For some 40 years from the mid-1920s Gerald Moore transformed the accompanist from merely being soloists’ accessory into being their partner, and was for many artists, especially singers, first choice in the role. In 1967, when he was 67, he – somewhat unexpectedly – announced his retirement from public platforms, though not from the recording studio. Walter Legge, who had done much to promote Moore’s career, organised a farewell programme in the Festival Hall, which EMI recorded. John Steane in his sympathetic note, confirms my impression at the time that the occasion was very much a party. In the ensuing year EMI also arranged tributes to Moore in the form of dedicated studio performances to celebrate his 70th birthday. The two issues are here melded into one as part of the company’s continuing Great Recordings of the Century series.

Newcomers may feel that the reissue of the ‘party’ disc, or ‘Homage’ as it was officially entitled, is like looking at a photo of a long-ago event that means little to them and be irritated by the insistent applause (why was it recorded so loudly?) after each and every song. They may also feel that some of the performances are, well, a little over the top. Schwarzkopf is at her most self-conscious, and Fischer-Dieskau is, at times, at his most overbearing in response to a live and adoring public. Other contributions, particularly in the Schumann duets, suffer from downward transpositions. At least Victoria de los Angeles is in endearing form (but why no Spanish items?) and the Mendelssohn duets with her and the baritone are a delight. Moore, in ebullient or reflective mood, is always there, present, perceptive, never too prominent. His speech at the end just about overcomes annoyance at the all-too-eager responses of the public. But is this really a Great Recording of the Century?

By contrast the studio-recorded ‘Tribute’ is a pleasure in its entirety. Here the three singers of the ‘Homage’ are at their mostcompelling. Schwarzkopf sings ‘Träume’ with rapt, inward intensity. No wonder she chose it to be played at Legge’s memorial: itrepresents her at her concentrated best. Los Angeles is vital in two Spanish numbers.Fischer-Dieskau, typically, chooses twoout-of-the-way Strauss songs and interprets them as only he could. Then, the youthful Janet Baker is outgoing and immediate in her responses to Mahler, and Gedda is at his most communicative and beguiling in Tchaikovsky.

Moore, wholly at one with the singers, discloses more of his eclectic capabilities in the instrumental items. Barenboim sensibly insisted Moore should take the primo role in their exhilarating duet. There is virtuoso playing from both De Peyer and Moore in the Weber. The Fauré Elégie with Du Pré is infinitely moving. Blessedly, we can applaud everything here in our mind. The sound is also more immediate that that achieved at the RFH.