, where he trained his daughter, the mezzo-soprano Brigitte Fassbaender.

Domgraf-Fassbaender had a beautiful voice which he used with sensitive musicianship and an excellent technique. He was an accomplished singer-actor as well, appearing in a few musical films. Domgraf-Fassbaender left a sizeable legacy of audio recordings, many of which are available on CD reissues.

Sources

''Dictionaire des interprètes'', Alain Pâris, (Éditions Robert Laffont, SA, Paris, 1989) ISBN 2-221-06660-X

''The Concise Oxford Dictionary of Opera'' [second edition], (Oxford University Press, London, 1980).

Category:1897 births Category:1978 deaths Category:German opera singers Category:Operatic baritones

de:Willi Domgraf-Fassbaender es:Willi Domgraf-Fassbaender fr:Willi Domgraf-Fassbaender

Mario Del Monaco (July 27, 1915October 16, 1982) was an Italian tenor who is regarded by his admirers as being one of the greatest dramatic tenors of the 20th century.

Del Monaco was born in Florence to a musical upper-class family. As a young boy he studied the violin but had a passion for singing. He graduated from the Rossini Conservatory at Pesaro, where he first met and sang with Renata Tebaldi, with whom he would form something of an operatic ''dream team'' of the 1950s. His early mentors as a singer included Arturo Melocchi, his teacher at Pesaro, and Maestro Raffaelli, who recognized his talent and helped launch his career.

That career began in earnest with Del Monaco's debut on December 31, 1940, as Pinkerton at the Puccini Theater in Milan. (His initial appearance in an opera had occurred the previous year, however, in Mascagni's ''Cavalleria rusticana'' in Pesaro.) He sang in Italy during the Second World War and married, in 1941, Rina Filipini. In 1946, he appeared at London's Royal Opera House, Covent Garden, for the first time. During the ensuing years he became famous not only in London but also across the operatic world for his powerful, metallic voice. It was almost heldentenor-like in scope but Del Monaco was no Wagnerian, confining his activities overwhelmingly to the Italian repertoire.

Del Monaco sang at the New York Metropolitan Opera from 1951 to 1959, enjoying particular success in dramatic Verdi parts such as Radamès. He soon established himself as one of a quartet of Italian tenor "superstars" who reached the peak of their fame in the 1950s and '60s, the others being Giuseppe Di Stefano, Carlo Bergonzi and Franco Corelli. It may be argued that this was a group of superstars whose brilliance was only exceeded by one non-Italian, Jussi Björling. Del Monaco's trademark roles during this period were Giordano's Andrea Chénier and Verdi's Otello. He first tackled Otello in 1950 and kept refining his interpretation throughout his career. It is said that he sang Otello an astonishing 427 times. However, the book published by Elisabetta Romagnolo, ''Mario Del Monaco, Monumentum aere perennius, Azzali 2002'', lists only 218 appearances by him as Otello, which is a more realistic figure. Aptly, the tenor was buried in his Otello costume. Although Otello was his best role, throughout his career, Del Monaco sang a number of other roles with great acclaim, for example: Canio in ''Pagliacci'' (Leoncavallo), Radames in ''Aida'' (Verdi), Don Jose in ''Carmen'' (Bizet), Chenier in ''Andrea Chénier'' (Giordano), Manrico in ''Il trovatore'' (Verdi), Samson in ''Samson and Delilah'' (Saint-Saëns), and Don Alvaro in ''La forza del destino'' (Verdi).

Del Monaco made his first recordings in Milan in 1948 for HMV. Later, he was partnered by Renata Tebaldi in a long series of Verdi and Puccini operas recorded for Decca. On the same label was his 1969 recording of Giordano's ''Fedora'', opposite Magda Olivero and Tito Gobbi.

In 1975 he retired from stage. He died in Mestre as a result of nephritis.

His ringing voice and virile appearance earned him the nickname of the "Brass Bull of Milan". Despite his idomatic phrasing, he was still widely criticized for being unsubtle and unyielding in his vocal interpretations. In this regard, the soprano Magda Olivero noted in a recent interview that:

"When del Monaco and I sang ''Francesca da Rimini'' together at La Scala [in 1959] he explained his whole vocal technique to me. When he finished I said, "My dear del Monaco, if I had to put into practice all the things you’ve told me, I’d stop singing right away and just disappear." The technique was so complicated: you push the larynx down, then you push this up, then you do that—in short, it made my head spin just to hear everything he did.

"We recorded ''Francesca'' excerpts together [in 1969]. Francesca has a beautiful phrase, "Paolo, datemi pace," marked "piano," and then Paolo enters with "Inghirlandata di violette," which also should be sung softly, delicately. Instead, del Monaco was terrible—he bellowed the phrase [she imitates him and laughs]! When he listened to the playback he exclaimed, "I can’t believe it! After that soft poetic phrase I come in and what do I sound like—a boxer punching with his fists!" He recorded the phrase again, but the second attempt was more or less the same because he was incapable of singing piano. He was furious with himself because he wanted to. He tried everything, but his technique would not permit him to sing softly since it totally was based on the muscles."

Del Monaco belonged to a once flourishing lineage of dramatic tenors born in Italy. Famous predecessors of his included Francesco Tamagno, Francesco Signorini, Giuseppe Borgatti, Giovanni Zenatello, Edoardo Ferrari-Fontana, Bernardo de Muro, Giovanni Martinelli, Aureliano Pertile and Francesco Merli, among others.

In popular culture

One of his recordings of "Vesti la giubba" from Leoncavallo's ''Pagliacci'' was used in the 1989 comedy film ''Cookie''.

Bibliography

Gianni Gori, ''Mario Del Monaco: mille guerrier m'inseguono...'', con prologo di Marzio Pieri, coll. Grandi Voci 1, 2008, Zecchini Editore, pagg. 206 con discografia consigliata

Harold Rosenthal and John Warrack, ''The Concise Oxford Dictionary of Opera'' (Second Edition), Oxford University Press, 1980, page 126.

External links

Mario Del Monaco Official International Website - "A non-profit website created in memory of the greatest dramatic tenor of the 20th Century."

History of the Tenor - Sound Clips and Narration

References

Category:1915 births Category:1982 deaths Category:People from Florence Category:Italian opera singers Category:Italian tenors Category:Operatic tenors

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William Heddle Nash (14 June 1894 – 14 August 1961) was an English lyric tenor who appeared in opera and oratorio in the middle decades of the twentieth century. He also made numerous recordings that are still available on CD reissues.

Nash's voice was of the light tenor class known as "tenore di grazia". The critic John Steane referred to him as "the English lyric tenor ''par excellence'', without equal then or now." He appeared in tenor roles in operas by Mozart, Verdi, Wagner and Puccini among others, at the Royal Opera House, and the Glyndebourne Festival. His operatic career lasted from 1924 to 1958.

As a concert singer, Nash was known for his performances in oratorio, and in particular in the title role of Elgar's ''The Dream of Gerontius'', making the first gramophone recording of the work, in 1945.

Biography

Early years

Nash was born in the South London district of Deptford on 14 June 1894, the son of William Nash, master builder, and his wife, Harriet Emma ''née'' Carr. The family was musical, and listening at home to a gramophone record by Caruso prompted Nash to apply for a scholarship at the Blackheath Conservatoire of Music. He was accepted, but a week later World War I broke out. Nash joined the army, serving in France, Salonika, Egypt and Palestine.

The Blackheath scholarship was held open until after the war; Nash took it up on his return. He had some experience of concert and oratorio work, and then he accepted an offer to sing with Podrecca and Feodora's Italian Marionettes. Unseen, standing in the orchestra pit of the Scala and Coliseum theatres, he sang the tenor roles in many Italian operas while on the stages the puppets mimed the action. After the London season, the marionette company secured a contract to appear in New York; Nash went with them. On his return to London a friend advanced the money for him to study in Milan with Giuseppe Borgatti. On 7 April 1923 Nash married Florence Emily Violet Pearce, daughter of a sign manufacturer. They had two sons, one of whom became an operatic baritone.

While studying with Borgatti, Nash made his operatic debut in 1924 at the Teatro Carcano in Milan, when he replaced an indisposed tenor in the role of Almaviva in Rossini's ''Il barbiere di Siviglia''. It was a notable success. After singing at Turin, Bologna and Genoa, Nash returned to England with his wife in 1925. He had developed an Italianate style of singing that remained with him: it was said of him that he sang everything as though it were by Verdi.

Opera in England

On his return to London Nash was engaged by the Old Vic Company under Lilian Baylis to sing tenor roles in English. His first part for the company was the Duke in ''Rigoletto''. His success was instantaneous. ''The Musical Times'' said that it was a pleasure to welcome a very beautiful tenor voice, praised his clarity of diction, and predicted that Nash would be one of the eminent lyric tenors of the future. At the Old Vic he appeared as Tonio in ''The Daughter of the Regiment'', in the title role in ''Faust'', as Pinkerton in ''Madama Butterfly'' and as Tamino in ''The Magic Flute''. At the end of the Old Vic season he joined the British National Opera Company, going on tour with the company after a short London season. His roles included Almaviva, Fenton in ''Falstaff'', Turiddu in ''Cavalleria rusticana'', Roméo in ''Roméo et Juliette'', Des Grieux in ''Manon'' and David in ''Die Meistersinger von Nürnberg''.

In 1929, Nash made his debut at the Royal Opera House, Covent Garden as Don Ottavio in ''Don Giovanni'' in the company's International Season. He sang leading tenor roles in Italian and French operas at Covent Garden until World War II, including Almaviva, Pinkerton, Faust, Roméo, Rodolfo in ''La bohème'', Eisenstein in ''Die Fledermaus'', Rinuccio in ''Gianni Schicchi'', and Pedrillo in ''Die Entführung aus dem Serail''. The critic Alan Blyth called Nash the leading British lyric tenor of the 20th century, and considered him "ideal casting for the heroes of French 19th-century Romantic opera." Nash had a repertoire of twenty-four operas, and sang fluently in English, French, German and Italian. He was proud of being the first Englishman to sing David in ''Die Meistersinger'' in the International Season at Covent Garden.

In the first Glyndebourne season, in 1934, Nash played Basilio in '' Le nozze di Figaro'' at the inaugural performance, Pedrillo, and Ferrando in ''Così fan tutte''. He sang these three roles every year until 1938, adding Ottavio in ''Don Giovanni'' in 1937. The critic Richard Capell wrote, "Hardly another tenor of his time has sung Mozart with such elegance and at the same time such a minstrel-like effect of spontaneity." Nash also sang in lighter musical stage works, appearing in Karl Millöcker's ''The Dubarry'' in 1932, and Edward German's ''Merrie England'' in 1945.

During the war Nash toured with the Carl Rosa Opera Company, often singing opposite the Australian soprano Joan Hammond. His roles included Faust, Pinkerton and Rodolfo. After the Royal Opera House reopened following its wartime closure, Nash sang Des Grieux and David. His last appearance at Covent Garden was in ''Die Meistersinger'' in April 1948. He continued to appear on stage until July 1958, when he reprised a character role that he had created a year earlier, Dr Manette in Arthur Benjamin's ''A Tale of Two Cities'' at Sadler's Wells. ''The Musical Times'' called it "a most moving performance".

Oratorio and later career

Nash's career was not restricted to opera; he gave many song recitals, made radio broadcasts and performed in concerts and oratorio productions all over Britain. In 1931, he was chosen by Sir Edward Elgar to sing the title role in ''The Dream of Gerontius'', in a performance conducted by Elgar himself. Henceforth, Nash was closely associated with the part, singing it at every Three Choirs Festival from 1934 to 1950. The critic Sir Neville Cardus considered him the greatest of all exponents of the part. Nash's 1945 recording of Gerontius with Malcolm Sargent is still regarded by many critics as unsurpassed.

Nash sang regularly in ''Messiah'', and other oratorios. In 1938, he was one of the 16 singers chosen by Ralph Vaughan Williams to perform his ''Serenade to Music,'' composed as a tribute to Sir Henry Wood. The work was recorded soon afterwards, with the same 16 singers. This historic performance can be heard on CD re-issues.

In his later years, Nash was appointed professor of singing at the Royal College of Music. He sang his in his last ''Messiah'' a few months before his death from lung cancer on 14 August 1961. On his tombstone in Chislehurst Cemetery are carved the opening words of part two of ''The Dream of Gerontius'': "I went to sleep and now I am refreshed."

Recordings

Many of Nash's recordings have been reissued on compact disc. He made his first recordings for Columbia Records during the late 1920s and early 1930s. These were mostly of operatic titles, including arias from ''The Magic Flute'', ''Don Giovanni'', ''Il barbiere di Siviglia'', Lehár's ''Frederica'', ''Jeptha'', ''L'elisir d'amore'' and ''Rigoletto'', plus a number of English songs and ballads. His 1932 Columbia recording of the serenade from Bizet's ''La jolie fille de Perth'', sung in English, became a best-seller, making a little-known item of music extremely popular in his homeland. In 1927, he participated in the recording of complete English-language versions of Leoncavallo's ''Pagliacci'' and Mascagni's ''Cavalleria Rusticana'' with the forces of the British National Opera. In 1935, he recorded a complete Act IV of Puccini's ''La Boheme'' conducted by Beecham. Nash was the tenor in Beecham's first LP recording of ''Messiah'', issued in 1953. ''The Gramophone'' wrote, "Those who are apt to remember him as an essentially lyrical tenor should turn up his "Sound an Alarm" from ''Judas Maccabaeus'', which is nothing if not robust."

Further reading

Biographies

Allen, Eleanor (2010) ''Heddle Nash: Singing Against the Tide". Jubilee House Press. ISBN 978-0-9565996-0-5

References

External links

Heddle Nash: Singing Against The Tide - Biography

History of the Tenor - Sound Clips and Narration

Biography for Heddle Nash at IMDb

William Heddle Nash, English tenor, 1894 - 1961 at cantabile-subito.de/Tenors

Category:1894 births Category:1961 deaths Category:Deaths from lung cancer Category:Academics of the Royal College of Music Category:English male singers Category:English tenors Category:Operatic tenors Category:People from Deptford

Gerald Moore CBE (30 July 1899 – 13 March 1987) was an English pianist best known for his career as one of the most in-demand accompanists of his day, accompanying many of the world's most famous musicians. Moore was born in Watford but received most of his musical education in Toronto, Canada, to which country his family emigrated when he was a child, and where he was an organist at St Thomas' Church, Huron Street, in Toronto.

He accompanied notable instrumentalists such as Pablo Casals and the child prodigy Josef Hassid, but is perhaps best remembered for his work with singers, with notable partnerships including Elisabeth Schwarzkopf, Dietrich Fischer-Dieskau, Victoria de los Ángeles, Elisabeth Schumann, Maggie Teyte and Kathleen Ferrier. He had a particular affinity for the art song (lieder) repertoire; the BBC has recommended a number of his recordings in its ''building a library'' selection, including his 1961 recording of Schubert's ''Die Schöne Müllerin'' with Fischer-Dieskau and the 1958 Salzburg Festival recording of Wolf lieder with Schwarzkopf. He also gave lectures on stage and radio and wrote about music, publishing his much-admired memoir ''Am I Too Loud?: Memoirs of An Accompanist'' in 1962. He published two other volumes of autobiography: ''Farewell Recital: Further Memoirs'' (1978) and ''Furthermoore'' (1983).

Moore credited much of his early success as an accompanist to a five-year partnership with the tenor John Coates, who, Moore says, turned him from an indifferent accompanist into one who was sensitive to the music and the soloist, and an equal partner in performance. Moore, then aged 25, was engaged by Coates almost by chance when his usual accompanist Berkeley Mason was unavailable. Another influence who figures largely in Moore's memoirs is the great pianist Solomon, whose technique Moore admired and studied.

As an accompanist, Gerald Moore is credited with doing much to raise the status of accompanist from a subservient role to that of an equal artistic partner, in part through his influential 1943 book ''The Unashamed Accompanist''. Fischer-Dieskau wrote in his introduction to the German edition of ''The Unashamed Accompanist'' that "there is no more of that pale shadow at the keyboard, he is always an equal with his partner" and "it is quite apparent how new and unique the type of accompanist is which he represents," and Moore jealously protected this status of his art, complaining when accompanists he admired were not given billing in concert.

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 concluded with Moore playing alone - he chose Schubert's ''An die Musik''. He made his last studio recording in 1975.

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.' Moore would therefore have been interested that, when in 2006 ''Gramophone'' magazine invited eminent present-day accompanists to name their 'professional's professional', the joint winners were Britten and Moore himself.

Moore was appointed a Commander of the Order of the British Empire (CBE) in 1954. He died in Penn, Buckinghamshire in 1987.

References

''Am I too loud?'', Memoirs of Gerald Moore, Hamish Hamilton Ltd, London, 1962

Category:English classical pianists Category:Commanders of the Order of the British Empire Category:Old Fullerians Category:1899 births Category:1987 deaths Category:People from Watford Category:Accompanists Category:Honorary Members of the Royal Philharmonic Society

de:Gerald Moore es:Gerald Moore fr:Gerald Moore ko:제럴드 무어 it:Gerald Moore he:ג'ראלד מור nl:Gerald Moore ja:ジェラルド・ムーア ru:Мур, Джеральд sv:Gerald Moore