Victoriar`. und am 4.7.1958 in eineu Interviev zu IMax pLay a big part
Transcrição
Victoriar`. und am 4.7.1958 in eineu Interviev zu IMax pLay a big part
8.1.1958 h6rte man A.W. in einer Radiosendung des BBC_ Hone- Service als Sprecher ln r.The Richard Tauber Storyr, der c€schichte des ber{lhnteh Sanger6r der wle A,W. selbat wehrend der dreLBiger Jahre nach London enLgrj-ert war. Dlese offenbar beliebte SendunE wurde alll 13.4.1959 und 31.10.1959 Jeweils wiederholt. Errtnale lrar A.W. auch itl Fernseh-Progranrn der BBC zu sehen! an U.2.Lgse in einer Sendung Uber Anna Neagle, seiner ehenaligen 'reueen Victoriar'. und am 4.7.1958 in eineu Interviev zu IMax ophu1sn.l,g vor allem aber wurde er Anfang 19s8 fur eine Folge der danals bellebten Radioserie "Desert fsland Dlscs,r befragt. Unter der Annahne, auf eLner einsanen Insel gestrandet zu sein, hatten sich dabei bekannte Pere6nllchkeiten acht Schallplatten und wenige andere cegenEtande auszuwahLen, dle ihre pers6nlichan Vorlieben kennzej.chaen und ihnen die Elnsamkelt ertragllch machen sollten. Wehrend der nach Art eineg fntervi.elrs aufgebauten Sendung konnte lnan nlcht nur die entsprechenden platgen h6ren, sondern auch einige biographische Details und die Begrtihdung der jeweils getroffenen Auslrah1 erfahren. Die Folgen nit A.W. wurden am 3.2. und 29.3.1954 gesendet.2o cemliR ater une von der Bac .ur Verfugung gosteLlten Niedolschri.tt des Intelviews, aus dem w1r hi6r 6lnlgc Ausschnltt6 l,riedergeben, q,ird A.W. 1rl d6! Atnfifhrung den 116r€r,l zqntchat a]6 ,'one of the fer{ truly intelnational star. of the tlr€atle and tho eine!B,. vorgestellt. Dle 6rst6 Flag€ d6s ,nt€rvlelisr6 - !{r. plomley - Iaut€t dann: Ur. Walbrook, hoi{ nuch does nusic mean to you, does it pLay a big part in your tife? A.W.: A grenendoug anount, I could not live wj.thout r[uElc. ... How did you set about s€Looting just elght records to laat f,or nbat Dlght De a vsry long ex1ls? A.W.r WeI1, I found j.t very difficult to rnake up ny minC to find out vhich i6 the nost beautiful. IIIusic in the Am I Erlorl Unklloea Elrltcb argur€lt. (/"::-) L5 t--/ \ .r,- irorLd. So I did a litt1e blt of thinking ...1 what is to do vho is condenned to sit. on this uretched island of yours for nothing to do, you just stay and grow older and older and older, and wbat do o1d people do? They think back. They think back to thel,r childhood. And I made up my nind to choose eight records which played an enornous part in my life fron ny twelfth or thirteenth year oNrardg until twenty years 1ater, Als erste PLatte r,rShlt A.W. die Ouverture zu ',La Traviatai' (Verdi, "Ia Traviatari, prelude, N.B.C. Synphony orcheEtra, Toscanini), nit der die clowns crock und Antonet ihre Zirkusauftritte in Berlin einzuleiten pfLegten, fiir den (naben A.W. der Anl.aB, seinen ersten anybody Xlavierunterricht zu nehmen. .., lyel1, you said that Dusic Ead6 you dssiats to stuaty tlq piano. Do you play rny othsr itrstru[onts? A.W.: I don-t play them any tnore, but then when I decided to take up piano I had played the *(violin?),li the concertiha, the guitar. I think that-s about aft/ yes . , everything !,las by ear, nothing was according to nusic. And ihen I cane across a record of Segovia, the great spanlsh guitarist, I realized vhat a great j.nstrunent, what a !,/onderful and what a difficult instrument it can bei and that-s why for my second record I-ve chosen . segovia .,. A prelude by Vitla- Lobos. (Villa_Lobos, IPrelude No. 1 in E ninor'r, Andr6s segovia, guitar) ... W€11, let's hav6 record nu[be! thrgs. Itbat-s that going to be? A.W.! Well-, that record nunber three is tlaria *(Ivogun),. and stands of course, for ny tine in Munich. Maria *(Ivogiin)* was an opera singer at the ... Munich Opera ... The record itself has nothing to do \,/ith opera, it,-s *(a)* sirdple litt1e fol.k song in which a girt sings she lost her stocking, and aftersards she lost her heart, and so on. It doesn-t matter what she sings, but the way she sings - that-s iinportant, (',2 'Lauterbach hab- i nein Errorl Urkrowa srritch argls€Dt. .'-.7it strunpf verlorni' Maria lvogun, soprano / Michael Raucheisen, piana) ... Ifhat-a Your trext r€cord? wolf I'Italian Serenade" ... And I-ve chosen it because I Love the gaiety and the * (unverstlindllch) r. of it so very nuch, And it.-6 al.flays ny dream to see a cohedy - or better, to be Ln a comedy !,hich *(has)* the sahe light - fight touch. (Hugo Wo1f. "Ita1j"an serenade in c majorr', Budapest string oualtet) .., l,6t-a have another record. A.w.: My next record is a record of Hugo A.W.: Well my next record j.s 'rBrandenburg Concerto No. 5", played by Busch and selkin. we1L, that record l-ve chosen has a little bit of vanity and apart fron that, lt shows lrhat you can do when you work. You knov my background - circus nusic ls not exactl.y inspiring. fhe first uusic teacher uas not exactLy lnsplring. And there was one conposer vho made ne fall as16ep irnntediately, and that uas Bach. I just couldn-t face it, I fell asleep. I nust have net sonebody very nice, but he or she said ',Be patient, Iearn, work, try again and again.trAnd T did tly again and again for I think nearly twenty years, until I got it. And it lras Dresden again - hearing the Busch Chanber Orchestra play the rrBrandenburg Concerto No. 5!i that the ice broke. Ever since I knorir there i.s no nore beautiful, no nore perfect music in the worl-d than Bach. (Bach, ',Brandenburg concerto No. 5 in D lllaJor',, Rudolf Serkin, piano / Busch, Violin / Busch Chamber Orchestra) ... Let's bave rgcoral nu&bor six uov. A.W.: Record number six is Brahns ,,. Violin Concerto, which again stands for Dresden. It was in Dresden that 1 heard and saw Menuhin for the first tine as a pLunp ugly tj.ttle boy of thirteen. (Brahms "Violin Concerto j.n D majorr,, Yehudi Menuhin / Lucerne Festival Orchestra, furtwengler) ,.. r{!. Walbrook, vs-vs pul you oD this dgselt islaDd, Erro.l UakDoM Bwitcb arguoBqt, lrhat kind of castaway do you think you-re going to be? A.w.: oh I-d be hopelesgly losr here. Att r can hope fo! is rhat you pl^ant6d enough coconut trees and banana rlses and things tike that to provids me \dith food, that-s al]. ghy, you can-t cook? A,W.: No, f can-t cook. You can-t flsh? A.W.: I can fish, but f could never kill a fish, I thiDk we'al bettsr 9€t iDaediately blck to Duslq. A.W.: Yes, f-n safer there anyvay .,. Wel1, the next record j-s Schubert-s ,l(Winterreise),r. I can-t have it. played by the nan who impressed ne so very nuch, because I thlnk he never made a record, His nane is *(Ludwig WuLlner) *. He was a very very oLd gentlenan vhen I saw hin in Dresden. He came on, unforgettable, on the stage and addresEed the audience. He sald, richi.ldren I-ve caught a very bad coLd tast night ... I can-t sing. wiII you al1ow ne to recite ilstead?" Because he did do recitals as welf - Homer aDd al1 the c.Iassics and thrnes like that. Everybody shouted trNor ,.. And then he started, he trj_ed - (WALBROO( HUM}{fNG) _ he tried once, he tried twice, he tried three tines, he tried four times, and fj.naLly he caught hinself and sang. And that was perfection. No voice at all. nothing lo speak of. But the spirit, the neaning, the heart was there- He made the lyrics, which are not Heine or Byron or ... _ wonderfu_I. f-ve never seen anything nore beautiful, and never heard anything more beautiful in my life. woll, rro car-t hav€ his record, lahct dg you chooge? A.W.: No, r^re can-t, I've chosen *(Schlusnus),r, !/ho vas a very very fine slnger in Gerhany, lrho sings it very beautiful . .. and I hainta.in it that a great voice and a wonderful voice is not essential for Lieder singing. (Schubert, 't-Gute Nacht- from -Winterreise -,, , Heinrich Schlusnus, bariton / sebastlan peschko/ piano) .., The last record I-ve chosen iE yvette Guilbert-s,,Le Errorl Uakuowr sEitch argulr€Et. Fiacrei - why, I-1I leII you afterwards, let-s play j.t fj.rst. (Leon Xanrof, "Le Fiacre", yvette Guilbert / Irdne Aitoff, piano) - WeIt, when I saw yvette Guilbert, for the fj.rst and only tirne I met her, j.n Dresden agaln, and she did not look at all any hore like the fanous post.er6 Toulouse- Lautrec d1d. She was an old, plunp uonan - her fanous black gloves were green, and *(her) * famous black frock iras - I don-t know what any more, arld she did not sing Le Fiacre or the other thlngs any nore, she Eang J.6th or 17th century reJ.igious Eongs. But in the corner of her mouth and the twinkle of her eyea, you sti1l couLd see this incredible charm, which proves that if somebody has charrn, age doesn-t hake it dininj.sh. Teeth go, i.Iair go, figures go, but charm will remain for ever. ADtt .rtietry. weII, thele ars your eight records? Mr. walbrook, you-ve got one llore choice to make - every castaway has one luxury article, What $,ould you Like? A,W.: WeJ-L, can it be a book? O! oou!a.. A v6ry, very Large book, as b1g a9 you liks. A.W, I AI1 right then - I shall take atl, the nusie, the scores of the music which I ]ove nost, and which I can read, and bind then into one book and have the nusic, You sball hrve that. Notr it-s a pretty big boolr but 116 hcvg sstablishgd tbs trlditiorl that anyor€ vhg chooses a book bas so[etbing eI86, ors uore qhoice. A,W,: Can-t be a dog? l{ust b€ in.nLEats, A.w.: A11 right, I sha1l take an Indo-Chinese whi"ch changes his expre€sion with the l"ight. Buddha, that you already possesa? A,W.: On6 wh.ich l-ve got at hom€, yes. You eh.ll have thrt, and thanl( you Alrton lfa:.brook for Igttlng us h6.r your choj.qe of Dssert Istauat Discs. One A.w,: Thank You. 21 Error! UDksor,[ slritch ar9u6l1t.