On Tue, 4 Jun 2002 01:22:03 -0400 John Link <johnlink@n...> wrote:
>>I agree, but I ALSO think it is the soloist's job to follow the accompanist.
The role of leadership is shared in a good partnership.
One should distinguish between this pianist/singere role in auditions with an
accompanist one has never met or rehearsed with, and an artistic collaboration,
as in a recital.
In the former, the singer must feel confident enough to take the lead.
Especially in setting tempos, and in a solid rhythmic feeling. More often than
not, the accompanist will follow the singer's leadership. So in that sense,
Karena has it nailed, I think.
>>When I accompany someone I do my best to do what you describe. I also
appreciate it when the soloist responds to what I do, and feel that I'm wasting
my time when that doesn't happen.
With an outstanding pianist/accompanist, even in an audition situation, the
two-way collaboration can start to happen. (And I know some pianists who do
this superbly with the right singers.) But real collaboration needs rehearsal.
Or long acquaintance. In those cases, the two musicians know each other well,
and respond immediately to each other, which is when the magic happens.
I think one should also distinguish between adjusting to errors and artistic
collaboration. The singer should ignore mistakes and errors by the accompanist
- they're human and mistakes will happen. Reasonably competetent accompanists
will find a way to get back with the singer.
Peggy
Margaret Harrison, Alexandria, Virginia, USA.
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