@article{oai:kobe-c.repo.nii.ac.jp:02000011,
 author = {津上, 智実 and TSUGAMI, Motomi},
 issue = {1},
 journal = {神戸女学院大学論集, KOBE COLLEGE STUDIES},
 month = {Jun},
 note = {本稿の目的は、昭和戦前期の日本でテノール独唱者として活躍した H. S. グラハム・バターHerbert Stanley Graham Batter（1901-1992）の活動歴を明らかにすることである。グラハム・バターは1925年に来日した英国人で、ヘンデルの《メサイア》（1927、1930、1934～1936、1938～1940年に出演、以下同じ）を始め、バッハ《クリスマス・オラトリオ》（1931）、シューベルト《ミサ曲》（1932）、シュポア《最後の審判》（1932）、ロッシーニ《スタバト・マーテル》（1932）、メンデルスゾーン《讃歌》（1933）、シュタイナー《磔刑》（1935、1939）等でテノール独唱者を務めて、声の美しさと歌唱の確かさで人々に感銘を与えた。英国で少年聖歌隊員として頭角を現し、パリやロンドンでオラトリオのソリストとして活躍した経歴の持ち主であり、優れたテノール独唱者として希少な存在であったことが知られる。《メサイア》の日本初演（1925）以降、次第に高まっていく合唱運動の中で、人々にオラトリオ歌唱の理想的なあり方を示した点で、音楽的・社会的に功績があったと考えられる。, The purpose of this paper is to clarify the activity history of Herbert Stanley Graham Batter (1901-1992), who was active as a tenor soloist in Japan in the Showa prewar period. Coming to Japan in 1925 as an British businessman, Graham Batter performed remarkably well as tenor soloist of the following oratorios and sacred music : G. F. Handel’s “Messiah” (sung in 1927, 1930, 1934-1936, 1938-1940), J. S. Bach’s “Christmas Oratorio” (1931), F. Schubert’s “Mass” (1932), L. Spohr’s “The Last Judgement” (1932), G. Rossini’s “Stabat Mater” (1932), F. Mendelssohn’s “Hymn” (1933), J. Steiner’s “Crucifixion” (1935, 1939) and others. He impressed his audience with the beauty of his voice and the accuracy of his singing. He distinguished himself early as a boy soprano in England, and had a career as an oratorio tenor soloist in Paris and London.
 He was also good in such light operas as Gilbert & Sullivan’s, giving impressive presentations of them in Yokohama and Tokyo. He often sang at church services, especially at the Yokohama Union Church. His repertoire included songs by Liza Lemann or Roger Quilter.
  In contrast to these light or modern songs, which were enjoyed much in the circles of foreigners in Yokohama and Tokyo, oratorios and religious music like Handel’s “Messiah” had greater influence on Japanese society and culture.
  When “Messiah” premiered in Japan in 1925, choral singing was developing in Japan. In this situation, he played an important role by showing people the ideal way of oratorio singing, with his excellent diction and musical interpretation as well as his unforgettable voice.},
 pages = {95--111},
 title = {テノール独唱者グラハム・バター（1901～1992）の活動歴},
 volume = {70},
 year = {2023},
 yomi = {ツガミ, モトミ}
}