Started by (poco) Sforzando, July 16, 2017, 09:55:12 AM
0 Members and 1 Guest are viewing this topic.
Quote from: Jeffrey Smith on July 16, 2017, 10:34:50 AMIn theory very true, which is why many featured artists talk about their recital "partners".In practice, however...let me put it this way. If Mutter and Orkis give a recital, how many tickets would be bought by people primarily interested in hearing Orkis perform vs how many tickets would be bought by people primarily interested in hearing Mutter perform?
Quote from: (poco) Sforzando on July 16, 2017, 11:16:32 AMI canna say, since I'm not overwhelmingly interested in either. But I really hate the idea of a pianist dutifully tramping on stage in the background while the diva violinist gets all the brava brava bravas. The piano parts in many of these pieces are as challenging and virtuosic as any solo piano music.
Quote from: (poco) Sforzando on July 16, 2017, 11:54:51 AMI also dislike the practice of closing the piano lid when one is "accompanying." This simply muffles the natural resonance of the instrument, and a good player ought to manage a pianissimo if needed with the lid wide open.
Quote from: Jo498 on July 16, 2017, 11:57:48 AMBut Mutter/Orkis is a somewhat extreme case. There are and have been many collaborations with both musicians equally prominent, e.g. Richter/Rostropovich or Casadesus/Francescatti.And while we still tend to think more of accompaniment in the case of singers, it is usually not like Castafiore and her diminutive and submissive pianist.
Quote from: Pat B on July 16, 2017, 05:03:08 PMFor live performances, I think Mutter-Orkis more typical than Rostropovich-Richter. It follows from the repertoire. There are many pieces for solo piano, and many piano concertos, so even for Richter and Serkin, duos were just a fraction of their output. (Argerich is another example, but she is even more of an outlier.) The solo violin and solo cello repertoire is smaller, so recitals of those instruments are almost always duos with piano. A pianist can have a top-level career without ever performing in duos. A violinist or cellist really can't.If you go to a violin competition, you will likely see at least some violin-piano duos. Only the violinist gets judged, so in this context, "accompanist" really makes sense. That's even more the case at lower levels in my experience.I understand where Sforzando is coming from. My solution has been to not interpret "accompanist" as a sign of disrespect.
Quote from: Jo498 on July 16, 2017, 11:20:39 PM(As are of course all/most who mostly work as "accompanists" only.)
Quote from: Jo498 on July 16, 2017, 11:20:39 PMMy point was that in many duo performances with piano, regardless of live or recordings, both artists are equally prominent. Of course one can make a career as piano "accompanist" in a way this is no possible for a cellist. But if I look into more recent top level duo performances, Mutter-Orkis seems an exception. Take Argerich/Kremer, Pires/Dumay etc. Of the stuff on my shelves, I have very little with clearly unequal partnerships in duo chamber music, except for Heifetz + subordinate accompanists. There are even rare cases with a more prominent pianist, e.g. Brendel/Brendel in LvBs cello sonatasAnd at competitions or with younger violinists it will also often be the case that a very experienced professor will accompany. Such a person would often not be as famous as a flashy soloist but nevertheless a very able and experienced musician. (As are of course all/most who mostly work as "accompanists" only.)
Quote from: Scarpia on July 17, 2017, 08:41:23 AMOne thing that bugs me is soloists that enlist their children to act as accompanist, which only serves to accentuate the notion that the accompanist is subservient to the 'soloist.' There's Pierre Fournier whose later recordings are accompanied by Jean Fonda, who was Fournier's son. And Paul Tortelier, whose later recordings were accompanied by Maria de la Pau, his daughter.
Quote from: Jeffrey Smith on July 17, 2017, 08:50:45 AMNot always. DuPre Barenboim was a marital duo, after all.
QuoteBut those are exceptions. There are very few recordings by Fournier which people buy on account of the pianist involved.
Quote from: (poco) Sforzando on July 16, 2017, 09:55:12 AMThere are few musical terms I find more condescending and annoying. "Accompanist" suggests a subordinate receding behind the soloist and dutifully strumming chords while the violinist plays or the soprano sings the all-important melody. But even though in the classical period violin-piano sonatas were published as "piano sonatas with violin accompaniment," surely in the more mature sonatas of Mozart, Beethoven, and Brahms, as well as the Lieder of Schumann and Wolf, it is more legitimate to speak of an equal partnership. And in a case like the Kreutzer, at times an almost combative relationship between the two instruments.Your thoughts?
Quote from: k a rl h e nn i ng on July 16, 2017, 11:30:13 AMRight: the pianist ain't there just to make the diva look good 0:)
Quote from: Monsieur Croche on July 17, 2017, 01:51:09 PM...To me, the ideal musician's frame of mind is being wholly subservient to the music, and wanting - needing to communicate something about the music, and that is not 'just rendering the score,' but playing it with a clear point of view (or why bother?)...
Page created in 0.039 seconds with 26 queries.