I must confess, however, that I have another motivation for creating this page, and that is my passion for the Art Song. If all that is achieved here is that someone emerges more interested in and appreciative of the wonder of the writing for piano by the great composers of art songs, I will have earned my wings. I will also be using examples of some performances in which only the soloist is identified (alas the accompanist under appreciated again!) because although we do not know the accompanist, we can still hear the piano part. I will therefore be adding to this as I find them. I dare say you will be astonished by the difference in the accompanist's approach to the same song as a result of the style and the interpretation of the singer.Īs you can imagine based on the general lack of recognition of the following names, the probable only exceptions being that of Gerald Moore, and perhaps Samuel Sanders and Irwin Gage, it is difficult to find examples of their work. In several cases we will have the opportunity to compare the work of the piano accompanist in recordings by different singers. Accompanying is a high art and takes a superb pianist, a sensitive and subtle musician, who is capable of creating the artistic context in which a soloist can weave his own magic, a context that is in complete accord with the soloist's conception. This very idea lies at the base of the lack of respect referred to in my opening sentence. It is easy to subscribe to the idea of a pianist turning to accompanying due to lack of success. The accompanist must, in addition to making meaningful music of the piano part, know the musical mind of the soloist.Īs Gerald Moore, unquestionably the most sought after accompanist by the reigning soloists of his time, put it in his inimitable way: "The accompanist who 'follows' but does not anticipate is a dull, pedestrian sort of fellow, without electricity, a fallen arch in the march of time." It is a special type of performing, one that depends on a pianist's ability to think as two people at once. The piano accompanist is so often undervalued, most certainly underpaid, and often treated with disdain by the very soloist whose performance can be made or broken by the quality and sympathy of the accompanist.
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