dorisopran@a... wrote:
dorisopran@a... wrote:
> << snip >>
>
> I hope any pianist collaborating with singers would not find such a thing a
> hinderance. A real pianist eats such stuff for breakfast. If one has to
> work out some fingerings and get a difficult passage up to tempo, one
> practices. Vocalisters, have any of your repertoire choices been nixed by
> your accompanists? I'm curious.
Yep. That's why I have two accompanists here in Seattle. Accompanist A refuses
to attempt anything "fast" by Mozart or Handel, but can play anything by any of
the later late-classical and romantic/post-romantic composers beautifully.
She's also the organist at the church where I'm the music director, so we work
together a lot with the choirs.
Accompanist B excels with baroque and early-mid classical, but we don't connect
quite as well on the later period stuff, probably because we don't work together
as much. I use her primarily when I need to sing something like the Mozart
"Laudamus te" from the Mass in Cmin.
I've never tried anything "modern" with either accompanist, but my hunch is that
Accompanist B would probably be the top choice, simply because she has a slight
edge on technical ability, especially tricky rhythms.
Cheers!
Lana
--
Explain it as we may, a martial strain will urge a man into the front rank of
battle sooner than an argument, and a fine anthem excite his devotion more
certainly than a logical discourse.
~ Henry Tuckerman ~
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Lana Mountford lana@a... Seattle, WA
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