Pianist vs. Accompanist

Recently, I attended a workshop discussing the skills needed to become a better accompanist. At the beginning of the session, the clinician stated that the difference between a pianist and an accompanist was the accompanist's awareness of breathing. I was disgruntled by the statement immediately, but tried to give the speaker the benefit of the doubt. As she continued her presentation, I became more and more convinced that she was a total hack who should never speak publicly about the art of piano collaboration. It also set me on my personal development of workshops on this topic about which I am extremely passionate.

I do not consider myself an accompanist. I am a pianist. End of statement. When one accompanies another person on a journey, the implication is that they are simply along for the ride. They are not significantly contributing in the efforts that will lead to the final destination. The same connotation is often held by those who view the pianist as nothing more than an "accompanist." The pianist is not viewed as a contributing member of the ensemble. While the piano part may be simple at times, there are still significant artistic choices that must be made. In my mind, an "accompanist" is someone who merely plays the notes on the page; a pianist brings artistry to the performance, allowing the notes on the page to take on a life of their own.

The distinction moves beyond the use of terminology though. To say that a pianist lacks awareness of breathing displays a total lack of understanding of the careful study of piano performance. Just as singers and instrumentalists rely on the breath to carefully shape their phrases, the pianist must allow the melody to breathe as it rises and falls. Although our instrument is not powered by the flow of air, playing without allowing the music to breathe in a natural way results in a performance that is stilted and lifeless.

Perhaps a better distinction to notice is the difference between a solo artist and a chamber musician. The solo pianist is concerned solely with the sounds coming from his instrument. The chamber pianist, on the other hand, fully understands the necessity of collaborating with another musician -- whether a vocalist, conductor, or instrumentalist -- to achieve a moving musical experience. (Hence the term frequently used to describe this specialized field of playing -- collaborative piano.) Many pianists find themselves living in both worlds at various times. Personally, I believe that pianists tend to prefer performing as a soloist or a collaborative pianist; there seems to be an affinity for one type of playing over the other.  Neither pianist is superior to the other; the two simply have different approaches to making music and will often find themselves called upon to perform in the other vein of piano performance. The ultimate goal of both pianists, however, is always the same -- to create the most beautiful sounds possible with the skills they have developed over years of study of the piano.

What Makes a Great Collaborator?

As we begin a new year, I though this might be a great time to consider some of the characteristics that often appear in many of the best collaborators. Obviously there needs to be solid technique and outstanding musicianship in order to make beautiful music. But what is it about those pianists who excel almost exclusively as a chamber musician-- whether in vocal or instrumental ensemble? Here are a few of the characteristics I have observed in the collaborative pianists I most admire and after whom I model my own efforts.

• Passion for chamber ensemble work. Although many pianists can "get through the notes" of the great lieder or piano trios, it is impossible to ignore the emotion and electricity that is generated when a pianist is playing the repertoire he truly loves. It's not enough to just enjoy the literature; passion for chamber music means that you are committed to the collaborative process that leads to a satisfying performance.
• Constant awareness of breath. Breathing is not only associated with vocalists. The successful collaborator is aware of where breaths are needed at all times. The breath may be motivated by the physical necessity of taking in air or it may be demanded by the musical phrase. In both situations, the pianist is aware of the need and shapes his arching musical line to allow the breath to occur without interrupting the moment.
• Flexibility and generosity. Part of being a good musician is developing a unique voice that is reflected in your musical interpretation. At times, the collaborative artist will find that his interpretation is in opposition with another member of the ensemble. After discussing the views, the pianist sometimes finds it necessary to compromise. These compromises can directly effect the way the piece is played, requiring remendous flexibility of mind as well as musicianship. Additionally, the pianist needs to be generous with his time; while personal rehearsal has been done to prepare the part prior to putting things together, additional rehearsal is needed for the sake of the ensemble. It is rarely possible for a chamber piece to fully mature without plenty of rehearsal as an ensemble.
• Humble. Sharing the stage with other performers is not for every pianist. This is not meant to suggest that all soloists are egotistical jerks either. What I am suggesting is that it takes a certain personality to commit themselves to spending much of their time out of the limelight and being absolutely confident that their performance significantly contributes to a successful recital. In many ways, the collaborative pianist can be considered a servant-leader.
• Able to get along with a variety of personalities. Musicians are a very diverse group of people. With this diversity comes lots of personalities and attitudes. Sometimes the pianist feels as though he is a ringmaster as he attempts to calm the diva while taming an uncooperative lion....All while he executes his own trapeze act of somersaulting arpeggios and death-defying scales! Like the trapeze artist, we are also performing without a net.

What other characteristics have you observed in your favorite collaborative pianist? I'd love to hear about them! Share your thoughts in the comments section below.

 

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My Symphonic Band Experience

Last semester, I had the opportunity to play the first movement of Eric Whitacre's Ghost Train with the Symphonic Band at Union University. The score was tremendously challenging and required a lot more preparation time than I first imagined. Issues were compounded because this was my first experience playing in a large ensemble like this. Now that I've had some time to reflect on the experience, I have realized that this type of ensemble playing (as opposed to traditional duets) can be very beneficial for developing pianists.

• Following a conductor is a skill that is developed over time. As soloists, we often vary the tempo slightly (e.g. rubato). Although many soloists use rubato much too freely in my opinion, it can be done with great musicality. As I played in the larger ensemble, however, rubato was no longer a viable option. Strict adherence to the conductor's rhythm patterns are essential and requires great discipline on the part of each participant.
• Playing in a large ensemble redefines what it means to "know" a piece.  Not only must the pianist know his individual part, he must also be aware of what is going on in the other voices of the ensemble and how things fit together. This places greater demand on the pianist's listening skills and is a wonderful opportunity for collaborative pianists to refine their skill in this area.
• Ensemble playing brings musicality to non-melodic material. Much of what I played in Ghost Train was not the important line that needed to be heard above all else. My challenge became developing an opinion of how to shape the line in my personal rehearsals that allowed the most mundane passages to remain musical. Once I had formed that opinion, I then had to execute it in the rehearsal and see how it worked as part of the greater whole. Sometimes the conductor provided feedback, but not always. It became my responsibility to assess my playing in light of the entire sound spectrum that surrounded me.
• Balance and issues related to voicing became very real. Pianists often address issues of balance in their solo playing. I personally enjoyed watching a small ensemble of instrumentalists playing together in rehearsal until they were satisfied with the overall balance. Some of the things I saw and heard have now been added to my personal rehearsal toolbox as I deal with issues of balance as a soloist.
• Practice is no longer a solitary pursuit. I think this is one of the greatest lessons for a collaborative pianist to learn. When I'm rehearsing music for an ensemble -- whether it is a symphonic band or a work for voice and piano -- the time I am investing is not benefiting only me. The ensemble is rewarded because of the time I invest; sadly, the converse of this statement is also true.

Not every pianist has the opportunity to play in a large ensemble. However, every pianist CAN seek out ensemble opportunities of some sort in which they can participate. Collaborative playing takes the experience beyond our instrument alone and permits pianists to become part of a musical dialogue much greater than themselves.

The "Joy" of Chamber Music

I love making music in ensembles. There's nothing quite like creating wonderful sounds with other musicians. It allows us to experience the process from a different perspective. Chamber music provides an opportunity for experiential learning with our peers. Collaborative work is a joy because we are enjoying a partnership with other people.

Where there is a group of people, there will be multiple opinions. Regardless of the number of opinions, differing opinions can lead to conflict. Chamber music is no different. Though we come together to make beautiful music, the rehearsal process can be a stressful experience fraught with conflict. Any musician who has participated in a chamber ensemble has experienced conflict (or else they are a saint). Here are some of the things I have found that greatly reduce conflict.

1. Every idea is worthy of consideration. Because everyone in the ensemble is coming at the music from a different perspective, differing ideas about interpretation are certain to arise. I try to make sure that rehearsals begin far enough in advance of the performance to allow us to explore ideas that come up. This insures that all members of the ensemble feel as though they are a contributing part of the team. As the ensemble continues to work together and gets to know each other as individuals and musicians, the ideas seem to gel between the members and reduces the number of times this "trial and error" approach will be used.
2. Establish what takes priority. There will be times when we come to an impasse between two opposing interpretations. That's when we have to determine what aspect (or which voice) has the ultimate decision. In a solo recital (with piano collaboration), the soloist will generally be the final authority. In a string quartet, the decision may ultimately be made by the first violinist. What I often find is that the impasse is associated with a issue related to phrasing (maybe a better way to say it is "melody") versus a technical difficulty or tempo. If a situation arises that demands a distinction, is the ensemble more interested in the musical effect or a technically clean performance? 
3. Commit to compromise. We all want to give the best performance possible. Sometimes I will concede to a differing opinion after I clearly express why I am so adamant in my position. By conceding, I am committing to diligently work in my personal practice time to make the approach work. When I display a willingness to bend, I help to create an environment of compromise. I also establish that I am thoroughly committed to the overall success of the performance. If issues related to ensemble, phrasing or technique continue to arise in the same passage, other players are often more willing to try to find another alternative that allows the music to work. (However, if a player consistently doesn't return to rehearsals with problematic passages resolved, compromise is not going to be at the forefront of everyone's mind!)
4. Remember it's not forever. This was the hardest lesson for me to learn over the years. As a student, it's sometimes easy to forget that I won't always have to work with these same musicians forever. There will be a number of opportunities available to make music in ensembles. For whatever reason, if your current chamber experience is not all that you had hoped, commit to doing your best work in order to maintain a good reputation. Once this performance is over, you are free to begin looking for other opportunities.
5. Attitude is everything. Other musicians are watching your interactions in chamber ensembles. Your peers know who plays the role of the diva and who is doing their best to maintain a positive attitude. Don't let what you perceive to be a negative situation drag you down. Keep your attitude positive and focus your attention on the beauty of the music itself.

Looking for a Hero

Sometimes I forget that I am not Superman. It's easy to think I've got plenty of time to learn a demanding program when it's several months out. If you're like me, the repertoire can be so enticing that I commit without really considering everything else that will be on my plate at the time. Scheduling for the collaborative pianist is so important (and a topic for a later post). When you find yourself overloaded and the recital date is nearing, what's the appropriate thing to do?

I found myself asking this very question last week. Union University is celebrating Benjamin Britten's centennial next month. The weekend celebration includes performances of Noye's Fludde, a faculty recital featuring his chamber works, as well as masterclasses and a presentation of the composer's sacred works. I'm scheduled to play a main role in all of it....and I'm looking forward to it. As the date draws closer, I realized last week that there is one piece that is simply not where it should be at the moment. Given my rehearsal schedule and teaching load, I don't have confidence that I can be ready to give a solid performance by the festival. That's a stressful realization....and something that I had to do something about.

After considerable time at the piano identifying the issues and calmly and rationally thinking about them, I came to the conclusion that NOW was the time to speak with the program's director. The festival is still several weeks away and will provide another pianist (with less to learn) plenty of time to prepare the piece. In my email, I outlined my concerns regarding the piece technically as well as the rehearsal logistics. I pressed send and waited for the response....and kept practicing!

I have to admit that I was nervous sending the email. I am proud to be part of the team putting together the festival and want to do the best work I can. I didn't want it to appear that I was lazy or simply had waited too long to begin working on the piece. Still I knew that I had to give an honest evaluation of where things stood at the moment.

To my great relief, the response was very positive. Another pianist hasn't yet been secured, but we are looking. In the meantime, I continue rehearsing with a bit more calmness since I know that there are going to be no great surprises when our guest artist arrives in a month. I'm keeping my fingers crossed that I will be relieved of that piece in the next few days. Then I'll be able to concentrate on all of the OTHER music I have to learn!

Long Distance Recitals

One of the benefits of being a relative neophyte in the collaborative arts is the constant opportunity to encounter new challenges in my profession.  I have been asked to collaborate with a close friend of mine who will be presenting his final graduate voice recital later this semester.  Rehearsals will be limited due to geographical separation;  he is working in Florida while I am currently in Arkansas.

Fortunately much of the program is comprised of chansons and American art songs that are familiar.  Despite their familiarity, there are numerous options in regard to phrasing and tempi.  In order to insure that our time together is as productive as possible, I am taking a few steps to make sure both performers are approaching the music from common ground.

First, I have asked for a CD containing performances that he is using in his own preparation.  While I generally do not like to listen to recordings when preparing a performance, in this case I see how it can be a time saver and give us both a standard performance that we can discuss via email.

Secondly, I am taking the score's metronome markings literally. There may be some fluctuation of tempo when we rehearse, but the published markings will give us both a common starting point.  For those pieces that include no metronome marking, I am listening to recordings online and sending him the metronome markings that I am rehearsing.  In both situations, he can alert me in advance if he plans to sing the work significantly faster or slower.

Lastly, I am spending time in my practice time to sing the vocal lines.  (Thankfully there are not many dogs around my piano;  the howls of horror would be rather frightening!)  This is not an attempt to achieve a high-level vocal performance on my part;  rather, it is to become intimately aware of those places where additional time may be needed for breathing.  While I may not catch them all, I will find the most obvious and be prepared to allow adequate time for the singer to reload.

How do you prepare for a recital when the soloist is not close enough to allow for rehearsals?  Fortunately, I have worked with this musician for several years and am acquainted with his preferences and musical interpretations.  I anticipate a successful recital -- and lots of fun -- as we return to the stage together.

A Hometown Recital

Last night, I joined Marty Bishop, a trumpet DMA candidate at the University of North Texas, for a recital at the Valley View High School Fine Arts Center in Jonesboro, Arkansas.  The program featured works by Henry Purcell, Joseph Haydn, Georges Enesco, Stanley Friedman, Gabriel Faure, and Jean-Baptiste Arban.  The recital was a celebration of accomplishment and an opportunity to play for supportive friends and family who have not heard us play in several years.  All in all, last night's performance was one of the most rewarding and enjoyable that I have recently played.

It was refreshing to work with a gifted musician who is confident in his abilities and does not need to come across as an ego maniac.  Other performance experiences this year have not been as pleasant because of overly exalted pride on the part of other participants.  It was refreshing to work with Marty, a musician who not only knows his strengths and weaknesses, but also recognizes that the ensemble playing is much better when kindness and laughter dominate the rehearsal and performance process.

Since this was not a recital that was high pressure, the approach to the program was much more relaxed.  Obviously both Marty and I wanted to play our best;  however, we were both realistic in our expectations as well.  Because we were fitting the rehearsal and performance into our busy holiday plans, we rehearsed on Monday afternoon and presented the recital on the following evening.  That meant that there were unresolved ensemble issues and some moments of uncertainty, but we both were confident enough as individuals that we pulled the performance off with aplomb.

As an ensemble, the highlight of the evening was the Haydn Concerto in Eb Major.  I have always enjoyed this piece and look forward to the opportunity to play the work with a gifted musician.  It was fun and effortless -- a high compliment when speaking of this early classical work. 

Personally, the recital also marked a turning point for me personally.  As a collaborative pianist, I rarely perform solo works.  In addition to generally not enjoying solo playing as much as chamber work, I often shy away from programming a solo work on a chamber program as I feel it is difficult to change mindsets mid-stream.  Last night, however, I played Faure's first nocturne in Eb minor as a solo.  Not only was the playing good, it was quite enjoyable.  Since I was already using scores in the collaborative works, I gave myself permission to present a solo composition with the printed music.  I felt comfortable and was able to think about the music itself rather than fretting over when the inevitable memory slip would occur and if I would be able to recover.  That is such a freeing experience!  I won't say that every program will now contain a piano solo, but I won't be diametrically opposed to it now.

American Art Song Recital

Last evening, I had the good pleasure of attending a recital presented by Diane Reich, soprano, and Scott Holden, piano, at Rhodes College in Memphis, Tennessee. The evening of American Art songs featured works by Amy Beach, Samuel Barber, Henry Mollicone, John Pickett, and Lori Laitman. It was nice to revisit some old friends while being introduced to some wonderful pieces with which I was not familiar.
Art song has always held a special place in my heart because it was where I first began my work as a collaborative artist and remained my specialty throughout my studies. In the past few years, my focus has shifted to instrumental chamber works and I am growing to enjoy that work more and more. Last night's recital was a refreshing bath of sound as Reich's luxurious sounds and impeccable diction washed over my ears and soul. It became evident to me while sitting in last night's audience that it has been far too long since I have collaborated with a singer in recital. That is something that must be rectified soon. I am planning a program with a dear friend for Spring, 2011 in New Mexico, but I truly hope I can find an interested singer in the Memphis area to perform with prior to that engagement.
For this musician, the highlight of the recital was the set of sacred songs composed by Samuel Barber. In addition to his familiar works "Crucifixion" and "A Slumber Song for the Madonna," I was introduced to two other Barber songs that I plan to add to my repertoire soon. "The Praises of God" was quite charming despite its unusual style. "The Monk and His Cat" stole my heart! The American jazz idiom heard in the piano is superbly scored while allowing the cat's wanderings up and down the keyboard to provide interjections of humor without disrupting the music's flow. I suppose it's just another example of Barber's mastery of the vocal form.
The last half of the program featured compositions by living American composers. While all three sets had notable qualities, the works of Henry Mollicone were most interesting to me. I am currently unfamiliar with the composer's work, but anticipate investigating his oeuvre in more detail in the near future. The excellence of the performance of these works can probably be attributed to the fact that Dr. Reich has completed extensive research on the composer's vocal music, making her a leading authority in the field. The first works of Henry Mollicone that I encountered were "The Frost Pane"; "If You Were Coming in Fall"; "I Never Saw a Moor"; and "May's Love." Not only were the vocal lines creative and interesting, but the piano was given exquisite melodies that were an outstanding compliment to the works as a whole.
Now I find myself realizing just how much I miss working with singers on a regular basis in their weekly lessons. The passion for the work went far beyond the people with whom I collaborated or the income earned; the aspect that brought me the most joy was regular interaction with the wonderful literature written for voice and piano. Regardless of what else I may play, my heart will always long to return to my first love of the collaborative piano literature.

Finding Chamber Partners

It's the beginning of a new concert season and I am trying to line up chamber recitals for the coming year. The process is proving to be more difficult than I first anticipated. Despite the difficulties, I have high hopes that things will develop and I am certain that I will have several rewarding performance opportunities on my calendar.
The first problem I am encountering is that most of the serious musicians in my area are gainfully employed with one of the colleges in the area or they are so busy with their "regular jobs" –meaning non-musical jobs – that they simply are not interested in committing the time to preparing for a major performance. I completely understand both positions. For my colleagues at an institution of higher learning, it is much easier to schedule rehearsals with a pianist who is at the same school full time. For those employed outside of the music industry, Life often gets in the way of rehearsing and performing. After a long day in the office, there is little energy left to devote to the pursuit of public performance.
So what's a chamber pianist to do? Here are a few steps that I am currently taking personally. I don't know what the results will ultimately be, but it's what I'm trying at the moment.

• Ask! This has been the most difficult hurdle for me to overcome. I never want to be a burden to anyone and tend to be rather shy, so I wait for musicians to approach me with performance ideas. I have come to the realization that the worst thing that can happen if I propose a concert idea is that they will say they are not interested. When this happens, focus on the positive aspect: you have planted the idea that you are interested in performing with the individual. It never hurts to ask. A great collaborative opportunity is often only an invitation away!
• Perform! Pianists are very fortunate to have the opportunity to present pleasing programs as soloists, so plan to play a solo recital (or several) this season. With careful publicity and excellent musical preparation, you may attract the attention of an interested musician as a result of your solo performance. Never underestimate the power of word-of-mouth references as well. Someone in your audience may be so impressed by your recital that they simply must tell another musician how well you played and spark some interest. Make sure to include your contact information in the program!
• Persistently communicate. It's easy to talk about a chamber program in theory, but it takes persistent communication for a group of musicians to set a date and choose appropriate repertoire. Rather than waiting on the other performers – this is probably a carry-over trait from our years of viewing ourselves as the subservient "accompanist" rather than an equal partner in the ensemble – take the proverbial bull by the horns and lead your fellow musicians in the task. While there is a fine line between annoyance and persistence, I'm finding that the benefits of walking as close to that line as possible are much greater than the perceived risks of crossing it.
• Look beyond the norm. Currently, I perform with three chamber ensembles. It is very easy to get comfortable and see no other recital possibilities. Rather than relying solely on these comfortable performance situations, I am opting to look outside of the box for unexpected opportunities. There is a risk of rejection, but you may just be surprised by the positive responses you get. Consider approaching students at a local college (other than the one that knows you best) or inquire about the possibility of launching a chamber music series for a local church or synagogue.
• Consider traveling. It's always exciting to have the opportunity to perform in your hometown with another musician with which your audience is not familiar. Just think of how fun it would be to be the traveling musician! This is the perfect opportunity to combine a passion for travel with your professional pursuits. If finances are an issue (and when are they not), start by looking for performance opportunities in cities where your friends or family reside; often these situations will result in economical lodging.
• Remember the power of networking. The best way to find a chamber partner is to put yourself in situations with other musicians. Attend concerts, join the local music society, sing in the church choir, or provide accompaniment for a young artist competition. Social networking sites such as Facebook and Twitter are also a powerful resource to keep your name and face in front of those with which you want to perform.

What do you do to find new chamber opportunities? If you could play in any type of ensemble, what would it be? For me, I'm looking to form a piano trio at the moment. Any violinists and cellist reading Collaborations that might be interested?