The term ‘accompanist’ automatically puts a pianist in a subservient position – which isn’t a recipe for good music making
- Treat your pianist as an equal. The piano part is often at least as difficult as the string part, and several composers – Mozart and Beethoven in some of their violin sonatas, for example – regarded the piano voice as more important.
- Give the music to your pianist well ahead of time so that you will both be fully prepared by the time of the first rehearsal. Schedule enough rehearsal time to integrate the two parts and build a convincing interpretation.
- Know the score. The pianist has an advantage in being able to work from a score, so if you don’t know how the two parts fit together, you may potentially waste a lot of rehearsal time.
- Work together to create a mutually satisfying interpretation. This is likely to require more discussion than the old-fashioned lead-and-follow approach, but the rewards in terms of developing an intuitive understanding of each other’s playing will be well worth it.
- Acknowledge the pianist’s equal status in the performance. Ensure that the concert hall includes the pianist’s name and biography in the programme. Bow together, side by side at the front of the stage. Remember, the literature for stringed instrument and piano is chamber music, so a pianist in a partnership should receive as much respect as a pianist in a piano trio.
This is list first appeared in: There is no such thing as a piano ‘accompanist’– a long read from The Strad examining the emerging field of collaborative piano
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