Why doesn't the Rehearsal Accompanist learn the score?It would appear that someone in the southern US is a little frustrated...
Here are some of the search results:
- Who's That Man With Marilyn Horne? - a 1989 New York Times article on the lives and skills of various collaborative pianists
- Like No Business I Know by Amy Dunn Williams - a look at the skills and experiences of various types of collaborative pianists
- Qualities Expected in a Choral Accompanist from a ChoralNet mailing list
- Working with the Accompanist (bottom of page 303) - a section from Kenneth Phillips' Directing the Choral Program on Google Book Search
- Piano Accompanying: Some Do's and Don't's by Tom Haug
- Most popular audition arias forum thread on Classical Singer - a 2002 forum topic that degenerates into an argument about the specialties of different types of pianists
- Finally, the CPB article that led the searcher here: Should Accompanists Charge Clients For Practice Time?
Nevertheless, the question remains--why doesn't the rehearsal pianist learn the score?
Here are a few possible answers:
- loosening the manacles chaining the pianist to the legs of the instrument may help with their pedaling.
- a pay rate in the high-mid rather than low two figures per service may help create a more positive attitude from the pianist, in spite of a slightly lower margin for management.
- providing the pianist with an original score rather than a fifth-generation photocopy is preferable for both copyright and note-reading purposes.
- putting the pianists' name in the program is not only professional, but will cause the pianist to feel that their contribution to the group is actually making a difference and cause them to play and prepare with more of a sense of engagement and purpose. Ditto on the photo and bio.