/Dalton Baldwin, an Eminence Among Accompanists, Dies at 87

Dalton Baldwin, an Eminence Among Accompanists, Dies at 87

Dalton Baldwin, an American pianist and recording artist who was acclaimed for almost six many years as a recital accompanist to main singers, together with Elly Ameling, Jessye Norman and particularly the French baritone Gérard Souzay, died on Dec. 12 in Kunming, within the Yunnan Province of China. He was 87.

His loss of life, every week earlier than his 88th birthday, was introduced by Ben Turman, the vice consul of the United States Consulate in Chengdu. Mr. Baldwin had not too long ago accomplished three weeks of performances and training classes with college students in Japan and was coming back from a brief journey to Myanmar to go to Buddhist temples when he collapsed on a flight to Tokyo. The airplane made an emergency touchdown in Kunming, the place he was taken to a hospital and died.

He had carried out on 5 continents and made greater than 100 recordings over his profession.

Although Mr. Baldwin was an eminence amongst accompanists, he was not keen on that phrase. Like a lot of his colleagues, he most well-liked to be referred to as merely a pianist.

Critics affirmed that he was no mere accompanist. While constantly praising the refinement, sensitivity and technical command of his enjoying, they routinely described him as an equal companion to the singers he carried out with.

In a review of a 1978 recital by Ms. Ameling at Alice Tully Hall, John Rockwell of The New York Times wrote that Mr. Baldwin “was worthy of a review all his own.” This was “piano playing of a lyrical and dramatic sympathy and a rhythmic energy that superbly partnered the singer,” Mr. Rockwell concluded.

Writing about a 1968 recording of songs by Francois Poulenc, featuring Mr. Souzay and Mr. Baldwin, the Times critic Allen Hughes observed that “the two performers work together so superbly that their interpretations are almost inseparable into individual elements.”

Mr. Baldwin was 22 when he met and first worked with Mr. Souzay, who was 13 years older and already an admired interpreter of song. Their professional relationship grew into a personal one, though they remained discrete about it; they built a home together in Antibes, on the Riviera, where Mr. Souzay died in 2004 at 85.

The important singers with whom Mr. Baldwin partnered on concert tours inevitably attracted more attention than he did, as he wryly noted in a 1983 interview with The Times. Speaking of a recital at the Salzburg Festival with Ms. Ameling, Mr. Baldwin said that his name was as large as hers on the poster, which gave him “a good feeling” — though, he added, “of course, I didn’t get anything like her fee.”

“Accompanists are underrated in every respect — financially, acclaim,” he said. Once, he said, a critic even referred to him in a review as someone else: Gerald Moore, the distinguished British accompanist.

Mr. Baldwin is best known for his performances and recordings of French art songs. His extensive discography includes the complete songs of Poulenc, Debussy, Faure and Ravel. He also won high praise for his performances of Schubert and Schumann. And he introduced a number of new works, including, with Mr. Souzay, the 1969 premiere in Washington of Ned Rorem’s “War Scenes,” a cycle of five songs with texts from Walt Whitman’s “Specimen Days,” dedicated by the composer to “those who died in Vietnam, both sides.”

The illustrious singers he worked with also included Marilyn Horne, Nicolai Gedda, Jennie Tourel, Frederica von Stade and José van Dam. He began his long association with Ms. Ameling in 1970 and, a few years later, began working with Jessye Norman (who died in September).

Mr. Baldwin was a teacher and coach to young pianists and singers and regularly gave master classes at the Salzburg Mozarteum, the national conservatories of Paris and Madrid, a summer academy in Nice and elsewhere. In recent years he taught at Westminster Choir College of Rider University in Princeton, N.J., and had a home near the campus.

Though he also performed with leading instrumentalists like the violinist Henryk Szeryng and the cellist Pierre Fournier, Mr. Baldwin said he liked working with singers best.

“I worship the human voice,” he said in 1996. “There’s nothing like singing; it’s a romance when you share the music and the poem. The voice is God’s instrument. I want them to enjoy music making. That’s what it should be about: la joie.”

Source link Nytimes.com

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