![]() ![]() “Some of the pianists with whom singers most like to work are not always the best ‘keyboardists’ (although some are, indeed), but they provide the singer with a secure feeling thatĪllows them to commit to being their best at any given time. What should today’s singers expect from their pianists? New York City pianist Ronald Land believes that the pianist should know the music and languages “as well as or better than the singer” and should be able to forecast any option the singer may take. One of my dearest friends and colleagues, Ruth Golden, a teacher and former soprano at the NYCO, calls us ‘The Ladies and Gentlemen of the Keyboard.’ I think that has a nice ring.” Pianist Kathy Olsen says, “Title is not important. Most working pros prefer to be called pianists, but they aren’t too fussy about labels. Some schools still offer accompanying classes or degrees, but invariably they are taught by collaborative pianists. Gradually the term accompanist is being replaced with the politically correct collaborative pianist or simply, pianist. The Unashamed Accom-panist, Am I Playing Too Loud? and Singer and Accompanist -out of print, but easy to find online at used books sites like Alibris, are must-reads for the new generation of collaborative pianists. Moore not only stepped into the spotlight with the singers, but he lectured and wrote about the unique relationship that exists between singer, pianist and composer. Moore was the first pianist to become world famous not as a solo concert artist, but as a collaborative pianist performing and recording with such vocal greats as Dietrich Fischer-Dieskau, Christa Ludwig, Janet Baker, Maggie Teyte, Elisabeth Schwarzkopf and Victoria de los Angeles. Generosity, patience, a great sense of humor (and, no doubt, a good stock of pencils) characterized the legendary “accompanist” Gerald Moore. And you have to read our minds, you have to pick up after us, you have to hand us back our pencils.” John smiles and holds up empty hands, “You steal our pencils!” I am a beneficiary of it, but how you put up with us sometimes, I just don’t know. Be respectful of the pianist’s time, talent and energy, and always say thank you.” To John, who is by now looking a bit embarrassed, Webber adds, “The generosity that comes from your field towards us is something I barely understand. Teach this to your students: Be on time, have your music, be prepared, never make an appointment and cancel it. If you teach nothing else, teach complete and utter respect for the discipline that allows us to do what we do. He is a pianist.” She admonishes the 600 voice teachers assembled for the National Association of Teachers convention: “We need to treat our pianists with incredible style and grace, take them to lunch, buy them flowers. In the standard fashion, the printed program refers to “Carol Webber, soprano” and “John Douglas, piano,” but Webber insists that Douglas is not a large wooden instrument with hammers and wires. At a masterclass in Philadelphia, the well-known Eastman School of Music voice teacher pauses to thank the pianist, John Douglas. Accompanist is a four-letter word to Carol Webber.
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