Jerzy Marchwiński, PARTNERSHIP IN MUSIC, September 2021

  

 

   

 Jerzy MARCHWIŃSKI

 

 

 

PARTNERSHIP IN MUSIC

 

Reflections on Teaching Partnership

 

 

 

 

 

                                                                      

 

 

 

 

 

 

                                                                                     

 

                                                                          

 

 

                                                                                    To Ewa Podleś, the partner of my life

 

Table of contents:

 

 

 Preface:                                                                                                                               3                                                                                                                                                                                                                 

A few reflections about the author and book, by prof. Andrzej Jasiński,  one of the greatest contemporary teachers-pianists.

 

Overture                                                                                                                              5                                                                                                                               

Similar to the structure of  musical overtures, the presentation of the problems contained in the book and an explanation of the circumstances of its creation.

 

Theme with variations:                                                                                                     12                                                                                                                                                                                                               

A kind of mosaic, "32 variations", based on a theme of  a partnership in many aspects of performing music, both in the professional and psychological sense.

 

Rhapsody:                                                                                                                           42                                                                                                                                                                

 

Presentation of the author's views and selected, specific examples of teaching partnership with singer, instrumentalist and a chamber group.

  

Epilogue:                                                                                                                             104                                                                                                                                      

Few general, loose and personal reflections about the professional and psychological performance problems.

 

Postscript                                                                                                                            123                                                                                                             

 

Musical samples                                                                                                                125                                                                                                 

 

Author’s Biography                                                                                                          136                                                                                      

 

Addendum  (A Detailed Table of Contents)                                                                      137

 

 

Notary Act  (Akt notarialny)                                                                                           143                                                                                                               

                                                                                                                        

 

 

 

 

 

 

 

 

 

 

 

 

Preface

            It is with great pleasure that I write these words of introduction upon reading Jerzy Marchwiński’s book on Partnership. Being a pianist whose primary interest became teaching, I had, other than solo playing, also greater or lesser  contact with many different forms of ensemble music-making with singers and instrumentalists throughout my professional life.  It gave me great satisfaction, beginning with a better understanding of Music, and ending with the expression and feeling of what is the essence of our psychic life – contact with beauty. Today, as many years have gone by, I feel that I could have done it better, with greater satisfaction and more advantage for others and myself, had I had the courage to act according to the philosophy of partnership as presented by the Author.

            I have a long lasting connection with the Author: in our youth we both went to the same schools – music and general-primary and high, we shared the same excellent piano teacher, our fathers were both organists, we went to the same concerts, shared the same interests and performed in the same events. For our high school graduation concert we both performed Grieg Piano Concerto in A minor   with an orchestra - myself the 1st movement and Jerzy the 2nd and 3rd. I recall that I played with facility and pleasure; he – created. He really impressed me with his emotional musicality and a very suggestive manner of playing revealing to the listener the inner layer of the expressive content of the piece which lays hidden under the more obvious, surface one – the message of the composer as musician and a human being.

            In his rich artistic life, prof. Jerzy Marchwiński has always represented the attitude of dignity and well-understood pride, stemming from the awareness of serving as a link between the composer and the listener. At the same time, though his attitude has been that of humility to Music, requiring full commitment and intransigence in following the difficult path leading to unattainable perfection.

            I share the Author’s opinion that the same expectations are necessary for a pianist playing solo or in a chamber ensemble and stressing the equality of roles of both performers when playing for instance, a song by Brahms or a sonata for violin and piano by Beethoven.  I also share the same view on the importance of chamber music in the education process in music schools at all levels.

            It is with full conviction that I recommend Jerzy Marchwiński’s book, which shows clearly and in the correct light the role and responsibilities met by a pianist preparing for the act of interpreting chamber music works, and in particular creating the perfect duet with a singer or an instrumentalist, ill-defined  by the term “accompanist” and “accompaniment”.

            Proper understanding of the idea of partnership between the co-performers of a musical work as stated by the Author is crucial and should influence the attitude of pedagogues, promoters of musical life, and finally the pianists themselves. For them in particular, the thoughts and ideas discussed in this book can provide an invaluable inspiration to a broader and more satisfying professional fulfillment.

 

                                                                                                                Prof. Andrzej Jasiński

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Overture

            As a starting point, I would like to advise my PT Readers that the Essay is not a typical book to be read at one sitting, from the beginning to end or a kind of a textbook. It presents a collection of reflections, articles and speeches to various audiences, based on many years of my artistic and teaching experience. Such formula best agrees with me and it is most suitable to draw a multi-layered panorama of the fascinating phenomenon of human partnership. Actually, partnership in music serves only as a pretext here.

 

             After a Polish music magazine Ruch Muzyczny published my extensive article Partnership in Music, I was approached by a surprising number of readers who suggested that I write a sort of a textbook or methodology guide on teaching partnership in music. I had been considering that idea for a few years before I finally decided to accept the challenge.

            Naturally, I immediately faced the chill winds, realizing that I was not the right person to author either a textbook or a methodology guide.  The task would be suitable for someone more keen on reworking opinions into objective statements and reaching generalisations, and more versed in writing scientific works with their characteristic diction and climate.

            The problem with me is that all and any of my opinions and  utterances are par excellence personal and specific only to me. Only for those can I  accept full responsibility and sign my name thereunder. I consider myself doomed for individual lifestyle. I feel highly uncomfortable in any group, coterie, system, doctrine, party and even religion. Paradoxically, ensemble music is my authentic passion and I have always seen the success of a partnership as  the dominant of my life.

            My system of setting values is exactly the same. While reviewing various doctoral and professorial theses, I invariably preferred works of an author who dared to present his own opinions, even if occasionally maladroit or polemical and to say anything without quotation marks. Such dissertations were highly graded by me, while works studded with quotations and references and invoking “all saints of science” received positive marks, if deserved, but never above the ceiling of a standard courtesy.

            Hence, these few reflections on partnership and on ensemble performances by pianists and other performers, are based solely on my individual and personal thoughts and deliberations, and on experiences which are exclusively mine. If the Pleno Titulo reader does not fancy such convention, I suggest that he should end reading my essay when he reaches the end of this sentence.

The Initial Reflections – Solo Performance, Ensemble Performance.

            Initially, let me explain why I consider piano chamber music, or in other words an ensemble performance by pianists and other musicians, as worth special attention. This relates to my perception of solo and ensemble performances. Quite a long time ago, I made an unexpected, personal discovery that true soloists, understood as performers who are able to perform on their own the whole musical work with all its elements, are almost exclusively pianists, plus a sparse group of independent performers including organ and accordion players who perform on key instruments, as well as harpists and also conductors, to a certain extent. They are the only ones who can do without any other musicians while performing. All the others are ensemble performers! To play, they need the company of others, starting from a duo and ending with a great philharmonic orchestra. Although I can imagine a solo recital of a violinist or a cellist, an a capella performance of a singer seems almost something straight from the world of nonsense. On the other hand, I can quite easily imagine a global-scale career of a pianist who performs only solo, even without any orchestral support. 

             I have always been fascinated by the position of a pianist, who – as he is perceived by the musical community – is a typical soloist on one hand, while on the other he is indispensable for a huge majority of instrumentalists and singers, in the didactic process and in concert performances as well. However, I would not hesitate to say that the pianist, since his very early contacts with the piano, dwells in the world of solo performances seen as the only option for his way of life and musical self-fulfilment. His education is almost exclusively individual, while  all the other instrumentalists, in addition to their individual classes which focus on mastering their various stricte instrumental skills and abilities, need another performer – a pianist - in the course of their education. For an instrumentalist, the ensemble performance is a natural and obvious thing from the very beginning of his education.

Hence my conviction that it is vital to provide a thorough foundation for pianists for their ensemble work, both professionally and psychologically. It is generally overlooked that pianists, in addition to their solo career, have an ensemble performance alternative.  Throughout their whole education, this alternative is slighted, to put it mildly. The psychological atmosphere surrounding it seems to be quite a problem, as it has been beset with pejorative associations and bad tradition. Frankly speaking, when I attempted to amend that state of affairs I practically had no choice. I just had to do it. The reflections collected herein are intended to serve the same aim.

I do not teach how to play; I warn how not to play

            Since I have taken a serious involvement in the form of artistic activity which bears the name of didactics, I have based my work on two reflections. The first of them is my declaration that I do not teach how to play or how things should be played, because I do not know it myself. Actually, I do know, but my knowledge is for my own use. However, I can show my students and warn them how not to play.  I do my best to pinpoint their errors and their sources, and then show the ways to correct them. Actually, I never specify any preferences or aesthetic recommendations as guidelines for so-called correct performance.  By choice, I do not interfere in any interpretation issues, of which more will be said in a second. I teach partnership, not how to play an instrument.

An anecdote about interpretation

            To illustrate my second reflection, let me use an anecdote which I received as a gift from a marvellous artist, Polish pianist Stanisław Szpinalski. It is my opening story for every seminar or master course.

            This is a story of a beginning actor who had a seemingly easy line to say during his stage début. The line went like this: “My King, your servant has arrived to pay you homage.” The young man spent a whole load of time thinking hard on it, but he had absolutely no clue how to deliver his line so he approached an acting Mentor and asked him about the right way to play it. The veteran actor replied: “Young man, focus on the situation. The king is the most important person here; it hardly matters who comes to see him, or why. You should emphasise the words My King.” The young man thanked him, but he was still at a loss, so he asked another Mentor the same question. The second veteran actor said: “Young man, everyone knows the king is the key person there. The important thing is who comes to see him, no matter what he comes there for. You must put emphasis on the word servant.” Still in doubt, the young actor finally consulted a third Mentor, who answered: “Why, young man, everyone can see it is the servant who comes to the king – the protagonist. The important thing is what the servant comes there for. Put emphasis on the part of the line which explains that the servant is there to pay homage.” When the première performance eventually started, the young man was unable to utter a single word. After ghastly moments of complete silence, the experienced actor who played the role of the king said: “Well, my servant, I can see you have arrived to pay homage to your king, haven’t you?” All the miserable beginner was able to mumble was: “M-hm....”

            So much for the story. However, for my own use, I’ve devised a continuation. Namely, I imagined I was a fourth Mentor the young actor approached for advice. What would I tell him? “Young man! You can deliver your line any way you want to, as long as you keep it logical. What you are not supposed to do is say: “M’kin, ur se’ent hassa rrived t’peh ‘mage.” Although I reckon, you could even say it like that if you really insist. But finding someone who’d come and listen to you or sign a contract with you afterwards might become a bit of a challenge”.

            Regrettably, such recitations in the language of music are by no means a rarity. That language, asemantic as it is, has nevertheless its logic and punctuation. I would even risk an opinion that they are a common phenomenon and list among mistakes which I point out to my students.

Evaluation of the quality of a performance

            I leave it for the performer to assess the beauty of his music. It should appeal to him, first of all. My role is to advise and to inform him on the risks of the dissonances of aesthetics and style, when for instance a Bach tune is beginning to turn into Chopin's nocturne. On the other hand, I mercilessly blackmark defects of logic and – most frequently – of musical punctuation. In my opinion, one of the greatest dangers is the enslavement to the bar line, and also to the beams  which connect notes into e.g. groups of four. They seem to be the source of a common, erroneous phenomenon of emphasising the beginnings of measures and groups.

Teaching the interpretation

            I do not see any particular justification for teaching interpretation in a direct manner. It is enough to make the artist sensitive to logical, natural performance, as discussed above. Every person is a unique physical and mental structure, and every human reaction is individual. The same phrase played by two performers will never be identical, because it is unavoidably affected by the body and spirit of the performer. Any complaints as to the fact that some bodies and souls are not beautiful, and talent distribution is a far cry from fairness, should be directed to the generally known address up there. Whoever teaches art, cannot escape from accepting the obvious fact that the profession is the only thing which can be taught. It seems that nobody succeeded in instilling talent in any student of his. Probably, beauty either.

Playing with one hand

            It is with deep conviction that I offer my pianists students a very simple, efficient and effective way of achieving a logical way to play music. I just ask them to play the tune with one hand. Not just casual playing but performing the music as if the tune were played at a concert by a violinist or any other artist playing a homophonic instrument, or, better still, sung by a perfect vocalist. Most often, the students are amazed by their former nonsensical performance, which is now easily noticed by a gifted  young man who has at least some sensitivity, musical common sense and quite a significant store of professional knowledge and skills.  I discovered this technique for my own benefit many years ago, although it has probably been commonly known for ages. It has effectively helped me to achieve a narrative closest to my sensitivity. 

The relationship between the leading and accompanying element

The pianist, entangled in various harmonies, counterpoints and other ornaments, may easily drop the basic logical thread, which I have called “the leading element”. All the other ones are simply “the accompanying elements” which should be performed with the highest perfection possible, as they play an extremely important role; in relationship with the leading element, they support the narrative and make sure that the message is delivered fully and comfortably. Things turn wrong when the accompanying element becomes too significant, too nagging and begins to dominate the leading element, simply disturbing it.

            The relations of the above elements are present in solo performances and, naturally enough, in ensemble performances as well. They are particularly noticeable in the work of conductors who partner other performers. Sometimes it is just scary to observe the deafness of the “masters of the baton” who, enthralled in themselves, seem to disregard the strikingly obvious fact that the dynamics which they offer should, or even must be performed in the whole sound context, particularly when the leading element does not pertain to the orchestra. The leader of the orchestra presents quite a common, but nevertheless culpable lack of professionalism when he overlooks the obvious fact that there are no two  exactly alike fortes, as Mozart's or Rossini's forte differs from that of Strauss, while a forte of an orchestra playing on its own differs drastically from a forte performed in partnership arrangements with other performers who play homophonic instruments, and particularly with vocalists. Regrettably, partnering pianists are not free from similar shortcomings, either. 

Singing a melody

            If anybody is still in doubt after playing the tune single-handedly, I strongly recommend singing the tune, preferably in private, so as to avoid excessive mirth on the part of  incidental listeners. I am convinced that when singing, the risk of missing the  logic becomes minimal. I ask my students to imagine, let's say Chopin's Nocturne D-flat major sung by a Placido Domingo, a Maria Callas or a Pavarotti. The logic and the way of hearing the phrase, when thus corrected, effect a natural relationship with the left hand and all its harmonies, counterpoints, and ornaments. The disturbances of relations and the nonsensical recitation are – to my hearing – the most common defect of performances, including professional ones. I could make a list of pianists occupying top places in international rankings, who, after singing the tune, would be dumbfounded  by the nonsenses in their performances of Chopin's Nocturnes, including those already fixed by them on DG records.

            The reflections on the leading and accompanying elements to which I have just hinted here, naturally much simplified for understandable reasons, as well as thoughts on the logic of recitation, are an important element forming a foundation for my instruction in partnership and performing in an ensemble. Actually, a soloist who performs a single piece being an individual structure made of leading and accompanying elements, is like an ensemble which plays a single piece as well. Not two, three or four “parts” but a single piece  forming a thicket of leading and accompanying elements which pass from one performer to another and back, as dictated by the composer. The leading elements must be – I do not like such categorical statements, but sometimes they are justified – played in a most authoritative manner possible, with clarity, logic and conviction. Not to make them understandable for the listener, but -above all – to make them audible and understandable for the partners. It is the partners who must know whom they should make comfortable, what should be comfortably set and what dynamic context should be devised so that the leading narrative would not be disturbed with the superimposition of the accompaniment.

Reflections and suggestions

            I deliberately chose to name my remarks reflections, never speaking about words of caution or even advice. My students are free to accept or reject them, to remember them or to forget. I have an organic aversion to all and any symptoms of over-protectiveness and leading an adult person by the hand, even if that adult person has just turned full age. I do it not only to respect their freedom, but also because I am perfectly well aware that I can simply make a mistake and just be wrong. I could not be further from any form of “sovietism” in music – an approach which says that things should, need, have to or must be done in a certain way.  Actually, this is a basic technique used by me to teach partnership and playing in ensemble in general.  It is not me, but the ensemble performers who decide what is logical, what they perceive as beautiful, and what the dynamic context will be. Most frequently they can cope with such problems perfectly well, to their considerable surprise and great joy. 

The entire ensemble plays one musical work

Above all, I try to obtain their approval for the fundamentally important statement mentioned above: that the two, three, four or five of them play a single piece, and not two, three, four or five parallel parts. Pianists pose slightly less problems, as the piano is one of the few instruments on which one can play harmonic, and polyphonic music which is - in one word – complete. The vocal and all the other instruments, called briefly orchestral, are homophonic by nature. Basing on the part of a violinist or any other instrumentalist it is hardly possible to imagine the whole piece. The instrumentalists have a chance to “hear” the whole work only during rehearsals; however, they are hardly ever able to “see” it. Therefore, I do my best to persuade my students to study the full score of a duet, a trio or quartet, and to play their dedicated parts of a sonata from the pianist's part.

Two or more staves

To say that a sonata for an instrument and piano is recorded on three staffs seems quite obvious and almost banal thing to say. However, an underinformed pianist may disregard the remaining staffs surprisingly often. And he should notice them! Actually, he should never lose them from sight. Similarly, to songs, the physical range of sight should embrace all the three staffs and – which is extremely important – the lyrics as well. This issue belongs to the fundamental, professional skills of pianists - performers of ensemble music. The pianist, similarly, to the conductor, should master the skill of simultaneous visual control of a number of staffs, not just the two of them.

School and Academy (University)

I admit  with certain regret that my whole half-century's pedagogical activity has almost never transgressed the academic level.  I operated in a special situation in which a young man under my care did not belong to the caste of pupils anymore, as he had already entered the academic, university career. Regrettably, I have no empirical knowledge of the problems of primary and secondary level didactics. I do not know whether I would be able to communicate with the soul and mind of a child, or a young and angry teenager, bewildered with the first fascinations of a newly discovered life. I deeply respect and admire those who are able to do so. Those, who have enough courage to assess teenager boys, as Elsner who said about Chopin: “An outstanding ability. A musical genius”, or those who can protect giant talents and  not deform them in their tender years.

During the university period, the independent activity of a student seems to be one of the most desirable values. I do not know how other pedagogues work, but I have never treated young people as students, or – God forbid! - as disciples. I have invariably treated them as young artists with whom I jointly embark on a fascinating adventure with Art. I have never been an obtrusive mentor; I have never admonished anyone. I shared my knowledge and experiences, I addressed my opinions and reflections to them, and I  very, very carefully listened to their reflections, being fully aware that in such relations, it is not always the grey-haired gentlemen with the title who is ultimately in the right. I treated their sensitivity and individuality as a value which deserves absolute protection. I did my best to make all my interventions meet the criteria of culture, subtlety and tact.  Sometimes, by way of a warning signal, I recalled my conversation with a grand luminary of pedagogy who, when asked for a few post-diploma consultations, dared to reply: “Gladly, but you must be ready for a total remake of your aesthetics”. I still smile when I remember my retreat in panic!

And so, I am nearing the end of the Overture. Just like in many traditional overtures, I have signalled a few themes, a few  leitmotivs.  I will resume them in Variations and Rhapsody – a free narrative about the pianist-vocalist, pianist-instrumentalist and pianist-ensemble relationships, in my deliberations on Piano Chamber Music. Genesis and Prospects, and also in the Epilogue.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Theme with Variations

 

            I had a good reason to include my earlier extensive essay on partnership in the reflections on teaching how to play in an ensemble. Not only because it presents my reflections on the dominant of my life – also in its professional aspect – but also, and primarily, because it forms a compendium of personal insights on this fascinating concept. Therefore, when undertaking the task of writing on how to teach partnership, I saw it as my obligation to present my perception of partnership as comprehensively as possible.

Let me amuse you a bit with a certain peculiarity which occurred to me while writing that essay. For no apparent reason, the number of variations in my Theme with Variations happened to be 32, as if a certain magic of the number  32 or 33 were at work again. Why did Bach write  33 Goldberg Variations, Beethoven – 33 Diabelli Variations and 32 Variations in C minor, why 32 Short Films about Glenn Gould? I truly did laugh when a moment after completing the text I realised that I had just created 32 short variations as well!

The idea of partnership as the theme of variations

            The music theme of these 32 Variations is the idea of partnership. They are intended chiefly for those whom I had been providing with my knowledge on the musical profession for almost half a century. My intention was to signal a phenomenon which is unfairly given a marginal treatment not only in the artistic activity of quite a number of musical performers, but also in the perception of that part of the community which suffers from hard-core soloistic obsession.  I hoped that my reflexions would elicit positive echoes also from mature, independent performers, or even from readers not involved in performing music. The feedback which has reached me since suggests that my hope was not unjustified.

            Personally, I think that there are three ideas which bind people together and form a significant aspect of their successful living together. They are love, friendship and partnership.

   The Internet repository create points to the privileged position of love in literature. Geniuses of the pen have used a sea of ink for the purpose, starting almost from the dawn of human history, and the trend continues. Just think about the Song of Songs by Solomon, Greek mythology in bulk (or almost), innumerable poems, epics, novels and parables.

 

    Although the concept of friendship is present in the Iliad, the Bible and the works of outstanding writers including Cervantes, Goethe or Krasicki and Prus to mention some Polish novelists, but it is just a fraction in comparison with love.

    How about partnership? The literature is silent. Only recently, some journalists began to mention it. It is quite surprising, considering that human partnership seem to be a patent and efficient guarantee of successful cooperation and coexistence with others and it seems to offer the greatest chance to create a mutual version of reality. Love is not so reliable, as “it is a gypsy's child, and it has never, never known the law.”  For that matter, friendship may also fail to survive the confrontation with various very challenging situations.

   I sometimes think that partnership is still waiting for its Shakespeare or a philosopher similar to Kotarbiński. My own Reflections are just a tiny, unprecedented, and pioneering prelude to something which has not yet been called into existence. After starting to work on it, I was amazed to realize that the concept of partnership in music is not so distant from human partnership in general and actually, they seem exactly the same if one sets the paraphernalia of music aside. Therefore, the topic of partnership in music has become for me an excuse or a tool for exploring the fascinating, vast phenomenon of partnership as a universal concept.

Regrettably, the partnership issue seems to be slighted also in the education and upbringing of young generations. While recording my thoughts, I was quite surprised to note that they are very akin to the partnership in the fundamental sphere of the co-existence with another person. I see it as still another little proof that art and music are integral parts of life, not just its aesthetic superstructure.

 

 

 

 

Preamble.

 

1.Motives for undertaking the subject.

 

            This is not a dissertation, not a scientific work. It is a handful of personal thoughts. I have never come across any trace of a clearly similar or closely related issue. I have never heard it from anyone and nobody has taught me anything about it, strictly speaking. This essay is the result of my experience and thoughts, from the times of my intense presence on stage – from which fate has irrevocably removed me – and from the time I have spent in university halls, where, together with my students, we uncover the mysteries of Art, perhaps the most beautiful and refined fruit of the human spirit.

            Motives? I have explained my views on partnership on stage, in studios and in TV broadcasts. I now explain it to my students. I thought I should leave a written account of my views. Perhaps it will last longer than my concerts and lectures?

            Besides, in my searches in libraries and browsing on the Internet I have not come across almost any valuable publications about partnership between people, just a business sense only. I am somewhat surprised, because I perceive a successful partnership to be extremely important. It's the prime component in successful co-existence and, in the case of musicians (of whom only a few function as individual artists), partnership is a leading value in professional life and self-fulfillment. Yet little has been said about this partnership!

            Partnership, when we take a closer look at it, is a very extensive concept, although it is difficult to grasp and systematize. In effect, it appears to me as a mosaic composed of many elements, without priority or hierarchy, or as the image we see in a kaleidoscope. So that is the form of expression I have adopted in this essay.

            In principle, I consider a professional academic level to be the obvious minimum between partners and I direct these thoughts to readers on a similar level, although - perhaps - a reader from outside this sphere, if he should find a spare moment to remain with this text, will find something for himself to reflect upon in this book.

                                                                                  

2.Partnership. The explanation of the concept.

 

          The Encyclopaedia Britannica of 1990 defines partnership in the following way: “Partnership, voluntary association of two or more persons for the purpose of managing a business enterprise and sharing its profits or losses”.

            Britannica, possibly the best encyclopaedia worldwide, has provided a definition which seems perfect. Nothing more, nothing less. It encompasses everything, clearly and concisely.

            However, just after having read it I recalled an excellent, wise and significant story about an inquisitive student who asked a Rabbi if the whole Torah  could be reduced just to one sentence. I suspect that the reply of the master was spiced with a philosophical smile: „Naturally: ‘What is hateful to you, do not do to your neighbor’.  This is the whole Torah. The rest is a commentary”.

            Partnership seems to constitute a similar case. The encyclopaedic definition provides an essence reduced to one brief sentence, and obviously it can always be supplemented with a commentary. Naturally, the commentary you are going to read now is personal, as I would never venture to think, even for a moment, about providing a universal one.

            Let me begin from a reflection that nothing happens by itself; all the culture and all creative relations between men require effort, involvement, wisdom, persistence and even devotion and other similar, related values.

            The indispensable, basic condition for a musician is to achieve the highest possible level of professional skill. I do not mean here any universal benchmark, but rather the current level of a pupil, student, and finally a mature artist.

            I decided to choose twelve of the most important values to discuss in my personal commentary, without arranging them in any hierarchical order. Just a kind of the “Dodecalogue of the Partnership in Music”.  I hope they may serve as a list of elements necessary to create a reasonably coherent whole.

            Here they are:

The first value: Shared responsibility for the whole performance

                        To keep things orderly, let me first quote a great definition of the music work by the wonderful, invaluable professor Kazimierz Sikorski: „Although a music work is a unity, it consists of many elements: melody, rhythm, harmony, dynamics, agogics, articulation, counterpoint, form and emotional contents”.

            A soloist performs all elements of a musical work on his own, at his sole responsibility. His is the success and his is the failure. He does not have to reckon with anybody or anything.

            The responsibility for a partner-like ensemble performance  is of dual character: besides the part of the work performed by an individual artist, it concerns also the value of the whole work. The performer is constantly aware that his  contribution, if meagre, will degrade the whole performance depreciating the effort and involvement of the other participants.

The second value: Reciprocity

            It is impossible to imagine a one-sided partnership, or, similarly, a friendship. Only unrequited love is imaginable in some sense. Any expectations of happiness and success on the part of an infatuated person are his or her personal problem, and the responsibility is also his or her.

            I have always thought - allow me to quote myself - that the fact that I love you does not oblige you to anything and does not authorize me to anything.

 

The third value:  Understanding for the partner

                        I perceive understanding both, in the literal and wider sense. The understanding in the literal, simple sense also seems quite significant, perhaps contrary to appearances.  Every person, even if speaking a common, native language, expresses his thoughts and chooses his vocabulary following a characteristic pattern; each of us has an individual sense of humour and a style of approaching others. Various, quite common misunderstandings which often are so irritating, result precisely from such seemingly trifling details.

            The wider meaning of this aspect which reaches deeper into the domain of psychology, embraces the knowledge of individual features of a partner including his temperament and personality. Gender differences are also significant. Musical partnership with a man or a woman has always felt differently for me. It may be considered insignificant from the purely professional viewpoint, but at the same time it is one of the nuances which affect the comfort of being together.

The fourth value: Openness to dialogue

             I quite enjoy the adage that two monologues do not make up a dialogue. True enough, when each of the partners is focused only on his part without any contact with the utterances of the other partner, the dialogue simply is not there. This concerns equally the musical dialogue and a dialogue of our everyday co-existence with another person.

The fifth value: Readiness to understand the otherness of the partner

            Although it is generally known that every man is unique and one of a kind, this fact is surprisingly often forgotten in everyday relations. This  is particularly true for a long-lasting arrangement with one or more partners. The understandable differences may turn into a problem when initial attraction gives way to unavoidable irritation.

            Also, it is not so easy to accept the fact that the readiness to understand the otherness of the partner should be reciprocal; our partner should be equally willing to understand our idiosyncrasies.

            The awareness of this phenomenon is invaluable as it greatly facilitates all and any ventures into this delicate and extremely sensitive territory.

The sixth value: Internal space

            I mean primarily the space for thoughts  which allows for relatively conflict-free existence and collaboration with a partner, free from doctrines, narrowed aesthetic preferences, world-outlook bias, moral and even historic encumbrances, not to mention traces of racial connotations.

            Such space provides a considerable luxury and comfort of being together and working with a partner, ensuring almost absolute guarantee of the freedom of artistic expression without any risk to the comfort of being together.

The seventh value: Ability of hearing the partner and oneself at the same time

            This ability is one of the fundamental differences between solo and ensemble performance. The fact that the soloist hears only himself is by no means a discovery. In turn, an ensemble performer must – really must – hear himself perfectly and at the same time hear and understand the part played by his partner.

            I am sure that it is not only an ability but also a skill which can be taught.

            I do not see any special reason to explain how important and valuable is such hearing for the fascination in the creation of performative art and everyday life. Well, this obligation of simultaneous hearing and understanding oneself and the partner should actually refer both to playing together and to ordinary, everyday being together with another person, shouldn't it?

The eighth value: Good manners in togetherness

             It might be worthwhile to remind that good manners are obligatory for being together with another person in any circumstances, both professional and in private life.  Any joint or shared activity creates particular demand for good mannered behaviour and reciprocal communication, particularly in the atmosphere of tension and involvement in the work. 

The ninth value: Tactful reduction of tension        It seems obvious to me that certain tensions are unavoidable in any partnership, even the most comprehensive and perfect. It would be naïve to think that partnership is just cakes and ale forever.

            The tensions may stem from the richness of human nature, but they may also result from seemingly trifling situations which sometimes carry a hidden potential for a more serious conflict.

            When such tensions do emerge, the ability to solve them tactfully is simply priceless. Perhaps it is worth remembering that certain discomfort experienced in the proximity of another person can be mutual, and the partner may also feel uncomfortable with me. Ah, the reciprocity requirement in partnership never ends!

The tenth value: The ability to accept compromise

            It seems an obvious approach to the sensitive issue of divergent aesthetic preferences. I find it highly comfortable to acknowledge that the interpretation of a musical phrase does not necessarily have to be identical for all the performers in the ensemble;  all of them are professionals and, obviously, none will propose any musical nonsense. Certain divergences and interpretation nuances stem from understandable individual differences, and they can even make the performance more attractive and colourful.

            Any attempts at uniformity usually end up in a failure. This is the very space for compromise which allows for the otherness and the freedom of speech. 

The eleventh value: Respect and confidence in the partner

In addition to the obvious respect for professional skill, this refers also to purely humanistic values, to the approach to life, interactions with others as well as the ability to cope with challenges and various co-existential problems – in brief, to all the facets which combine into a full personality.

            The confidence in the professionalism of the partner seems self-evident, similarly to the confidence in his general approach to life. 

The twelfth value: Understand imperfections of your partner... and yourself

            The English adage Nobody is perfect is not just a handy phrase. The understanding and acknowledgement of this obvious, albeit inconspicuous truth protects against harmful irritation, let’s keep the distance from one's own imperfections and possibly prevents destructive frustration and excessive quandary.

            As it has already been said, my commentary to the encyclopaedic definition is personal or even authorial. The dimension of the concept of partnership and partnership in music in particular, is huge and it seems necessary to arrange its various elements in the order of importance. The ones which have been presented here for my purpose hopefully provide a compact and precise image of this absolutely fascinating relationship gracing our professional and private life. Such type of partnership will be discussed further on the pages of this essay.

            I am aware of the fact that my reflection on Partnership in Music may be considered as idealistic and not necessarily find its full interpretation in reality.  However, in my personal struggle I sometimes console myself with the thought that even the Decalogue with its “Thou shalt not kill”, “Thou shalt not commit adultery” or “Thou shalt not steal”  quite often fails to  reflect  the actual relations between people.  Following my private Decalogue, I have been calling and promoting in my practice,  “Thou shalt be a partner”, for more than half of a century now, and yet “Be an accompanist” is what I still hear much too often! And not in music only!

 

 

             

 

                                          Mosaic.

 

1.Freedom, the basis for partnership.

 

            For any type of partnership! As I comprehend it, partnership functions between free people. Submissiveness, distortions and deformities of freedom, though common, are of no interest to me.

            Freedom is neither given nor bestowed by grace upon anyone. Freedom is a fundamental need of man which is his due, like light and air, simply by dint of being alive.

            Attempts to restrict or steer freedom unleash the demons of intolerance and anguish which only man can inflict upon man. So as not to be misunderstood, I would like to stress that I do not consider the changing and evolving requirements of living together in society to be limitations on freedom – rather, I regard them as composing the "culture of co-existence", broadly understood. This culture, if observed by everyone, would render doubtful the need for all legal codes and religious commandments.

            Together but free, as I call it with a smile: Zusammen, aber frei. A deep sense of freedom, respect for obvious professional discipline, observance of the aforementioned culture of co-existence and the insights into partnership I outline below – these form fertile grounds for the success of music that is performed together, artistic success and self-fulfillment experienced by each of the partners.

 

2.Leading element - accompanying element.

 

            Please note that the statement is arbitrary and oversimplified. Namely, in all classical music, from its origins up to contemporary times I can easily trace leading and accompanying elements in almost every piece. I think that pieces where a leading element dominates are extremely rare. In the vast majority of cases, these elements are single, or there are several of them at the same time, and the artists exchange them between each other depending on the structure of the piece.

 

3.Leading role - accompanying role.

 

            The mutually interchangeable division of roles within a piece results in concrete recommendations and expectations for artists. From the leader – i.e. the one who is leading at any given moment – one wants to hear certitude of expression, authority, deep conviction in the piece recited. It's the duty of accompanying musicians to provide creative comfort to a partner and the part he is playing. How many misunderstandings, disharmonies and ordinary stupidities can be heard from performances, including the performance of solo pieces, by otherwise distinguished artists! All too often, pointlessly accentuated accompanying elements disturb the logic of a piece and musical common sense while leading roles slip into incertitude and shyness.

            Accompanying musicians often repeat – after the Caesar of accompanists, Gerald Moore – “Am I too loud?” Yes, you usually are; you are too present when there ought to be less of you, and there is too little of me when I am the leader. It's not a problem if you are literally too loud, but it is if the accompanying role is excessively obtrusive and the leading role too shy and uncertain.

 

4.Individual ( soloist) performance, ensemble ( chamber) performance.

 

            I can see two forms of musical performance: soloist and ensemble. Regardless of the form that predominates at the given moment, they constitute an inseparable unity. In both of them requirements and professional expectations of perfection and mastery are identical.

            Although a musical piece is a unity, it comprises many elements - melody, rhythm, harmony, dynamics, agoge, articulation, counterpoint, form. In my opinion, all deliberations and arguments over the relative importance of any one of these elements are essentially scholastic, even nonsensical. In performance art as I comprehend it even the most minute detail, if improperly realized, becomes a scar on an otherwise perfect whole, degrades the piece, renders it a piece of junk. Alberti’s bass performed poorly by one musician will definitely damage the whole, waste the beauty of the cantilena played by the partner. The soloist is responsible for the entire piece, for the perfection of all its elements; in a group performance this responsibility is both individual and joint.

            An individual performer realizes the whole piece, all of its elements; an ensemble performer realizes a piece together with a partner or partners. There is always only one piece being performed, but there can be one or more performers.

            The concepts soloist and accompanist are deeply rooted in the consciousness of musicians as well as the public at large. Yet these concepts are anachronistic and, in artistic categories, harmful. In my view, partnership is the only real artistic relationship, and it's the relationship that offers the best prospects for joint creative expression..

            There are violinists, singers, pianists, not violinists, singers, accompanists. It's not an accompanist who plays the piano, it is a pianist. Together with his partner, a violinist, they perform Beethoven’s “Spring” Sonata: in the first nine bars the violinist is the leader and I accompany him; in the next fifteen bars I am the leader and the violinist accompanies me. “Gute Nacht” does not start with singing. Winterreise is begun by a pianist. He can spoil everything and make it banal, as in one of the most heavily promoted recordings recently.

            In general, who is whose accompanist? Everyone is, interchangeably – all instrumentalists and singers accompany and lead each other.

 

5.The relationship between partners results from the structure of the piece and the relationship between the leading element and accompanying element, not from the non-artistic soloist-accompanist relationship.

 

            It would be difficult for me to list pieces in which the leading element and the role of leader belong entirely to one musician and the entire accompanying element to another. Perhaps Paganini’s “Moto perpetuo”? I shall not be in error if I describe these pieces as marginal in comparison with the entire body of music meant to be performed by ensembles. And even in these marginal cases if the accompaniment is poorly performed the whole piece is degraded.

            In the dramatics of a piece the relative importance of its elements changes depending on the composer's conception, the piece's structure; consequently, the leading role passes interchangeably from one musician to the other. This is one of the reasons why I dislike the concept of “accompanist”, whose role is commonly associated with serving and general submissiveness. Sometimes more enlightened reviewers discern the quality of a pianist’s performance. Sometimes, however, the “accompaniment” in Frank’s Sonata is praised, as it was in a reviews that appeared in a professional magazine last year!                          

            All these commonly held concepts of soloist-accompanist-chamber musician seem artificial and misleading to me, encumbered with anachronisms. A “soloist”, after all, is merely a musician who plays alone, solely on his own responsibility. It seems logical, then, that if he plays with another artist he ceases to be a soloist-solitary musician. To a lesser or greater extent he becomes an ensemble musician, with all the consequences of this concept.

            What is chamber music and what is playing with accompaniment? Immediately, we face a scholastic impasse. Are Schumann’s Lieder accompaniment or chamber music? Are sonatas for an instrument and a piano chamber music, or does chamber music only begin with a trio? I am deeply convinced that the concepts “individual (solo) performance” and “ensemble (chamber) performance” lie the closest to the essence of the problem. All the more so, as the principles and wisdom of ensemble playing are the same for songs, sonatas, trios and orchestral concerts; one can say they apply to all non-soloist works. The creation of drama in pieces by both musicians seems obvious to me. But even in Wieniawski’s “Scherzo-Tarantella”, for instance, it's the pianist who initiates the drama of the piece, particularly if he is aware that “Scherzo” begins with a pause. And how beautifully and convincingly should he play the reminiscence of Moniuszko’s Jontek aria in the middle portion of the piece? I shall not even mention the unusual performances of Chopin’s concertos by Krystian Zimerman and his orchestra.

I would not like these critical words about “accompaniment” to be taken as a sign of my over-sensitivity or idiosyncrasy. Although I have performed with groups of musicians through nearly my entire artistic career, I have never been an “accompanist” (except for the specific situation of cooperating with international vocal competitions, where the role of pianist is that of service provider). My performance résumé is filled with meetings with wonderful, truly great partners, and my musical relations with them were dominated solely by art and creation. None of them was my “soloist”, and I was not an “accompanist” for any. Once a less refined partner tried to make me his “accompanist”. He didn't succeed, and it was only during a single rehearsal that never led to a stage performance.

            The success of an ensemble performance is based, I feel, on awareness of partnership, joint creation of drama, complete commitment and responsibility. A soloist-accompanist relationship entails the threat of professional and psychological distortion. A partner-partner relationship sets the performers free.

            Indeed, it is utterly astonishing that this negative psychological effect is permitted to detract from the artistic value of even the most outstanding artists' performances. When these musicians play alone they are splendid, but when they start “accompanying” they get lost, even instrumentally. Yet I often experience the opposite effect with my students: by making them aware that they are pianists, artists and partners I can augment their sometimes modest potential. To their surprise and joy.

 

6.Trust and tolerance in partnership.

 

            Can any truly creative partnership exist without trust and tolerance? Indeed, it is hard to imagine such a partnership!

            Trust not only means believing in the professional abilities of your partner, but also in his best intentions and efforts put into preparation and his commitment to the joint undertaking. Of course, trust and friendship have to be mutual. There is no “one way” trust and friendship.

            Tolerance is linked to inner space and acceptance of your partner’s individuality. In my view, when two professionally prepared musicians meet, their aesthetic sensibility need not be identical – it is not the sine qua non of success. After all, neither of them plays nonsense, and certain dissimilarities, if mutually accepted, can only make their creation more colorful and attractive. Above all, tolerance is a graceful arena of creative dialogue.

 

7.Totalitarianism, dictatorship, democracy in partnership.

 

            Totalitarianism is pressure exerted by the system, a received aesthetic doctrine, an “authoritative” stylistic set of principles. There is no room for partnership here. The pressure of duties and sanctions can turn playing music together into a nightmare of coercion.

            Dictatorship can be imagined without difficulty. It is an interpretative coercion of one partner in relation to another or others, more or less open or camouflaged, categorical, intolerant of any opposition, eliminating dialogue, creation and joint responsibility. I know of numerous relationships like this, even among the most renowned names. A musician who consents to such a relationship must reconcile himself to his servant status. That's his business.

            What remains is democracy, the arrangement that is the most conducive to creation and the performers' satisfaction and self-fulfillment. In democracy the need for freedom, culture and community can be satisfied. While it would be naive to identify democracy with the idyll, it is nonetheless the most suitable way for people to live together.

                                                                                  

8. All partners play the whole piece and not only their own parts.

 

            Terms such as the soloist's part, accompanist's part, vocalist's, instrumentalist's, pianist's parts remain intractably in circulation. While these terms have a systematizing and serviceable function, they are also misleading. It is my belief that every musician, to a lesser or greater extent, should be aware of the whole piece and not only his so-called part. With the exception of marginal cases ( again, that “Moto perpetuo”!), a musical composition does not consist of  two or more parallel privileged or underprivileged parts. Instead, it is something like a mosaic of elements, with leading and accompanying motifs varying in relative importance interchangeably between musicians depending on the structure of the piece.

            I am convinced that for a performance to be of value, it's indispensable that all the musicians playing the piece be aware of the entire composition. It would be ideal if all the partners interpreted the piece identically; it is good if their interpretations are at least akin to each other and not conflicting.

            Also, in the course of preparing to perform a piece, after all the technical problems have been overcome, it's appropriate to learn the entire piece, including the lyrics first. That's why, at a certain stage of their training, I advise my non-pianist students to learn not only their own notes but also those of the pianist, which are the de facto score of the composition.

 

9.“Rhythmists” and “melodists”.

 

            I use these terms to describe – in great simplification, of course – two types of musicians: those who prefer melody and those who prefer rhythm. I do not mean melody or singing in a strict sense, but narration, declamation, time, the logic of phrasing. As to rhythm, I don't have its organizing function or the importance of beat in mind, but reliance on a rhythmic crutch, which inevitably leads to mechanical performances. One can “sing” Tchaikovsky's concerto in b-minor or even Prokofieff’s Toccata as Martha Argerich does, as well as play Chopin’s “March” in C-minor (wrongly called a “Nocturne” Op.48!).

            Melodists are much less numerous, although they are the ones who stand out amidst the mass of performing musicians. Maybe it's because people think that everything that's not singing is noise. And who likes to listen to noise?

            Partnership between a melodist and a rhythmist creates problems that can't be ignored. Sometimes playing music together becomes impossible or takes place at the cost of far-going, even destructive compromise, bereft of joy and satisfaction.

            The derivation, importance and interdependence of rhythm and melody are obvious and commonly known, just as there is a particular type of conflict between the expectation of a steady beat and the need for the language of music to be declaimed.

            Declamation of a language occurs through the medium of words, sentences (phrases), paragraphs and the time that elapses between them. Words and sentences, if they are to be understood and artistically justified, should not be stuck together without rhyme or reason, driven by a false, even barbarous, mechanical rhythm. Accompanying singing by means of rhythm may well be one of the most crucial problems of partnership in general.

            Melody without rhythm essentially cannot exist, but the rhythm cannot kill or harm the melody. In the vast majority of pieces, the melody is the leading element. Rhythm is an accompanying, supporting element. Something like the left hand in Chopin’s Nocturnes. The whole piece is a singing right hand and an accompanying left hand; the whole piece is a singing partner and an accompanying partner. Which one is more important? Which hand is more important? A limp left hand will kill even the most beautiful singing by the right – and the Nocturne will simply die.

            For my own use I solved this problem quite some time ago, with a positive result it seems to me. Now I try to help my students solve it. Among other techniques, I use the expression “participating” in your partner’s narration. Not “following”, but participating – that is, playing the accompaniment not so much ostinato but tending toward steadiness, evenness of rhythm, as if you were singing or declaiming yourself. There should be no misunderstandings.

 

10. Partnership with a vocalist.

 

            The problem concerns pianists and conductors performing with singers. To begin with, two fundamental differences between vocalists and all other musicians need to be made clear: first, a singer is a living instrument, unique and irreplaceable; second, a singer has lyrics at his disposal which constitutes an integral part of the pieces he performs.

            The instruments of all musicians are outside their bodies, whereas a vocalist carries his instrument within himself. Even the most precious Stradivarius can be replaced; a voice cannot. The price every vocalist pays for his uniqueness is constant tension, anxiety, concern about his living instrument which is permanently exposed to all the requirements of the profession as well as the threat of illness, climate, fatigue and pollution.

            Sound as well as the entire language of music is completely non-semantic; lyrics have concrete meaning, and though they are not unambiguous, they suggest their interpretation in a very specific way. The contents of the phrase “Sublime, slender and young...” appears to be absolutely obvious and logical. By contrast, sounds themselves do not mean anything. Text can be interpreted in many ways, but it essentially has only one logical interpretation (musical language, though non-semantic, also has its own logic!).

            A professional vocalist has no alternative to the logic of the lyrics. He should execute and respect them. The accompanying instrumentalist or conductor also has no alternative. Their obligation to know the text and respect its logic is the same as their singing partner's. They must know how to “play” in Polish, German, French, Italian or Russian... Lyrics are the most effective key to interpretation; they are the key to the instrumentalist-vocalist partnership.

            Awareness and acceptance of these differences should almost completely solve the basic problems of being a vocalist's partner.

            I do not hesitate to state that a vocalist is entitled to expect from his partner not only understanding of his problems, but also a special, discreetly protective attitude. This is not only a requirement of courtesy, but also a professional duty. I am astonished by the ignorance of some conductors who hold dress rehearsals with singers on the day of the concert. A voice needs rest; Steinway can easily do without it.

            One more extremely important comment. It is usually a vocalist who performs the leading element of a piece. Narration and dramatic interpretation are usually up to him. Arrogant partners often forget this, treating the vocalist like an undereducated amateur.

            Unfortunately, sometimes dramatic situations occur when a vocalist, to avoid catastrophe, is forced to cripple a phrase because his clueless partner is unable to play or conduct rubato, to grasp the time that elapses between phrases or to hold an orchestra on a fermata. Horror!

 

11.Partnership with an instrumentalist.

 

            In comparison with singing, this is a simpler partnership and in a certain sense easier. Above all, because of the instruments, which, though more sensitive than the piano - bows, delicate wind instruments - are infinitely less susceptible to various hazards than the human voice.

            Assuming an equal professional level, an understanding of how to approach the leading and accompanying elements, the skill of listening to a partner and interchangeable participation in narration, performing with an instrumentalist should not create serious difficulties. If in addition to these prerequisites the performers have similar aesthetic sensibilities and emotional dispositions, if a melodist meets a melodist, playing together can be a source of great joy and satisfaction.

            I'd like to add that it makes no sense to compare the impressions resulting from individual and ensemble performance, to argue over which are better. In my opinion, paradoxically, these are different values that are not even similar to each other. Only their intensity, depth and size are comparable, even identical.

            And one more important remark. Individual and ensemble performances are complementary, mutually enriching and raise each other's quality. Individual playing enables execution of the leading elements in the fullest and the most convincing way, while ensemble playing expands the inner and outer ear, deepens understanding of relations between the leading and accompanying elements and, for pianists, sometimes reveals the importance of the left hand.

 

12.Partnership with a conductor.

 

            I would like to emphasize that there are many outstanding conductors, masters of their profession, who support partners with their experience and authority and whose inner artistic space is open to joint creation.

            Yet problems can arise. A conductor is a special kind of partner, because he has power. And power, that most dangerous of all narcotics, can ruin even the psyches that are the most resistant to it. The habit of ruling the group turns into attempts to rule the individual, who is a partner. Not much helps, not even mutual awareness of an obvious truth – that musicians perform with a conductor, not with an orchestra, as it is commonly called. It is not the orchestra that is their partner, but the conductor. The orchestra is merely an instrument in the hands of the conductor.

            The situation becomes even worse if the conductor does not know how to handle his orchestra, doesn’t know how to “play” it, isn't able to ensure his partner's comfort, cannot accompany the leading elements played by his partner and – probably the most important – to conduct rubato. In such cases the worst side effects of exercising power can surface - arrogance and conceit, which make a creative partnership almost impossible. Many conductors do not realize that they are not dealing with amateurs but with fully-fledged professionals (also among the musicians they direct!).          

            A chronic lack of professionalism in preparing for joint performances is also common among conductors. Even among distinguished conductors there are those who come into contact with a piece for the first time at a single rehearsal prior to its performance. Barbarity, junk, musical fast food! There are no miracles; everything, quite simply, has to be learned. If the conductor is well prepared, any orchestra, even a modest one, will be able to realize his ideas; if he is unprepared, even the best orchestra can be helpless, particularly in partnership.

            I have asked many conductors about this subject. Essentially all of them confirm my suspicion that they were not taught partnership during their studies, neither professionally nor psychologically ( as pianists are). Symphonies, of course, but all those “accompaniments” (as they call them contemptuously)? Hardly!

            To digress for a moment, I'd like to make a general statement – intervening in a partner’s interpretation is a difficult test of tact, tolerance and manners. It's easily forgotten that by intervening in your partner’s interpretation you are entitling him to intervene in yours. It's worth remembering that responsibility for the quality of the performance rests on both sides, not just one – even if the side is the conductor.

 

13.Partnership with a débutante.

 

            In the basic musical sphere, nothing should differ about the relationship with a débutante in terms of demands or expectations. More broadly, however – in matters such as the ability to concentrate in unfavorable conditions, experience in fighting stress, lack of self-confidence – certain problems may arise.

I have observed that partnership with a débutante takes place largely in the sphere of psychology and personal culture. Thus, every débutante requires separate, individual treatment.

            I remember with gratitude the magnificent, exquisite artists with whom I debuted on the stage. Never did any of them let me feel his superiority nor patronizing forbearance. I was always treated as an equal partner.

            I have treated those who made their debuts with me similarly: seriously and, above all, with mutual trust. There was simply no alternative.

 

14.Partnership with a star.

 

            I have no personal knowledge of this problem. All my partners who had every right to call themselves “stars” proved to be – in direct contact with me, while working on their performance – natural, modest, serious and absolutely distant from all “stardom”. Perhaps they behaved like stars with concert organizers, demanding that their comfort, mainly in logistic matters, be catered to. With me, as a partner in creation, never, in any way.

            I know of only a few world-famous artists who expect nothing but obedience, submission, servility from those with whom they play – never partnership. Well, that's their business and that of their partners who accept such a form of partnership. I can only confess that I have never been satisfied with their performances, which bring to mind an uneven gait caused by a lame leg.

            The following partnerships are close to my ideal: Schwarzkopf-Gieseking, Fisher-Dieskau - Richter, Roztropowicz-Britten, Argerich-Kremer, Perlman-Mehta. All stars. But it's not their fame that is important. A natural, even partnership free from non-artistic dependencies is easy to discern in performances on every level, even the most modest.

 

15.Partnership with a life partner (marriage).

 

            This relationship is very different from standard musical partnerships. The differences lie not in the requirements of the profession itself, as these are basically obvious and common, but in the psychological sphere and in the specific situation of being together. With an ordinary partner, even if one is on the closest and friendliest of terms with him, cooperation consists of: rehearsals, performances or recordings, dinner, sometimes supper and breakfast, then a return to one’s own life.

            With a life partner the completion of a joint performance does not end anything. After the concert come second thoughts, satisfaction, anxiety; all the difficulty, the joys and sorrows of being an artist are permanently present and dwelt upon. In a partnership of this kind, all the successes and failures are shared, as is the act of creation itself. There is also something extremely important and complex: the drama and drudgery of everyday life.

            In such a relationship, the class and personal culture of the partners are extremely important, as these qualities are put to the test by competitiveness: who is better, who is more gifted, who has greater success and, worst of all, who gets paid the most. These problems can cause closeness to fade, even in relationships that are extremely close-knit at the beginning. One can only hope that the vectors of the performers' activities remain directed towards their common artistic good and not against each other.

 

16.Exclusive partnership - “everybody with everyone” partnership.

 

            Everything indicates that the tendency to form stable relationships between partners, which was universal up until two or three decades ago, has irrevocably faded into the past. It was once a seemingly natural and obvious thing for duos to form exclusive partnerships with all the attributes of monogamy. Performances by one of the partners with someone else were treated virtually as infidelities, painful betrayals.

            There is special beauty and value in such relationships. And there is no apparent reasons why they cannot continue to exist now and in the future, although the psychological situation around partnerships has radically changed. I would describe this situation as general acceptance of “everyone with everyone” partnerships. Another factor is the rise of various festivals and meetings, mainly in the summer, during which continually changing loosely associated groups of musicians play various programs with each other, partly by free selection, everyone with anyone.

            There is something extraordinarily attractive, creative, even exciting in such relationships. Free from various commitments and possible psychological discomfort, musicians form various groups, sometimes for the sake of a single performance whose main purpose is the sheer joy of playing together.

            I consider the simultaneous existence of these two options to be extremely positive. It gives musicians a sense of comfort and the awareness that they can freely choose their partners, not to mention the plainly evident benefit of direct confrontation with various interpretations, which can prevent musicians from falling into a rut and wearing out their partnerships.

            I hasten to add, just to prevent any misunderstandings, that stable partnerships such as the Wilanów Quartet or the Trio Beaux Arts are governed by their own, somewhat different psychological laws. Ever since they were created they possess element of not only partnership but also a unique, particular institution.

 

17.The ideal and reality.

 

            When writing this essay, I realized that the picture of partnership I depict is ideal, thus fairly distant from reality, from the everyday life of most musicians.

            I can imagine the torture suffered by orchestra musicians forced into servility by arrogant, incompetent “little Hitlers” of the baton. I know of musicians who were humiliatingly forced to “accompany” sonatas by incompetent pedagogues or their depraved students. I know of immoral hack work perpetrated out of financial need. I know of many other plagues. And I know how difficult it is to defend one’s artistic dignity at all times, not to let oneself be degraded or pushed into professional trash and, most important of all, never to accept any of this.

            The living presence or atrophy of the ideal in one’s life is a matter of personal choice and attitude. It is also a protected area in human relations. All interventions in this area should be accompanied by tolerance, tact and courtesy. Nevertheless, irrespective of personal choices and attitudes, it's desirable that the ideal always be kept in mind as a signal and a reminder.

 

18. Responsibility in partnership.

 

            I do not feel that responsibility can be graduated – lesser, greater, greater still – or that it bears comparison. Responsibility is always a responsibility, purely and simply.

            An individual performer, a soloist is responsible for only himself. Preparation, interpretation, success and failure – they all are solely on his account and at his risk. The responsibility of an ensemble performer has a somewhat different dimension, but this does not at all mean that it's lesser or greater than that of a soloist. Shared responsibility only seems easier to bear, but in fact it is extremely stressful, as it is a responsibility to oneself and to one's partner. After all, not only do I pay for my slack, nonchalant performance, but so does my innocent partner.

 

19. Personal culture in partnership.

 

            All that really needs to be said here is that courtesy is obligatory for everyone always and everywhere. Period.

            However, I have to mention one extremely sensitive aspect of musical partnership that absolutely requires mutual good matters: the way partners speak to each other in moments of tension, when aesthetic or interpretative differences crop up and particularly when referring to a mistake. The possibilities for incurably wounding another person through a careless word or derisive comment are unlimited. Conversely, mutual courtesy and tact can do much good and serve the cause of creativity.                                                                    

            These statements may sound like truisms, but is it not forgotten about them all too often? Is it not worthwhile, when starting to play together, to always have them in mind so as to more effectively protect and nurture the beauty that happens between partners?

 

20. Partnership: composer-performer-audience.

 

            This is a particular kind of partnership which does not directly bear upon performance-related issues. It is enough to be aware of the obvious fact that even the most beautiful piece of music does not exist without a performing musician, and a performing musician does not exist without an audience.

            I know little about how composers feel about the performers of their compositions. The only such experience I've had (which was in the extraordinary circumstance of performing, for the first time ever, Songs of Loneliness and Despair, composed by Marta Ptaszyńska at my request) had all the qualities of authentic partnership. The dialogue with the composer accompanying composition and the first hearing were in a sense a continuation of the creative process, which did not end when the ink in the score dried. I must confess that the composers I've known, including those who have passed away, have always been present in my mind, during the development of their compositions and afterwards when performing them.

            The performing musician's relation with the audience also has some of the characteristics of partnership. Especially when one realizes that the audience does not consist solely of pedagogues and critics. While their role as opinion makers is crucial, the vast majority of the audience are people who have simply come to the concert to experience art and beauty. If they receive it, they reciprocate with their emotions and an elusive sense of understanding, which can render the musician-audience dialogue something close to happiness.

 

21. Partnership with a manager.

 

            Very few musicians conduct their concert activity without managers. Not only do managers solve countless logistical problems, but they also negotiate fees and take care of the secretarial tasks of synchronizing dates, etc. All these issues are vitally important in order to be able to function with at least reasonable comfort in the profession. Yet, in my view, they are far from the concept of partnership.

            What I consider to be partnership with a manager is above all a feeling of symbiosis, cooperation in solving difficult marketing problems, negotiations with directors of artistic institutions, advice concerning repertoire and career strategy ("career", by the way, is a word that suffers from pejorative connotations that are not entirely fair).

            It is also mutual trust and recognition, dialogue, fair play, belief in each other’s best traits – in a word, everything what goes beyond an ordinary business relationship. In my opinion, these are not negative issues that are undignified for an artist to have in mind, nor should they be looked upon as a necessary evil. I believe that familiarity with these issues lies within the broad concept of artistic professionalism.

 

22. Fighting, polarization in partnership.

 

            It would be naive to think that even the best partnership is an uninterrupted idyll. Fighting, after all, is an unavoidable fact of life, thus neither can it be separated from partnership. The only thing one can consciously influence in this regard is the form, character and goal of the fight. The most creative kind of fighting is for the common good, with the optimal artistic result as the final goal; the most destructive kind is when partners fight not for the sake of something, but against each other. But when that happens, of course, there's no partnership. It simply dies.

In musical partnership the expectation of identical views, tastes and aesthetic preferences is a pipe dream. Every person is a unique psychic structure whose closeness to others can be measured only in terms of a weaker or stronger spiritual kinship.

            In a well-functioning relationship the willingness to accept the individuality of one's partner, his tastes, sensitivity and emotions, is a matter of fundamental importance. Inner space enables the confrontation of differences, creative polarization of aesthetic views, defense of one’s preferences and tastes. It is perhaps the most desirable element of ensemble performance, as it ensures optimal conditions for creation. Without this space, every tense moment has the potential to become destructive, to make being together and creating together impossible.

 

23.  Selfishness and over-protectiveness in partnership.

 

In my view, over-protectiveness is a refined form of egoism. An overprotective partner can turn the joy of being together into anguish. Driven by seemingly noble motives, the overprotective partner is mainly concerned about his own comfort. He keeps an ever vigilant eye and ear on his partner, checks him all the time, comments on every phrase and sound, constantly giving advice and instructions while forgetting that he is not dealing with a poorly educated, mentally defective child, but with a mature and independent artist.

I consider a much healthier attitude to be “creative egoism”, wherein the artist concentrates on what he himself is contributing to the joint performance. Of course, with all due respect for the aspects of being together, but sufficiently distant from obtrusive “concern” for others.

                                                                      

24. Domination and submission in partnership.

 

            The problem of domination and submission is an extremely delicate area in partnership where one can never be too cautious. I do not mean the consequences of the dependence between the leading and an accompanying elements, as these are strictly professional. What I have in mind are rather character traits and the dimension of personality in the relationship between two musicians who play together.

            It is sometimes worthwhile to become conscious of one’s own desire to dominate (who is free of it?) and, even if one has a strong personality, he should occasionally refrain from his imperative to rule. Similarly, when one feels overpowered by his own submissiveness, he should not hold back his need to rebel.

            All this comprises, if not the most important, a nonetheless essential prerequisite for success in being together. The ultimate goal of course is the best possible artistic result. However, I can still “hear” whether partners, even the most eminent ones, are equal and free or whether one is dominated by the other. I can hear it even in quartets! And nothing positive is contributed by the latter case.

 

25. Good- Truth- Beauty in partnership.

 

            This is probably the most extraordinary and at the same time the most dangerous set of concepts, which can bring people together or set them apart, make them blissfully happy or abysmally anguished. How many magnificent things have been built on their foundation, and how much blood has been shed and still is, in their name!

            Partnership in music is not of course free from the problems engendered by this canon. The ideal space of understanding would be an identity of views and desires concerning the concepts of good, truth and beauty. Unfortunately, this is utopia. The important thing in this regard is that views be at least similar, not conflictual, so that they can constitute the basis of a fruitful dialogue.

In my opinion, a good knowledge of philosophy and psychology is conducive to cooperation and the search for creative, positive solutions to various conflicts and tensions in partnership. Such knowledge also often makes it possible to find honorable ways out of the many artistic and ordinary human impasses that musicians will encounter.

 

26. Alliance-antagonism-parting.

 

            The notion of "alliance" should form the cornerstone of every incipient partnership. Without it, without a climate of fair play, every partnership is unhealthy from its very beginning. Of course, the alliance should be solid and true not only amidst success, but also during moments of perplexity, helplessness and loss.

            As life instructs us, there is no alliance that exists of its own accord, without care taken to ensure its quality. Like everything that unites people, it requires cultivation and care. There are no alliances that last forever. This truth is inscribed in the drama of life. Musical partnership does not lie outside it.

After all, various antagonisms can crop up which, in spite of the best efforts, cannot be resolved. And then it is time to part ( in the end, it wasn't musicians who devised the concept of the Gordian Knot!). Well, when this happens all one can do is to appeal for courtesy, tact, class and discretion: i.e. not discrediting each other in the future.                                                                                       

 

27. The Intimacy of a partnership.

 

            My thoughts on intimacy are most personal of everything I have written in this essay. I have always had great respect and esteem for intimacy. My relations with partners cannot be expressed in words, recounted or boiled down into anecdotes. I can only say that every relationship has been absolutely unique and could not be compared with anything.  As to what transpired between us during performances, no one will ever find out anything from me.

            I could barely tolerate the presence of other people at rehearsals, particularly relatives of my partners. This is not the case with people invited for strictly professional reasons, such as a former instructor or a sound engineer.

            I've decided to include these reflections with the full awareness that intimacy is barely one of the many possible options in partnership. In these matters, too, each of us is the architect of his own comfort.

 

28.Partner as a first listener.

 

            The fact that partners are the first ones to listen to each other is one more attraction of playing together. There exists something which, for my own and for my students' use, I call “intended interpretation”. It is everything I think I'm doing: playing piano, legato, with relief, with spatial narration, with wonderful timing and magnificent in every other way. Then, after listening to the recording, it turns out that the result is monotonous, flat, contracted, bereft of dynamics, neither piano nor forte.

            At this moment the presence of a partner-ally cannot be overestimated. He is the first to hear, evaluate, help and correct. The awareness of constantly listening to and being heard by others is an extremely valuable component of creative dialogue. I won't even remind you of the courtesy and tact required in such situations, as they should always be present in inter-personal relationships anyway.

 

29. Habit-burnout-routine.

 

            Unfortunately, these are genuine threats to every partnership. I do not intend to give these matters an amateur treatment, as they are – in my opinion – issues for professional psychologists. In music, all that seems certain is that these hazards do indeed exist, but they need not necessarily come to pass. This is proved by the existence of numerous partnership ensembles that have played together for decades without any trace of being wear, habit or routine. Just as such partnerships exist in life.

            These plagues can be fended off by the need for constant creation, the pursuit of perfection and inner openness. Also, the mere awareness of these dangers should not be overlooked, as it generally mobilizes partners to seek effective ways to prevent them.

 

30. Time and discipline in partnership.

 

            I do not mean musical time, which happens in phrases and between them, in pauses and even in finding optimal solutions in the structure of sonatas, symphonies and strings of Lieder. These are strictly musical issues, and it is not my intention to deal with them in this essay.

            I only wish to make a few comments about the problem of ordinary time in relations between partners. For example, rehearsals have to be organized. I call your attention here to the fact that there are highly diverse preferences and needs. Some like to rehearse a lot, others less; some like to rehearse until the very last moment before mounting the stage, others do not rehearse at all on the day of the concert. These issues need to be discussed, and the partners have to be ready to compromise – which is generally very important in every partnership.

            And one more remark about the different aspects of time in individual and ensemble playing: in a solo performance, the musician is essentially the sole master of what's happening on the stage. He can start performing whenever he thinks the time is right. Sometimes he waits in concentration for a long time; other times he starts to perform before the welcoming applause has died down.

            In ensemble playing everything is somewhat different. Singers must prepare their voice, ease their breath and relax their diaphragm; instrumentalists must tune their instruments; and the conductor must mobilize his orchestra. But pianists do not have to worry about these little preparations, which is why not only courtesy but also the technical requirements of others should make him wait until he receives the signal that they are ready to perform. All these seemingly minor nuances form the grounds for building a feeling of mutual comfort in performing together.

            Preparation for the first rehearsal gives rise to issues related to both time and discipline. Time is invaluable. Accordingly, failure to observe professional and ordinary discipline by being insufficiently prepared for the first rehearsal is not only unprofessional but also tactless in relation to one's partner.

            Yet even perfectly mastering one's part is insufficient. Only if it is combined with a thorough knowledge of the whole piece can one's preparation be said to fulfill the conditions for successful mutual understanding with one's partner. Such preparation allows the partners to deal with issues of time, creation, architecture, narration and the joint building of drama. And only then will they come to realize how fascinating the adventure of playing together can be.

 

31. Teaching partnership.

 

            Every person learns the wisdom of partnership by himself, on his own account, all lifelong. But I assert that the professional basis for musical partnership and its psychological conditions – like anything else, except for talent – can be taught. This is exactly what I am trying to prove by my work at the Academy. I do not, strictly speaking, teach students how to play the piano; instead, I teach the profession and, above all, partnership. Intentionally and with commitment.

            I try to make my young students aware – usually with a positive result – that ensemble performance is on par in terms of professional requirements and artistic expectations with individual performance. I convince them that one is an artist when playing alone as well as when playing with another musician. The only difference between these artists is their talent and level of professional perfection.

            I also try to instill in them the conviction that when they become fully-fledged artists in the future, working primarily as ensemble musicians (and teachers), they will have all the necessary conditions to do so with satisfaction and without frustration, a feeling of degradation or a sense of having been wronged by fate. Indeed, it seems impossible to overestimate this psychological aspect of partnership.

            A few words about the special professional situation of pianists. The piano belongs to the small group of instruments ( organ, harpsichord, accordion, orchestra) which make it possible for one musician to perform an entire work, with all of its elements. It's easy to imagine pianists whose career will bring them world-wide fame without singing, playing or conducting partners.

            There is no doubt that all other musicians are dependent on the pianist. In fact, a sizeable proportion of the concert activity of instrumentalists, those who play string instruments in particular, would be impossible without the participation of an partnering pianist. How many programs consisting of solo pieces for violinists or cellists could be put together? The situation of vocalists is even more drastic, as they would be unable to build a single recital on a cappella pieces alone. It should also be kept in mind that teaching any musicians, especially singers, would be difficult to imagine without a pianist.

            This places special demands on the education of pianists. Professional instrumental perfection is something absolutely obvious, and the effort to achieve it should be continued, without exception, until graduation ( and thereafter, throughout one's professional life!). Pianists should be prepared to meet the aforementioned requirements of partnership, professional and above all psychological, in various proportions throughout the entire period of their training, at least in secondary school and music academy (university). And the problems of playing a vista, transposition and playing in keys still need to be solved.

            The need to instill the attitude in students that their value is determined only by the quality of their performance and not by whether they are ensemble players or soloists, together with the fact that only a minute percentage of them will go on to have careers as individual performers, makes the teaching of partnership all the more important.

            In this context the failure to understand the artistic equality of solo and ensemble playing exhibited by a substantial portion of the pedagogic milieu is keenly regrettable, even embarrassing. They continue, openly or more stealthily, to transmit to their students a sense of contempt in ensemble performance, which they relegate to a lower category of performance. I consider this attitude to be reprehensible and unpardonable. This problem concerns all disciplines, not just the piano.

            At this point I must pay tribute to that enlightened portion of the milieu who, understanding the professional equality and career importance of ensemble playing, have begun to participate in the “struggle to emancipate” chamber performance. The evolution of these views and will to correct them is among the most positive and promising phenomena in the world of serious music. The polarization of attitudes in this matter – so long as the irritation and aggression it engenders remain in check – has also had a creative effect, resulting in the finding of optimal ideas and solutions. All of this has shown that dialogue ( not two monologues, which do not, after all, make a dialogue) is the most effective form of communication. I am filled with joy to see it.

            So as to avoid any misunderstandings, I want to emphasize once more that I consider instrumental perfection and the pursuit thereof to be a sine qua non of success and prime values in ensemble as well as individual performance.

            This is why I've decided to quote an article I published several years ago in favor of introducing the specialization of chamber playing into the Academy's syllabus. It is something along the lines of my pedagogic credo:

            I believe that there are two kinds of musical performance: individual ( soloist) and ensemble (chamber). Every musician can perform both types of music, though in different proportions, depending on their own choice and other conditions.

            I believe it is the duty of the Academy (University) – for the good of Art and the student, the object of our efforts – to provide optimal training in both types of performance to all students of the performing arts.

            I believe that experts in individual and ensemble performance should teach each type of these two forms of performance. In the case of orchestra instrumentalists and singers the same professors can play this role; in the case of pianists, in view of the importance of the problem and its particular character, there is a justified need to provide two different instructors. This necessity depending on honesty and artistic responsibility together with professional preferences does not exclude in exceptional cases the possibility to train in both, solo and chamber playing, by one pedagogue.

            I believe that a basic – perhaps the most important – duty of a chamber performance instructor, apart from teaching the fundamentals of cooperation, is teaching respect for this type of performance.

            The reason for the weakness of ensemble performers, including orchestra musicians and all types of pianist-teachers, lies not in the profession itself but in the psychological sphere and professional attitudes. The standards of preparation for soloist and ensemble pieces should be identical; in reality, these standards differ drastically, to the detriment of chamber performance. I dare say that this is a negative characteristic and weakness of the present-day culture of ensemble playing.

            I believe it's untrue that weak performers of chamber music have not been especially prepared for playing this kind of music. They simply do not prepare themselves well. In general they work on Beethoven’s Waldstein Sonata in a different way than on his Kreutzer Sonata; they treat Schubert’s Impromptu differently than his Lieder, they approach Paganini’s Caprices in one way and his orchestra parts in another. Only when asked if they would dare present an unprepared solo piece to a professor or perform it on stage do they react with embarrassment. But this is how ensemble music is performed all too often.

            During the several decades of my pedagogic activity I have never come across a "disinclination" to ensemble playing. However, I have often encountered catastrophically inadequate ensemble skills among pianists and their singer and instrumentalist partners.

I believe that instead of playing many chamber pieces it is much more effective and useful to master only a few pieces during one's studies to serve as a pattern and point of reference for all pieces that will be prepared individually in the future.

            I believe that in the case of teaching pianists, terms such as “accompanist” and “accompaniment” should be avoided. These terms are archaic and anachronistic, and often generate association that are neither creative nor positive. The division into “chamber music” and “accompaniment” is also misleading, even scholastic.

            A pianist, whether playing alone or with another musician, should always be called a “pianist” – just as a violinist, whether playing in an orchestra or standing in front of an orchestra, playing alone or in a duo, always remains a “violinist”.

            Closer to the truth are the more universal descriptions INDIVIDUAL ( SOLOIST) PERFORMANCE and ENSEMBLE ( CHAMBER) PERFORMANCE. Likewise, the relationship between ensemble artists should be described as PARTNERSHIP and not SOLOIST-ACCOMPANIST.

            I believe the creation of specializations to be an the unnecessary, perhaps even harmful construction of artificial structures. Instead of specialization, it is fundamentally important to teach respect for ensemble performance and to inculcate the imperative of adhering to the highest standards in preparation, regardless of the type of performance it is for.

            I believe that the Academy – which has university status, thus unrestricted horizons when it comes to thought – should educate artists, not produce vocational school graduates. Throughout the entire course of their studies, all music students should be trained equally in both individual and ensemble performance, at the most demanding level. In essence, a graduate receives a minimum level of skills in soloist and chamber performance as well as professional consciousness. This forms a foundation that should enable him to make initial decisions as to various specializations and others choices in life.

            I believe that efforts should be made to offer a wider range of courses at the Academy, not only for the sake of chamber performance. I suggest that such subjects be offered as score reading, counterpoint, elements of composition and conducting, voice emission, etc. allowing those students who wish it to acquire a broader musical and general performance background.

 

32. Master-disciple partnership.

 

            This is a special form of partnership, perhaps the most beautiful one of all and perhaps the most difficult. Yet I cannot imagine any kind of relationship here other than partnership between master and disciple. I have always perceived my students to be partners, and I have always done everything to be perceived as a partner. What about the authority of the master? Authority is rooted in knowledge, skills, personality, personal culture – not a distorted, authoritarian relationship between a haughty teacher and a little obedient pupil.

            Teaching art, from the very beginning to master classes, is something far greater than more than simply transmitting knowledge and professional information together with the craft of the given art form. It is, at least in my opinion, the simultaneous and extremely responsible creation of a man and artist. The role model that a master should be able to work miracles, liberate many dormant treasures in a student’s psyche, show the paths to freedom, teach the dignity of being an artist. Unfortunately, it can just as well do irreversible damage and waste a talent, especially if the master is dull.

            Essentially, these views have never evolved in me. They have always been inside me, readymade, and I have been faithful to them throughout my career as a teacher. In my studio everyone can express their views without feeling any discomfort at all. Nobody knows anything for sure, nobody has an ideal recipe for success, and the fact that one person is older and experienced and the other very young does not necessarily determine which of them is right. The pursuit of artistic truth is always a joint effort, although I must admit I prefer when the initiative and activity come from my students.

A master-disciple partnership provides the only chance, as I see it, to make Socrates's recommendation that “pedagogy be mid-wivery, help in giving birth to another personality” come true.

                                                                                                                     

Coda.

Conclusion.

 

            I have written this essay bearing in mind that it is highly abbreviated. It is merely a collection of signals. Nearly every issue broached in it could be expanded enormously and become the subject of at least an entire chapter. The whole text would have to be as long as a trilogy of 19^th-century novels.    

            However, the numerous dissertations I've read prevent me from using too many words. The subject is often wonderful and fresh, but its treatment is extremely protracted – instead of a few dozen pages they have hundreds of them, many full of empty words that do not contribute anything new, meant only to boost the price of the book. I could hear the old Polish proverb in the back of my mind: “For a wise head one word is enough heard”.

            I have touched upon all the problems of partnership in this essay I felt to be important. As I indicated in the Preamble, I decided to speak in my own voice, without the ambition to make generalizations, create a system or God forbid, some doctrine.

            Essentially, every sentence in this text could begin with the words: “In my opinion...” These are solely my own thoughts and experiences. I take responsibility for them even though I am a man full of doubts. This essay is not a handbook on partnership – I teach the partnership that it is about.

 

 

 

 

 

 

 

 

Rhapsody

 

“Chamber music and accompaniment”, or “Ensemble performance”

            Before I share my thoughts on teaching how to play in an ensemble, with specific examples, let me ponder on the concepts of accompaniment, chamber music, ensemble performance and their place in the mentality of the music milieu.  Judging by appearances, it might seem that the problem is non-existent and all questions are irrelevant, as these reflections focus on the non-solo artistic activity of a pianist. However, upon closer examination and momentary reflection, the issue becomes slightly more complex, disclosing many unexpected and seminal aspects. These reflections are not  abstract ones, pertaining solely to the domain of the intellectual exercise, but they translate into material and real effects, both par excellence professional and psychological; naturally, they refer mostly to the reality of pianists and their art.

The meaning of the terms “chamber music and accompaniment”

            What meaning is ascribed to chamber music and accompaniment and what is their domain? These concepts are common for the whole worldwide music community, including education on all levels, with the most renowned universities. Accompaniment is most frequently used in reference to songs and performance-related contacts of a pianist with a vocalist; chamber music is reserved most frequently for instrumental ensembles starting from trios up. There remains still quite a handful of works which resist classification into any of these two categories, including for instance instrumental sonatas with piano, Szymanowski's Myths and similar works, or songs by  geniuses of the genre Schubert, Schumann and Wolf; with those works one never actually knows whether one still deals with accompaniment or already with chamber music. However, the search for an answer is risky, as one may easily stray into divagations which are as academic as they are irrelevant.

Transformation from a pianist into an accompanist

            In general perception of the performers and the audience and other opinion makers, the pianist performing together with a vocalist or a so–called instrumental soloist undergoes a hardly imaginable and acceptable process of ceasing to be a pianist and turning into an accompanist. The concept of accompanist is generally permeated by expectations of subordination and providing a service perceived as the most desirable qualities. The authentic need for creating a common narrative and dramaturgy is a rarity. Such phenomenon is a commonly encountered effect of faulty system of instruction and a remnant of a tradition which is still deeply rooted in collective awareness, according to which the name of a pianist performing with another artist would hardly ever be mentioned on posters, in reviews or even on long play covers.

False legacy of instrument and voice teachers on accompaniment

Naturally, in the process of educating vocalists and all kinds of instrumentalists, the presence of a pianist is out of necessity reduced to a support role of an accompanist who is to ensure comfortable environment for the students, and to co-operate with the teacher in a natural, understanding manner. This school habit of subordination and providing a specific service tends to linger on in the relationship of instrumentalists and vocalists with pianists, even when they embark on their independent artistic careers. Most frequently, it translates into  non-equality arrangements in which one of the performers dominates the other automatically, as if by virtue of his position. Such subordination and vulnerability of the “accompanist” can be heard quite often, even in performances of internationally renowned artists. The partnership, being the most desirable  arrangement between the performers, is out of the question there.

            The definition and interpretation of ensemble performance, a term whose authorship in relation to pianistic I can claim with full responsibility, are primarily based on the simplest insight: the whole performance-related activity of the pianist has only two forms: individual (solo)  and ensemble (chamber). These two forms also embrace the artistic activity of all the other performers, in varying proportions, depending on their disposition, preferences and a variety of other practical conditions. The difference between these forms results from the obvious fact that the soloist performs on his own the whole musical work in all its intricacy, while the ensemble performer renders it in co-operation with others.

Teaching the requirements of partnership

            The issues of partner-like cooperation in all the feasible variants of ensemble performance, starting from the simplest songs and ending with highly sophisticated and complex sonatas and quintets, including relations between the so-called soloist and the conductor are actually identical, in spite of the diversity of the performed works. They are to some extent similar, yet not the same as  solo performance issues encountered by the same pianist while performing Schumann's Kinderszenen and Prokofyev's Toccata. I mean here the difference between issues related to the performance of miniatures and large forms, such as Chopin's Mazurkas and Sonata in B-minor. The same pianist should also perform the Waldstein Sonata, Kreutzer Sonata, Schubert's Songs and his Impromptus with equal involvement of his whole professional craftsmanship. I am convinced and I can prove that pianists in general, including the masters, give much more attention to Schubert's solo Impromptus than to his Songs, despite the fact that the piano opening of Frühlingsglaube requires identical care and diligence as any of the Impromptus. My experiences, albeit practical, are actually sparse when compared with Edwina Fischer or Walter Gieseking, known for spending many weeks on perfecting songs performed together with  Schwarzkopf. The result was extraordinary. Performances by other grandmasters such as Richter, Gieseking, Cortot, Ohlsson or Argerich are a living proof that this idea is right.

It is possible to teach basic requirements for partner-like cooperation. Regrettably, the education of pianists is still burdened by the bad tradition which notably prefers solo performances and often depreciates or even negates the professional and artistic value of playing in an ensemble. Almost from his very first touch of the keys, until he gets his diploma, a young man is wedged into the impasse of solo career as the only possible option, which in most cases proves to be a non-feasible one. The idea of making pianists aware of the almost unlimited prospects for professional self-realisation and chances to lead a fair, satisfactory life as an ensemble performer working in partnership arrangements which meet requirements of an artistic creation, is still waiting for a comprehensive evolution of the awareness of pedagogues and decision makers shaping the official structure of educational systems.

The condition of the success of ensemble performance

            Perhaps the most important condition for a successful ensemble performance of a pianist, vocalist or instrumentalist, is perfect preparation. A failure to prepare oneself for a performance is a cardinal mistake in every domain of performing arts. If someone asks me for advice or wishes to work with me, I mercilessly point out such mistakes, making no concessions with respect to the prestige which the interested parties currently enjoy in the music community. 

Antidisposition to ensemble playing

Actually, throughout my half century's pedagogical career I have not met anybody who would lack talent for performing in an ensemble. However, it was quite common to encounter a nonchalant, even disregarding approach to ensemble pieces. Generally, the attitude to them seems to be just the opposite of the  professional involvement and enthusiasm for solo pieces. The majority of artists seem to think that they can be performed just after going through them quickly a few times, almost  a vista, the more so that they are mostly played from the score. The search for a beautiful sound and the fullness of the performance is generally reserved for solo pieces. Although I had countless times approached doors of various studios where students were waiting for my lectures, I had never heard any of them working on a chamber piece. They always chose solo works. However, after a few meetings I was able to remodel such approach with relative ease. 

The expectations of professional perfection 

It seems of paramount importance to make young adepts of performing arts aware of the fact that any act of playing an instrument is  uniform, whether done solo or in an ensemble. Perfection, the use of one's full repertoire of professional abilities and the whole skill in wielding an instrument, are absolute requirements for both forms of activity. Naturally, this holds true if one's ultimate goal is to create art and to provide performances as perfect as possible. Potboiler performances or the musical fast food do not require such profound efforts or toil.  

Playing chamber music pieces from memory

Let me say a few words about playing by heart and from the musical notation. This is actually the most noticeable difference between two situations encountered by a performer in a concert. The soloist almost always plays by heart; an ensemble performer uses the sheet. These two ways of playing differ not only psychologically but also physically. The eyes glued to the sheet immobilise to a certain extent the whole head, which makes it more difficult to concentrate on listening to one's own instrument and to the partners. Although it is not obligatory to play ensemble music by heart, I greatly encourage memorizing such pieces, to provide greater freedom and internal space for oneself. In such situation, the score becomes just  a safety precaution. 

I highly recommend learning and playing by heart all the leading elements of a work in which one is an apparent  leader and the main narrator of the drama. An improved concentration multiplies the power of the message. This is of paramount importance both for the co-players and for the audience. If the leading element is played feebly and without conviction, the co-players may feel insecure as to what they should partner, and the audience may have a problem with understanding the  circumstances of the dramaturgy in full.

The lack of information on ensemble performance techniques

It happens at times that  renowned, top class solo pianists may for various reasons accept an offer for ensemble performances, although they do not have much experience in partnership; most frequently they are invited to partner vocalists. They come for rehearsals convinced that they are sufficiently prepared and then, to their utter surprise, they realise that they are totally clueless as to the essence of the piece; they can just guess the sense of the lyrics, at the most.  Their preparation is actually reduced to mastering the piano part of the work, which is wholly insufficient. A closer examination of  the matter led to a conclusion that their blame for the inevitable failure of such team performance is relatively mild. They simply do not know how to prepare themselves. Nobody told them how, nobody ever instructed them. The same problem concerns also quite a lot of conductors – or rather, it affects conductors in particular. In some instances which I witnessed, conductors were informed about the programme of the concert at the rehearsal, and in some cases those were the only rehearsals! The conductors seemed to be unaware that it was not only the matter of art, but also of culture towards their partners, to learn a piece which they were going to conduct.

Three stages of teaching

            A general comment on the three stages of instruction, which are commonly known as elementary, intermediate and advanced.  In my opinion, the basic phase ends with graduation from a secondary school. Those few years of study are devoted to mastering the basics of the musical profession, and actually involve leading the disciple by the hand.  The intermediate level, or further training, is done at the university or academy, and it ends with obtaining the master's diploma.  During that phase, the situation of the student undergoes a dramatic change from passive to active and the role of the teacher is more that of an assistant, advisor and a consultant; leading by the hand is out of the question. The final, advanced phase is the longest, as it embraces the rest of one's life and continues mostly in solitude and on one's own responsibility. It does not even end with the retirement, but rather with the final demise.

            The first two phases are to provide the young man with a basic set of information and professional skills and abilities which constitute conditions for self-realisation and scoring a success at the third phase. I tell that to my students, trying to make them aware that our shared search for the best solutions in Art aims for arming them with weapons which may come very handy or even indispensable in their future, independent skirmishes and quests. The first two phases are to a large extent the responsibility of a pedagogue. The third one, however, consists mostly in an independent activity performed on one's own account and responsibility.

Pursuit of the master – the miracle worker

            It is thoroughly naïve and pointless to engage, as many young people do, in a pursuit of a musical shaman or miracle-maker who can teach a perfect way to play once and for good, and will show a foolproof path to success. It is unimaginable for me to fully master the profession without one's own effort. It is a necessary condition that one should begin to fend for oneself at some stage, starting to take responsibility for his performances, accepting the risk of making mistakes, errors and suffering a variety of  failures.

Incorrect expectations of a university graduate

It is a mistake to expect that a university graduate should be a fully formed, complete artist. He is not and will not be so. He is just a young person equipped with a professional foundation which should enable him to achieve maturity and mastery precisely at the stage of his or her individual ventures. The scope and requirements of a solo professional foundation are obvious and commonly known. The scope of a professional foundation for ensemble performances, which should be provided to an academy graduate, includes two groups of issues: musical and psychological ones.

The purely musical foundation includes primarily an absolute imperative for perfect preparations as well as the basics of partner-like cooperation with vocalists, instrumentalists and larger ensembles. The psychological foundation, mentioned briefly before, consists in making the young man aware that an artist is an artist irrespective of whether he plays alone or with someone else, that the same perfection is required for solo and ensemble performances, and the solo option is not his single chance for full self-realisation. For a variety of reasons, particularly due to the course of study, the professional problems of a pianist collaborator and  coach must be signalled throughout the course of study only on the very basic level.

Professional database of a university graduate 

The professional foundations of Polish music university graduates, even if not entirely perfect – are there any truly perfect things in this world? - are still of very good quality. I conducted a personal questionnaire among many Polish graduates whom I met abroad and not even one of them offered a generalised complaint on the education provided by academies and universities. Naturally, some of them were critical, which is understandable, as there exist no ideal systems which cannot be further amended. However, the confrontation with their peers from all over the world was generally favourable, even with those formed by most renowned music centres. Naturally, there were and are differences, but they mostly refer to individual talents. 

What to do after graduating from a university?

Many young people, not only students of mine, confided to me their quandaries and anxiety related to leaving the university with a master's diploma in their pocket. What to do next? I did my best not to let them down and bona fide shared my opinions, being fully aware that they were just one of the available options. With deep conviction, I discouraged them from continuing a regular study, and with full responsibility recommended that they should adopt a mental attitude which led to independence. I suggested a  master class and personal contacts with local and foreign maestros. I made them aware that the quest for professional perfection never ended, if it was related to personal development. I encouraged them to believe in the skills and abilities which they already had. I recalled examples of various artists who trusted their own strength and created grand works as teenagers, and young performers whose recordings are still occupying top places in CD rankings. I quoted with amusement the words of great Giuseppe di Stefano, whom I partnered in a jury of a competition and who, seeing a participant aged 35, said to me: “What is he doing here? At his age, I was not starting my career, I was finishing it!” I also recalled a certain “maestro addict” who at the age 45 still intended to participate in a master class! To those who fell in love with ensemble performances, I recommended summer festivals, such as  Marlboro, where the lecturers and participants perform together in ensembles of various configurations.

Profession-talent-individuality

Just a few words on profession, talent and individuality. Profession is unambiguously understood here as things which can be taught by man to  man, or can be learnt on one's own. For a musician and performer, it involves a set of skills enabling to play fast and slow, very fast and very slow,  piano-pianissimo and forte-fortissimo, legato and staccato, plus dozens of related skills necessary to achieve sophisticated nuances of articulation and agogics; the absorption of countless pieces of information from the area of aesthetics, knowledge of styles, poetry, psychology, history, philosophy, culture in the widest sense, hygiene of work and physical culture, marketing, socio-technical approach – in summary all the aspects combining into knowledge and experience of the generations. However, it seems impossible to absorb all the information and to master all the skills.

A word about talent

            I do not identify talent with abilities which are a set of pre-dispositions for a profession. While  abilities are quite common, talent seems to be a unique, special and mysterious phenomenon. A person lacking an ability and in particular a talent, can hardly understand art, even if he is in possession of a huge knowledge about its paraphernalia. It seems he does not know what is the point of music, and beauty seems to him a vague concept. Neither intelligence, nor ambition can replace talent.

I am deeply convinced that it is not possible to teach talent, in contrast to teaching a profession. As it has already been said, beauty  cannot be taught either. The profession should be mastered to the highest extent possible by all artists without exception, both the talented ones and those who are only skilful and able. However, even if the profession is mastered to the utmost degree, a performance without talent is just  barren. It is just “performing about nothing”. For a talented performer, who has that mysterious gift, that inherent treasure, it is enough to just touch the keyboard, the strings of a violin, or sing just one note, and something happens, the audience reacts with interest, it is moved, or experiences unexplainable pleasure.  This is precisely the phenomenon which cannot be taught, it just escapes any instruction. One can either have talent, or not.  It is of no avail to embark on a quest, seeking a wizard able to conjure a miracle and turn tombac into solid gold. No way!

 

The problem of individuality

            I still remember my amazement when as a young man  I listened, with a score in my hand, to the performances by  grandmasters whom I considered the touchstone of perfection: the Reiners and Walters, Giesekings and Richters, Heifetzes and Oistrakhs, Callases and Souzays. I was unable to spot in their music any major deliberation or sophisticated interpretation. However, they all had one grand common denominator: a phenomenally thorough realisation of the notation. Their pianissimi were  pianissimi, their sforzati were sforzati,  legatos were legatos, their articulation was three-dimensional and their logic – faultless. Whatever interpretation there was, it constituted a natural consequence of their unique, human structures, their individual sensitivity and talents.

Fidelity to the text was also the foundation of all my artistic, performing and didactic endeavours upon which I embarked to the farthest extent possible.  It seems that I was neither original or alone in this respect. After many years, I read with a smile the famous adage by Arturo Toscanini “Suonare com’è scritto”. I am convinced that composers from before the era of aleatoricism were perfectly well aware of what they expected from the performers. The respect to the notation, or their “last will”, seems to be the obvious duty of every performer.

Search for originality

The search for originality at any cost is an artificial effort which I personally find quite irritating. There are no two identical persons, no two identical personalities. It is enough to find the courage to be oneself. To play simply and naturally – as almost all the valuable music  is just simple and natural, in spite of  being highly sophisticated at times. Much too often interpretation is identified with deformation! I have to admit that I often feel sorry while listening to the so-called “interpretations” of  philharmonic performances offered even by renowned artists. In spite of my unwillingness to interfere into interpretations of my students, whenever I encounter the vagaries of deformation which are actually unable to fill the internal vacuum, I do my best to use gentle yet  resolute persuasion to convince the interested parties that they have erred.

List of duties when preparing an ensemble performance

            Let me indulge in making a list of requirements which should be met in order to fully prepare for the first meeting with a partner or partners, in view of a successful performance:

• Solve instrumental problems, or just learn your part of the work. If possible, learn by heart the elements which are evidently leading ones or those with complex texture.
• Get acquainted with the whole work – all the parts to be played by your partners.
• If vocal parts are involved, get fully acquainted with the lyrics. Translate them, recite them logically, following the punctuation and linguistic articulation rules. It is advisable for a pianist to master the text to the extent which allows him to play the music and simultaneously sing the lyrics, or at least recite them.
• A pianist - who should get acquainted with the parts played by the partner - has the full right to expect reciprocity. A vocalist or instrumentalist should study the pianist's part, to learn the whole work, not just by listening to it. I have often recommended to my students, particularly those playing homophonic instruments, to generously devote their time to studying and playing their part of the work from the pianist's sheet, which is de facto the full score.
•  I do not see anything amiss in getting acquainted with records by other performers. Naturally, not to copy their solutions, but for cognitive and analytical purposes.
• I find it highly advisable to get acquainted also with the whole superstructure of the work, including the circumstances in which it was composed, its place in the whole artistic creation of the composer, as well as its pertinence to the style and epoch in which it first saw the light.

 

      The points suggested above constitute in my view the foundation of a performer's professional preparations to play an ensemble work. Quite a lot of experiences encountered throughout my didactic practice confirm  that this foundation offers a chance of success. It seems that performers who are less able but better performed may best their more talented, yet less diligent colleagues.

 

 

 

 

THE PIANIST: Soloist-partner-accompanist

 

            Let me recall three terms which will be very handy for discussing the concepts mentioned above.

            Firstly, let us define the musical work and its recognizable features. A musical work is a creation called to life by a musician and a composer. Its characteristic features are best defined by  outstanding Polish composer and pedagogue Professor Kazimierz Sikorski: The musical work, albeit a unity, consists of many elements: melody, rhythm, harmony, dynamics, agogics, articulation, counterpoint, form and emotional contents.

            Secondly, it is necessary to specify the meaning of solo and ensemble performances. Solo performances are naturally those for one musician, while ensemble ones involve two or more.  Solo works are performed individually, on one's own responsibility, while ensemble performances involve sharing the responsibility while executing selected elements of a work within a structure determined by the composer.

            In my opinion, only these two forms of performance constitute an alternative for a pianist. The division of ensemble performances into accompaniment and chamber music seems artificial and anachronistic.  Does chamber music begin with a trio, as some experts hold it? Are violin and piano sonatas still chamber music or already accompaniment? Is  Dichterliebe accompaniment or a chamber piece? The questions are many. However, the fundamental principles of ensemble performance present in a duo, which is its basic organism, are binding for all the forms, irrespective of the number of performers.

             Due to the structure of a music work with its  leading and accompanying elements which alternate in importance, partnership is the most desirable relationship between performers, in contrast to soloist/accompanist arrangement.

            Thirdly, let us determine partnership. In my opinion, it is a voluntary arrangement binding two or more persons with a view to reaching a goal which can be the common good, success, profit, benefit or any kind of value; in short – the creation of life.

            A musical partnership between performers involves joint efforts for the possibly most perfect, understandable, truthful and beautiful transmission of the thoughts and feelings of the author, etched in the music notation, to reach the audience.

            Partnership, like any other value, does not happen by itself. Just like  culture or the whole domain of feelings, it requires care, effort and wisdom. One can hardly imagine successful partnership which fails to encompass the sense of freedom, respect for the partner, approval of the attitude of dialogue and openness, conscious effort to understand another man, and to respect his internal space and intimacy.

            The partnership in music, in addition to the above values, requires an evident, perfect mastery of the professional performance. The importance of the roles in partnership may alternate, depending on the circumstances and the reality.

            The antithesis of musical partnership is the relationship between the soloist and accompanist. Generally, in such arrangement, one of the performers seems to be privileged a priori, while the other seems to be a priori subordinated. I do not hesitate to call it anachronistic, and even detrimental to art.

Pianist-soloist                                                                                                                            

            Obviously, this is a pianist who plays alone and performs the whole musical work with all its components on his own responsibility. His instrument is suitable for the purpose, providing enough opportunities to express the most intimate confidences, or even almost apocalyptic tragedies. The relatively easy accessibility of a piano still increases its attractiveness. No wonder that it arouses such a high interest of those, who are gifted and well-disposed, and begin their musical education by playing this instrument. Those endowed with higher abilities, or just with talent, pursue this path with all their might and ambition – including that of their mentors. 

            However, the confrontation with the reality of the environment, particularly just after graduation, brings about many tragedies, disappointments and situations which are indeed devastating for the psyche. In order to follow the artistic dreams, and simultaneously, to support the trivial existence, one not only needs to be a perfect professional, including a combination of many instrumental skills, but also a talent of high quality. The level of professionalism is currently exorbitant, and the supply of talents – surprisingly high. The existence of a solo pianist is an adventure similar to extreme alpinism.

 

Pianist-partner                                                                                                                    

            He is a pianist who instead of playing solo, performs a work of music jointly with one or more fellow musicians. In the category of pure art, he embarks on a musical adventure, enriched still by fascinating co-existence with another person. All the involved expectations for a musical success of such co-existence do not actually differ from our everyday expectations. Namely: responsibility, trust, respect, understanding for others, tolerance, internal space... in other words, full partnership. One of the fundamentally important aspects of joint performance is the conscious approval of the alternating leadership which emerges and after a while  recedes into the supportive role.

            Generally, a huge portion of the artistic activity of a homophonic instrumentalist is in practice dependent on the pianist. This refers to string instrumentalists, not to mention vocalists whose solo performances would be hardly imaginable without the support of a pianist.

            The obvious expectations for a perfect performance of every element of a musical work, not only the clearly leading one, makes the general issue of predominance of any of the performers totally irrelevant. A clumsy, slapdash left hand will destroy even the most exquisite cantilena played by the right one. Perhaps this is too great a simplification, yet it helps to understand the crux of the matter.

            In my view, expectations for partnership in the  par excellence artistic adventure which is the joint performance of music, are absolutely evident and obvious. Any temptation to entangle such partnership into the notions of soloist and accompanist can only lead one astray into the artistic wasteland.

            It seems worthwhile to reflect on the solo and ensemble performance in general. I perceive these two activities, albeit different, to constitute an inseparable whole which is decisive for the value of the performer. The ability to perform in an ensemble involves a number of skills which can be taught and learnt, both in their professional and psychological aspects. This is why one should expect simultaneous education for performing solo and in an ensemble.           

Pianist-accompanist                                                                                                            

            He is generally perceived as a pianist who performs a supportive role for professional activities of singers, in the first place. He acts as a collaborator or so-called coach, who assists vocalists in mastering their new repertoire and fulfils a special and important role in opera theatres which could hardly function without their coaches.

             The role of a pianist working at competitions of instrumental and vocal performers can also be described as a support granted to participants in their competitive struggle. 

            Obviously, the pianist has to perform his obligation perfectly well, whatever type of activity is required, irrespective of its character, and without any concessions.

Double meaning of the term “accompanist”                                                                           

            The term “accompanist” has a double meaning. The first one stems from the structure of a musical work, as discussed above, when the performers alternately take up the roles of “leaders” or “accompanists”. I perceive this aspect as solely professional, and see it as acceptable and understandable. The other aspect, which I call “social” “milieu-related” or “traditional”, refers to the soloist-accompanist arrangement, in which, irrespective of the structure of the piece, one of the performers is in a sense privileged  a priori, while the other is   a priori subordinated.

            In general perception of the performers – instrumentalists and vocalists – and even the audience, it is almost always the pianist who should be subordinated, particularly in duo arrangements. Such perception results in a professionally and psychologically deformed relationship between the performers, not to mention a variety of quite common, obsolete paraphernalia such as using small and large print for the names on posters, casual comments of reviewers or just overlooking the name of the “accompanist”, and sometimes an irritating approach to  royalties.

            Naturally, one can shrug ones shoulders to the above problems and focus solely on professional issues. Regrettably, the artistic and professional consequences of the soloist-accompanist arrangement seem particularly dangerous and harmful.  The conviction that the pianist's main duty is subordination, and in extreme cases just service provision, imprinted throughout years of study, remains quite fixed in the awareness of numerous instrumentalists and vocalists, sometimes through their whole professional career. The ramifications of such attitude not only translate onto the quality of the overall artistic result and the relations between performers, but also unfavourably affect the consciousness of the pianist. I am deeply convinced that the pianist's valiance differs notably, or even drastically when he perceives himself as a pianist and as an accompanist.

            I am convinced that the foundation of any partnership is the inalienable right to be free and equal and the sense of responsibility for the quality of the ensemble performance. The soloist-accompanist arrangement as a relation between a privileged and subordinated partner  seems to be harmful and deformative. 

            The musical work demands from its ensemble performers not only the highest professional perfection possible, but also the sense of freedom and equality of all the performers, whether there are two of them or more. This is the essence of partnership relations.

Coaching                                                                                                                              

            The above reflections refer mainly to concert performances or recordings. However, pianists are also involved in another type of activity, called  coaching; it focuses on providing assistance to vocalists in their professional activities.  This type of work has its special rights, and it requires the aforementioned reciprocity and partnership to a very limited degree only.

            Successful collaboration of a pianist with students and pedagogues of instrumentalists and vocalists at all levels of musical education, requires, in addition to obvious professional abilities, some special predispositions and psychological qualities, such as empathy, patience and openness to dialogue and partnership with the tutoring pedagogue.

            A pianist working at competitions of instrumentalists and vocalists should be able to meet almost identical expectations.

Life and work circumstances of a pianist                                                                            

It would be desirable to convince young pianists that one is an artist whether he performs solo or in an ensemble, that one can create beautiful and important things not only at Carnegie Hall or The National Philharmonic Society, but also in a modest primary school, and although every soldier carries a marshal's baton in his knapsack, only a few soldiers are promoted to marshals, because the army consists also of common soldiers and common, modest musicians belong to the army of artists. 

            It is truly vital for musicians never to part with the imperative of prepare oneself perfectly for every performance, and to always be aware that they stay in direct contact with Art!

 

 

 

Pianist – singer

 

Socrates: „A musician is an interpreter of poet's thoughts”

            Let me quote these words by Socrates from Plato's dialogue Ion for the second time in this essay, because in my view no one else was able to provide a more compact and apposite reflection on the essence of the whole music composed for a vocal and instrument. I would follow this motto even further. If the musician, or a composer, is an interpreter of poet's thoughts, then the performer is the interpreter of the thoughts of the composer. Or even the composer and the poet. This is my view on the performer's obligation towards the author and the audience.

Pianist-singer duo as a basis for ensemble performance

            The pianist-vocalist duo seems to be a basic arrangement for teaching how to perform in an ensemble. Practically, it involves all the phenomena which constitute the essence of partnership. Compared with an instrumental duo, this arrangement has at its disposal an extremely important element - the lyrics. The word has a concrete meaning, and the logic of the text determines the logic of the music. “The month of May” is just the month of May. The sounds placed over these words do not mean anything by themselves. The sounds are totally asemantic. Each musical work with vocal is a kind of a theatre, with a concrete dramaturgy, which is in a sense unambiguous. The instrumental duo dwells in the world of pure abstraction.

Understanding the text

Acquaintance with the text is the first, basic duty of a vocalist, pianist and conductor, when commencing work on a vocal piece, a song or aria. The need to fully understand the lyrics seems doubtless, irrespective of whether the language is well-known to the performers or totally alien.  I encountered many unbelievable situations in which young adepts of the vocal arts approaching the stage of university graduation, asked about the meaning of the songs of arias which they performed, would answer, quite nonplussed: “Oh, well, it's just something about love.”

Translating the texts in other languages        

I do not mean here a poetic, approximate translation. By no means! The translation must be done word by word, individually, even if the end result is hilarious and seemingly nonsensical. Naturally, this does not concern articles, if applicable, unless they cease to function as articles in a given context. However, in order to fully understand the lyrics, one should know which words are articles, nouns, adjectives, pronouns, conjunctions and verbs.

 Recitation and singing the text aloud

My vocal and piano students have to recite the lyrics according to the logic and requirements of the articulation, always doing it aloud, without interpretation and so-called emotional approach. I attach particular importance to the punctuation. A comma should be a comma, and not a full stop. One should not begin a sentence until one  finishes a previous one. Question and exclamation marks must be fully respected. Listening to some vocal performances, I have an impression that the artists recite the text without any respect for the sentential structures. Recitations  in the language of sound are too often nonsensical; this language, albeit asemantic, has its own logical punctuation.

Logic and articulation – interpretation and “feeling the music”

I attach particular importance to the logic and articulation of the language of sound, and to the lyrics. Frankly, it counts slightly more for me than the so called poetic, psychological contents. It seems that didactics is quite frequently dominated by psychology – so called interpretation and emotional approach. A lot has been said about “waving corn”, emotional raptures, tragedy, drama, mood and all the related states, while less attention is paid to the concrete rhythm of the word, its logic and spatial quality, dynamics, articulation and agogics.

A “mockery”

Just for mockery's sake, let me recall a supervision of a master class conducted by a lecturer who was considered an outstanding specialist. He spent considerable time discussing „Im wunderschönen Monat Mai” from Schumann's Dichterliebe. First, he analysed in detail the concept of wondrousness, wunderschön, then he presented historic approach to the month of May, starting from ancient times, then elucidated on May as the month of love etc. However, when the student, having listened to the whole lecture, sung caricaturically „Im wunderschönen Monat Mai”, instead of „Im wunderschönen Monat Mai”, the expert offered no reaction.

(SCHUMANN, DICHTERLIEBE)

Even the punctuation marks are not respected

Let me spend a few moments more discussing the first song of Dichterliebe. The most common unfavourable phenomenon while performing this and other songs, is total ignorance of punctuation. The original version of the text goes as follows:

Im wunderschönen Monat Mai,

Als alle Knospen sprangen,

Da ist in meinem Herzen

Die Liebe aufgegangen.

 

The vast majority of young people, when asked to recite it, simply produce  four separate sentences:

Im wunderschönen Monat Mai.

Als alle Knospen sprangen.

Da ist in meinem Herzen.

Die Liebe aufgegangen.

 

This stanza has only one full stop, after  aufgegangen. In spite of that, it is most often recited as if it had full stops instead of commas after every line. In my opinion, such recitation is wrong and I encourage my students to amend it. The first step is a loud and clear reading of the text, being aware of the punctuation but avoiding the falling tone, which might be even remotely associated with the end of the sentence. The words Mai, sprangen and gestallte should have rising intonation, a sort of suspension, a hint for its continuation. The voice should fall down noticeably only after aufgegangen. Things take a wrong turn when the performer loses his conscious grasp of the whole sentence, from its beginning to the full stop. Even very long pauses cannot split the sentence into unrelated fragments, bound only with commas, if they are made with the awareness of the wholeness, the continuation, the following.

I dare to say that the failures to respect punctuation during instrumental performances or recitations in the asemantic language of the sounds are quite as common. Truly, there are too many performing instrumentalists, including quite renowned ones, who seem not to have a clue about what they are playing. Typically, the words, sentences and paragraphs of music, stripped of their logic and urged by the habitual rhythm, turn into gobbledygook. It is intelligible for the audience and – which is worse – also for the partner of a team performance. A solo performer can gibber away at will and on his own account, but an ensemble performer has no alternative for a logical recitation. He has to respect its rules. He must not degrade a performance which is a common good, and not a personal, private property. I do not hesitate to say that defects of articulation and the lack of logic in recitation are mistakes and I point them to my students as such.

Abstraction and lack of of semantics in musical language   

Naturally, all the above issues pertain to a highly ephemeral sphere of abstraction and the above mentioned asemantics of the language of music.  For this reason, the contact with vocalists seems to me a huge benefit for an instrumental performer, because the vocal art requires full symbiosis of the logic and articulation of the text with the logic and articulation of sound. Perhaps the truth on creating the dramaturgy recorded in the text should be learnt from them? Perhaps such approach led Chopin to encourage his students to stay in touch with opera and singing? Opera – understood as the work of art and not the ridiculed institutional structure – is a fascinating artistic phenomenon which creates an amazing living organism of a combination of sound, word, singing, drama, theatre, scenic plot, dance, light and painting. The very essence of piano playing is actually enactment of a drama narrated in the language of sounds, and not just fiddling with one's fingers over a keyboard.

 Learning the text by the pianist

It would seem that the work on the text, which is obligatory for the vocalist, does not concern his or her partner. This is another notable mistake. The vocalist's partner – a pianist or a conductor – should be equally involved in the process of learning the text, as the lyrics are  a concrete key for the performance. The meaning of the words In the lovely month of May does not give rise to any doubts. They must be logically sung and played. Yes, played as well. I can say without hesitation that one can not only sing, but also play in Polish, Italian, French, German, Russian and in all the other languages. Performers of musical words with lyrics should not separate even for a moment, just like actors.

The text and musical word logic compatibility    

When one manages to learn how to recite the lyrics in tune with the articulation and logic of a given language, it opens the door for an amazing surprise. Actually, it proves that the logic and articulation of the musical language usually stands in absolute concordance with the logic and articulation of the word. I can imagine that a composer starts to create his work from reading the text. A reverse situation seems to be a rarity: a composer hardly ever creates the music and then somebody adds a text to it. In my understanding the word not only inspires the composer to create a work in the mood which harmonises with the lyrics, but often, or even primarily, the rhythm, melody and articulation of the language encourages him to retain the same rhythm and articulation of sounds. I wonder at times whether this might be the most palpable element of the so-called creative inspiration.

Vertical aligning of voice and piano (Orchestra)           

Just a few words about still another positive consequence of knowing the lyrics. It effectively helps to achieve the vertical harmony of the text with the partnering instrumentalists or the conductor. The lack of such harmony is one of the basic, concrete defects of partnership. The instrumental music is slightly easier for the partners to follow and co-participate. Vocal performance is much more recitative and free in its character. If participation in such performances is based only on hearing the sounds, it risks unavoidable lag which is a consequence of the reaction to the partner's vocal. The result is a rather uncomfortable phenomenon when the pianist or conductor follows the vocal with a micro-second delay. Hardly ever  with the vocalist, always slightly behind. Such lag is extremely exhausting for the vocalist and the audience alike. However, it can be remedied with the knowledge of the lyrics and participation in the recitation.

 

Reciting the text aloud and playing simultaneously

            I recommend to the pianists under my tutelage to play and simultaneously recite the text aloud, paying attention to the vertical concordance of the sound and word. Generally, it poses hardly any problems, and sensitises the pianist to this concordance and suggests a very effective method to achieve it. I witnessed many times positive effects of this method in a recording studio, when a vocalist was performing recitativo accompaniato with  basso continuo. When the lyrics were added to the instrumental sheet, and the instrumentalists participated in the recitation, it became easier for them to understand the dramaturgy and frequently solved the irritating situation when the ensemble and the vocal permanently fail to stay together.

            The vertical discordance is particularly noticeable in partnership with a pianist who plays an instrument with a very clear sound contour. It is slightly less irritating in partnership with an orchestra, whose sound offers incomparably vaster surrounding space. This space may to a certain extent accommodate the imperfections of the synchrony. The logical, clear articulation of the vocalist – his or her obvious, professional duty – makes partnership to him much easier and more natural. The instrumentalist's participation in the recitation of the word ensures almost perfect synchronisation with singing. The lack of such synchronisation is in my view a mistake and I usually suggest the above mentioned, well tested preventive technique.

Pronunciation in a foreign language

            The above discussion refers to articulation and logic, and not the pronunciation rules of a particular foreign language. I have encountered cases when performer, who know a language perfectly well, surprisingly often recites in it with faulty  articulation. As a result, the lyrics seem to belong to some absurd, non-existent language. This is the source of the common phenomenon of so-called weak diction, or just the lack of any diction. Instead of  „Si, mi chiamano Mimi”, you can hear a peculiar „Simi chiama nomi mi”, which means nothing at all. Obviously, neither the audience nor the partner will be able to understand the words recited by the vocalist, and, which will more, to participate in their dramaturgy. For this reason, it is not only natural and obvious to care for the logic and articulation; it is just obligatory.  It enables to understand the partner's recitation. The lack of such care is an error. 

 

   (SCHUMANN, FRAUENLIEBE UN LEBEN, „SEIT ICH IHN GESEHEN”)

The relationship between the rhythm of words and music         

               It is not really comfortable to propose a discussion on the articulation of the word while using the written medium. A spoken or visual presentation  would be much easier. Nevertheless, I will make an attempt. The first song of this masterpiece starts with „Seit ich ihn gesehen”. In my aural perception, these words sound perfectly in the rhythm of German.  „Seit ich” is slightly shorter, a bit weaker than „ihn“ with its stronger and longer sound. In the recitation, „gesehen” sounds distant from „ihn”. Without any pedantic investigation or a detailed analysis, I can feel that the musical rhythm of this fragment is very closely related to the rhythm of the language.  I can imagine that Master Robert has just said the text, before he heard the sounds in his imagination, and it seems improbable that he said  „Seit ich ihn gesehen” as a sequence of uniform syllables, which would for instance be recorded with a series of quavers, because it would result in a nonsensical  „Seit ich Inge sehen”, „Since when I see Inge”. No partner or listener would understand any of it.

(TCHAIKOVSKY, „MIGNON'S SONG”)

Where did the musical rhythm of this song come from?

            Let me choose from among innumerable examples the Mignon's Song by Tchaikovsky. “Niet, tolka tot, kto znal” pronounced in Russian, clearly explains the musical rhythm of the song: „Niet, tolka tot, kto znal”. Now one should just glimpse at the beginning of the song played on the piano. It is not really a discovery to say that a large section of this intro is just an exact repetition, or rather a quotation, a portent of the song. Many times, when a pianist did not quite know how to play the beginning, I hinted that he should recite the text in Russian when playing, and then the music became clear and logical. That is why I suggest to my students that knowledge of the text is truly and equally important for both performers, the pianist and the vocalist.

Continuing the phrase initiated by the pianist      

I consider it particularly important that in works opened by the pianist, the vocalist or instrumentalist should continue the utterance. Regrettably, the common approach of both is to treat their entrance as the beginning of the whole piece. In my understanding, it is hardly enough to begin one's part just basing on the counting and measuring the rhythm. It would be ideal to hear and understand, or even sometimes delight in the previous utterance of the partner, and then to take it over at the suitable moment and continue on his own.  I think it is advisable to appeal to vocalists and wind instrumentalists to prepare their breathing and diaphragm suitably in advance and to  string instrumentalists to put their fingers at the right places on the strings and keep their bows at the ready.

(WOLF „AUCH KLEINE DINGE”)

            In my view, four measures played by the pianist are not an introduction to that song. They already are the song. It is not the vocalist who starts the narrative or the dramaturgy. He just continues the utterance initiated by the pianist. This is just a tiny example, one of the infinite number of such instances.  It is not the issue of a particular song, but a general problem, whose importance cannot be overestimated. I mean here the reciprocal participation in the partner's narrative, continuing it, joint development of dramaturgy, reciprocal inspiration and  sending each other flying, which translates into successful performance and immense joy experienced by the audience. The lack of such continuation is a mistake which I try to point to my students, encouraging them to amend it. It seems to me, that the results are generally satisfactory.

 

I do not intervene in the interpretation

            I never – let me reiterate – I never interfere in the vocalist's or instrumentalist's interpretation. However, I do my best to efficiently keeping an eye on the articulation, logic, correct recitation. The beauty of the recitation is the intimate territory of each of the performers, even if they are very young newbies. A transgression into such territory and  persistent admonitions on beauty, as well as arbitrary judgements on the interpretation of the performed work are in my view a particularly painful intervention in the sensitivity of a young person.

Developing the sensitivity of the students

            For the avoidance of doubt, let me explain that I have always considered it my basic duty to develop their sensitivity, inform them on the circumstances in which a poetic and musical work was created, provide them with the knowledge on styles, epochs and the treasury of human culture. I see it as a reprehensible mistake to interfere with the sense of beauty and the world of emotions and experiences of my students. I have always done my best to avoid it, and it seems I scored a success. Dialogue and respect for one's individuality have always been the dominant of my relations with students. I once met a pedagogue considered to be outstanding, who confided in me that the first thing he did whenever he got  a talented student was to crush him – that's exactly what he said, making an explicit, crushing gesture with his hands – and then to recreate him from the very beginning. That was criminal! My gut reaction was to immediately call the police.

(PUCCINI „SI, MI CHIAMANO, MIMI”)

Lyrics of arias and songs

            A couple of words more on the concordance of lyrics with the language of sounds in works involving vocal. This problem equally refers to songs and opera. The rhythm and articulation of sounds at the beginning of Mimi's aria „Si, mi chiamano Mimi”, are almost identical with the rhythm and articulation of words said in Italian. Only the beauty of the melody belongs personally to Puccini. I intentionally used them, not only as an  example  of a song but also of a typical opera work, being La Bohème, as the expectation for the compliance of the rhythm of the word with the rhythm of the music in vocal pieces, which is one of the conditions of a perfect performance; its lack is a common mistake.

Beginning the aria in partnership

            I will use this aria as another example of expectations for partnership. The initial Mi does not seem a matter of coincidence, placed there just to give some sound to the vocalist. In my hearing, Mimi's aria begins not from the vocal, but from the very Mi played in the orchestra senza sordino by the violin; the expectation for the pianist is not just reduced to hitting the right key, but to sing the sound as beautifully as possible.  Then it becomes a sort of invitation to continue the musical utterance. Naturally, it is possible to measure the beginning metrically in relation to that Mi, but its relationship to the dramaturgy suggested by the pianist or the conductor, the hearing and sensing the best moment to begin, seem to be a more favourable alternative. The more so, that singing begins mid-measure, and the discussed Mi stands at the beginning of that measure. Although one may say that such nuances are meaningless, but I would disagree. Actually, all musicians perform the same repertoire. However, some make it common and banal, while others create grand, awesome, genial performances. Is it the care for these seemingly irrelevant details which plays a vital role in the quality of the performance? I would say a strong “yes” to this.

Other treats in partnering a singer

            I make all my students aware of three more risks, equally related to the situation in which the vocalist's partner is a pianist or a conductor.

 The first risk is the problem of rubatos and decelerations. I am convinced that after every deceleration or rubato, one should return to  a tempo. Regrettably, partners of vocalists typically stay at the slowdown tempos, or are unable to return to  a tempo after their  rubato.

            The second risk is the aforementioned inability to acknowledge that the “solo”  forte or fortissimo is not identical with one played in partnership, not even in Richard Strauß' or Rachmaninov's works. The dynamics of one partner should never be independent from the dynamic context of the other.

            The third risk, related to the previous one, refers to different  fortes and fortissimos in relation to the instrument or voice type to which one is a partner. It seems to me that the violin, in spite of its smaller size, are better audible from a cello, soprano is better heard than alto, and tenor than baritone. It is also worth remembering that every voice is unique and has its own dynamic limits.

„Playing or singing about nothing”        However, what to do with the situation, when one performer employs all the set of correct solutions, logic, articulation and all the other professional requirements, and yet the result is worthless? Playing or singing about nothing, and no chance for anything else? And yet another person meets the same professional expectations but his or her performance is awesome, attractive, or even shattering? I do not know. Or, actually, I do know. This is just talent. A mystery which escapes instruction, in spite of persistent efforts of the instructors and the instructed alike. In my opinion, the whole science and knowledge are helpless when it comes to solving that problem. While discussing the diversity of science and art with my students, I sometimes compare them to a common crossword puzzle, which is considered solved when all the entries are coordinated horizontally and vertically. Science is generally similar. However, in musical, delicate matters, things are no more as simple as that. The horizontal and the vertical stand in compliance, and the Art is absent! I am afraid that we will never fully know why. Perhaps it should stay a mystery?

       The talent is not an achievement of the talented; it is not the fault the others that they lack it. Sometimes I wonder: perhaps art should be the domain of the talented people only? Rather not; they constitute but a tiny minority, while the Art, and the culture of every society need plenty of ordinary musicians with perfect professional background.

 

 

 

Pianist – Instrumentalist

           

            Actually, everything which has been said so far about the problems resulting from the pianist-vocalist arrangement, concerns also the relation between the pianist and the instrumentalist arrangement. Naturally, except for problems related directly to a particular poetic text. Instead of a verbal text, the performers deal with the abstract language of the sound. One sentence follows another, creating a logical sequence. Although the structure, and in particular the links of such sentences creating a longer whole are less clear and unambiguous than verbal ones, they seem to be clearly noticeable, yielding not only to analysis, but also to the senses of the performer.

 

(BEETHOVEN, SONATA IN C-MINOR)

Punctuation at the beginning of the Sonata

            The beginning of Beethoven's Sonata No 2 in C Minor, Op. 30 is one of the many available examples. Similarly to aforementioned Dichterliebe Song, full stops, if placed after every fragment there, seem to constitute a very irritating method of implementing musical punctuation. Let me mention here  the second bar, in which I would rather hear a comma than a full stop. Actually, I cannot hear a full stop even in bar 8. It is by no means a dominant chord! The awareness of the whole sentence, or even a paragraph, seems to be fundamentally important for a performer, particularly with a view to avoiding the domination of the bar staffs.

Authoritative playing of the opening of the Sonata           

            The awareness that the Sonata in C Minor begins with the first sound played by the pianist, and not by the violinist, seems to me very important for performing it in partnership. It appears to be a truism, an almost banal and obvious statement. However, the reality is quite contrary. Most often, even in performances by highly renowned artists, the violinist seems almost surprised that it is his turn to play after the pianist has completed his musical utterance. Actually, he should not start playing, but continue the utterance recited by the pianist!  Only if he can hear and understand the pianist's utterance, he will have a chance to start playing at the moment which is best justified for the whole dramaturgy.

            The beautiful and possibly most authoritative manner of performing the initial part of  this Sonata by the pianist gives it the best chances for success. If the pianist's offer is of low quality, insecure, illogical and illegible, or just played as an accompaniment, then the violinist does not quite know what to continue. He begins his performance from a dead point. Conversely, if the pianist really fulfils his role, then the conscious continuation – or participation in the dramaturgy, as I prefer to name it, becomes obvious for the violinist. Provided that he is listening to the performance of his partner and understands it. I do not hesitate to classify the lack of such continuation as a mistake and to point it out to my students.

Evaluation of the performance

            As always, I leave it to the musicians to assess the quality of both the recitation and the continuation. They are the judges of their efforts. Almost without exceptions, my appeal for creating a performance to their satisfaction, and my question whether they liked their timing and narrative, elicits reactions ranging from surprise to shock. Perhaps such surprise and shock result from aesthetic overprotectiveness of other mentors? Throughout my whole didactic career, I have consistently and resolutely refrained from making my students dependent on my assessment. My reflections and opinions have always been alternative, and never authoritarian. The reward for such attitude was the authentic joy and satisfaction of young people who discovered the rich treasury of beauty within themselves.

 

 

(BEETHOVEN: SPRING SONATA)

Demonstration of partnership relations       

            Let us discuss three sonatas. The first is the Spring Sonata by Ludwig van. It is almost a clinical example of partnership relations. The first ten bars belong to the violinist. He is the leader, the lord and master of the dramaturgy. Then, starting from bar 11, throughout subsequent fifteen bars, the leadership of the whole business goes over to the pianist. When the violinist plays his leading part, the pianist's duty is to ensure that his partner is truly comfortable. Strictly speaking, the focus is not on the violinist's person but on the utterance which he is weaving out. The next fifteen bars see a dramatic turn of events, with leadership handed over to the pianist. His duty now is to play his part with full authority, with his best pianistic eloquence, as the main character of the drama.  How about the violinist then? At that moment, his role is to provide comfortable environment for the utterance performed by the pianist. 

The role of the left hand of a pianist in partnership

Let us reflect upon the role of the left hand of a pianist who plays in partnership. I assume that the majority of pianists are right-handed, even among those who are actually left-handed. The part played by the right hand somehow, involuntarily, almost mechanically becomes privileged. The outline of most musical pieces is confined between the base and the top. The base is constituted by bass sounds played by the piano, while the top is, naturally enough, provided by the violin, another instrument or vocal.  Consequently, the left hand creates a base which supports the whole vertical structure of the work. The part played by the right hand constitutes, in a sense, a filling placed between the base and the top. The “over-presence” of the filling violates the equilibrium of the work and significantly interferes with its perception. This holds true for solo pieces, too.

            It is extremely important to sensitize the pianist to the role of his left hand in musical works involving vocal or another instrument. In my view, such insufficient  bass sound removes the base of the piece and destabilizes its vertical structure. The aforementioned, instinctive predominance of the right hand irrespective of the significance of the currently performed thread is in my view an error, a dissonance, or simply just a performative absurd. In order to make artists aware of its nature, I often refer to the structure of a string trio.  The place of the violin is determined there clearly enough; the pianist's left hand is the cello, and his right hand – the viola.  With all respect due to the masters of viola, any unnecessary emphasis on the role and significance of their instrument in a string trio without an apparent dramaturgy-related reason seems to me unprofessional, to put it mildly. 

(BRAHMS, SONATA IN D MINOR FOR VIOLIN AND PIANO)

Another illustration of the importance of the pianist’s left hand

            A thought on the exposition of Master Johannes' Sonata in D Minor; it is but one of the innumerable examples illustrating the issue of the pianist's left hand, its recitation and context in which it co-plays with the violinist. In most cases, one can hear parallel playing, usually with the pianist's right hand being emphasized. However, I can hear throughout this fragment the left hand involved in the dialogue with the violin, as if a soprano dialogued with a baritone. It seems to me that it would be quite sensible and logical, if the exposition of that Sonata were played by the violinist and the pianist's left hand only. The right hand seems to be the third voice, the alto. The pianist should actually give it a different timbre, controlling not only the dramaturgy but also the whole dynamic context, not only in relation to the violinist, but also to his own left hand.

The emphasis on the filling – or in other words, on the accompaniment, seems to my hearing another, rather frequent shortage, or just a failure affecting many performances, not only ensemble ones.  I point such failures out, discuss them and encourage their rectification. Whenever the pianist plays the leading part, his or her partner, whatever professional prestige he enjoys, should just do his duty – that is, should regulate the intensity of the accompaniment according to the criteria of importance, or requirements of the structure of the work. Regrettably, the reality is usually more down to earth, particularly when the instrumentalist has been formed under the cult of self-exaltation and conviction of his everlasting domination. 

 

(BRAHMS, SONATA IN E MINOR FOR CELLO AND PIANO)

 

Playing the accompanying materia

            It happens frequently with this Sonata for cello and piano that after the cellist has exquisitely sung his initial part, he is not quite willing to vacate the stage for his partner and let him become the leader of the piece. To say the truth, in most instances there is nothing for the cellist to bow to, as the pianist plays his few bars without authority or conviction, his presence being hardly noticeable. The exposition of this Sonata serves here as an example signaling two common mistakes: the obtrusive presence of the performer who is  doing the accompaniment, and low quality performance of the partner who performs the leading element. This defect proves particularly common in the majority of performances featuring pieces for a monophonic instrument and piano.

The terms “softer”, “louder”

            Practically, I hardly ever ask for playing “softer” or “louder”. Such descriptions seem to me too trivial and simplistic for  reflecting the requirements of the dramaturgy to suit my perception of the concept. It seems much more adequate to talk about “playing in the context” or “participating in the partner's narrative”. In other words, to perform the accompanying element of the work synchronising one's own dynamics with that proposed by the partner who performs the leading element. Actually, this concerns all the ensemble pieces.

Lecturing or patronizing

I do my best to keep my reflections a far cry from lecturing, and to provide them just to signal defects and failures which can be brought for attention, and, in most cases can be rectified. Actually, as a rule of thumb at my studio, it is the performers who make decisions on the structure of the recitation, its timbre and character. The initiative is in their hands. Similarly, they make decisions on the context and the relationship between the leading and accompanying elements. Although I have frequently mentioned it, let me reiterate that my ideas serve only and exclusively myself. In the past, I used to justify their value with my performances, while now I can only verbalise them upon request of  interested parties. When I interfere, it is only in the name of the performative style and tradition, or to avoid possible aesthetic dissonances. I comment on the interpretative choices of my students being acutely aware of the demarcation line which protects the intimacy of a young person. In my opinion, no educator is entitled ever to cross that line.

 

Pianist – Chamber group

 

The same expectations

            Reflections on the partnership of a pianist with an ensemble which most frequently consists of two, three, four or more instrumentalists, do not actually exceed the scope of the earlier discussion on the duo with vocal. The requirements for individual preparations, mastering individual problems, learning by heart and possibly playing by heart the  obvious leading elements are essentially the same

 

Restrained, shy way of playing

 

            For quite a long time, I have been observing a peculiar manner indulged by almost all ensemble performers, who perform with an intentional reservation, almost shyness, and use just a part of their professional potential. As I consider such attitude to be wrong, even harmful, I put particular emphasis on persuading the person who is performing the leading element to “explain” his performance to the ensemble. Then I encourage this person to play using the whole repertory of professional tools currently in his or her possession, with flair, conviction and authority, and by heart if possible. Naturally, I also ask my usual question on how he likes his performance, whether it is satisfactory and whether he knows what he is playing about. If he does not, he is immediately asked to get in touch with his vision. If he is anxious and shy, I recommend to work at a more intimate environment at home. Then I ask other partners to synchronize  their performance with the leader, including its intensity as well as the whole dynamic and dramatic context.

Paying attention to partners by the current leader

 

            Sometimes I take more risk and dare to suggest that the leader of the dramatic situation should disregard his partners when playing. They must (sometimes I have to use this word, although I really dislike it) make the leader as comfortable as possible. Naturally, not in the social, but in the musical sense, within the guidelines of the composer. In a short while, the current leader will be obliged to provide in turn a similarly comfortable environment to his partners.

            Within its basic sense, I understand ensemble performance as a multi-colored phenomenon which gives each performer equal chances for self-realization. In a larger ensemble, the need to understand the relationship of leading and accompanying elements is even higher than in a duo.  My ideal is still an ensemble of performers who stay together, yet remain free, with no one being privileged or subordinated once and for good. It is the composer who determines who is the leader and who is to support him. The worst alternative of ensemble performance has always been a parallel performance in which each of the artists plays his so-called “part”, hardly lending his ear to the partners. I dare say that such phenomenon is another error and I always suggest that it should be rectified.

 

(MOZART QUARTET IN G MINOR)

 

Declamation of the beginning of the Quartet

 

            Again, I definitely relate  the beginning of Mozart Quartet in G Minor to what I said earlier about the recitation of the text of the first Dichterliebe song. I mean here the habit putting the full stop after each fragment of the musical phrase. Typically, the full stop falls after two, four, and six bars, while it should fall only after the eighth one. I am unable to offer a rational justification here, but I can really distinguish these full stops quite clearly in various performances. The ability to unwind a sentence up to a comma and then to resume further recitation seems to me an important element of a performance. I very reluctantly tolerate concepts such as “the breath” or German  „Luftpause”. They seem to me rather primitive and, excuse the word, just simplistic.  Whatever happens between the phrases should be a consequence of hearing and – primarily – understanding the text which is being recited. It is difficult to imagine a recitation of an incomprehensible verbal or musical text in one breath, without being aware of the punctuation. As the failure to respect punctuation is for me not only a defect, but simply a mistake, I immediately point it out, whenever necessary. Much too often, to my regret.

Influence of consciousness and imagination on a particular sound effect

           

            I have frequently noticed that the awareness and imagination of the performer can influence the quality of the sound. Hammering on the keyboard or dumping the sound under the piano results in a deadpan sound, devoid of any vibration, short, stripped of any charm and generally just ugly.  A sense of springiness, similar to that experienced by a swimmer balancing on the edge of the trampoline, ready to dive, and an imaginary lifting movement which sends the sound into space, enrich it with beauty, shine and aliquots which are actually quite easy to hear. The imagination and awareness of punctuation, the ability to join phrases together and to continue recitation are measurable techniques which make the performance understandable, attractive and three-dimensional. They allow to avoid, to a large extent, the greatest threat which is flattening the narrative and performing the work in an automatic, monotonous and monochromatic way.

„Rhythmic stilts”

 

            Another recitation error occurs when the performer is unable to do without what I like to call the  “rhythmic stilts”. I absolutely do not mean by this the actual sense of the rhythm which is the living pulse, or the time signature. The “stilts” are rather related to the mind, to the mentality of the performer. They signify a kind of subjugation to the rhythm, the graphical side of the record and the bar. Such attitude results in the atrophy of phrasing, cripples the narrative and disables any kind of dramaturgy. The phrases just push against one another, because whatever happens in between them is just measured by the rhythm, and not heard or sensed. The risk of these stilts affects all performers, vocalists included.

Example of „characteristic and ethnic music”

 

            For a clearer and more convincing presentation of the problem, let me use an example of characteristic music – a term which I sometimes use for ethnic works such as the polonaise, waltz, mazurka, habanera, or even the tango and many others. They are recorded with the commonly used system which we sometimes forget to treat as just an imperfect, or actually compromising attempt to fix the concepts of the composer on paper. The execution of such ideas is a difficult test of knowledge, sensitivity and imagination. Just listen how crude and primitive can a standard waltz be when played in an automatic, triple-meter rhythm - in contrast to the exquisite Viennese charm  emanating from the rubato by Willi Boskovsky and the Viennese Philharmonic. Not to mention Chopin's Mazurkas by Ignacy Friedman. 

„March-like rhythmical performance

 

            While discussing Mozart Quartet, I would like to mention another negative and highly popular phenomenon which I have named the “marching quality”. It is related to an inexplicable fear of throwing away these unfortunate rhythmic stilts. Without their support, the majority of the performers are unable to sing or recite any, even the simplest phrase. It seems that a faulty basic education performed by cowed teachers results in some sort of  atrophy of the sound musical reason which has been already mentioned above. Now and again, the musicians fail to understand the melody, the sense of what is being played. They just count, count and count... Regrettably, all known musical pieces can be reshaped into a march. The Piano Quartet in G Minor can quite easily turn into March in G Minor for  string trio and piano. This fault affects most acutely the music of that huge period which I have for my own use bracketed between late Baroque and the 20^th century. The majority of works by Schubert, Haydn and Mozart seems to provoke a rendition as a never-ending march. Works by other composers, including Chopin, Brahms and Richard Strauß are by no means free from the risk of such deformation. 

Terminology of comments and reflections

 

            I strive, and usually succeed, to eliminate from ensemble music the obtrusive, falsely understood rhythm. Naturally, not any kind of rhythm and pulse, because no decent performance can do without them. It is not easy to find words which would be fully effective in conveying this complex problem. Generally, it seems that young people do not have any problem with understanding, and even accepting and implementing my concepts, such as narrative, recitation, dramaturgy,  timing, singing, phrase, internal momentum or an appeal for a sound musical reason. Somehow, such terminology seems surprisingly effective in conveying my reflections, in spite of the risk of exposing oneself to the mirth of various jesters of the musical community. Throughout all my educational career, I have never encountered any manifest opposition against these terms. Nobody seemed to have a problem to understand the difference between “counting” a rest and “hearing”, “feeling” or “understanding” it.

 

The concepts of dramaturgy, narrative, declamation, context

 

            The implementation of these concepts might seem a problem for ensemble performance. However, I am thoroughly convinced that it is just the other way round. I have collected vast evidence in favour, but regrettably, it is impossible to verify it using the paper medium. Various ensembles with which I worked, from duos to quintets, even those with a modest amount of talent had no apparent problems with playing together after I introduced  them to the concepts of dramaturgy, narrative, recitation, context, awareness of the simplicity of singing. In the opinion of other pedagogues, their music, albeit still imperfect, displayed even some features of natural, personalized playing which herald the performative freedom. Such opinions have always been for me a source of great joy and satisfaction.

Sustaining the time

 

            Still another extremely common fault is related to the timing of long sounds and rests. For instance, with the ¾ time signature, the timing between one and two, and two and three is generally well maintained. However, the time between three and the subsequent one is usually shortened. One tends to forget that the time of the rhythmic unit  actually ends at the beginning of the subsequent one. I explain this phenomenon with the fact that the performer utters the word “three” and hurries up, without keeping the time which has to pass and vibrate, to quickly say  “one” in the subsequent bar. It is hard to believe how many performers, including those who are more than renowned, are prone to this error. For soloists the only risk is the distress suffered by the audience, but in ensemble performances this fault results in measurable discomfort of the partnership, caused by the failure to keep the aforementioned long sounds and rests. However, I have not yet encountered an ensemble which after I made it aware of the fault, had any significant problems with understanding and rectifying it.

            Another common fault of many performers, including renowned ones, is the shortening of long values. Their haste and impatience not only reduce the concrete, measurable value of the sound, but, which is worse, they reduce its dramatic significance. Amazingly, even vocalists are not free from this vice.

            Sometimes, when discussing this issue with my students, I do not hesitate to call it the swing. I ask them to use their senses to feel the internal momentum and springiness. In my understanding, their presence in the whole body, in the blood circulation and heartbeat, is at least as important as respecting the indications of rhythm and time recorded in the score. Although I do not measure time myself, I do not make my students to execute it or recite the musical text according to my preferences. I make them aware of the problem and then, as always, I leave the implementation and its assessment in their able hands. It is a fascinating adventure to partake in various quests of young people, especially in the atmosphere free from obtrusive arbitrariness and judgment. 

Linear and vertical line in playing

 

            Just a few words on vertical and horizontal directions while playing music. Musical performance is slightly akin to piloting a jet plane.  Even one glimpse of the pilots' cockpit shows a bewildering number of various clocks which have to be controlled. However, two of them are of vital importance: those which show the vertical and horizontal position of the aircraft. The performer has to control probably just as many elements. Among this multitude, the control of the horizontal and vertical quality of the performance seems as vital as for a jet plane, and equally worth emphasizing. The vertical control is the control of the rhythm, while the horizontal control is, in very general terms, the control of the song. Naturally, this does not refer to the melody in the strict sense, but to all the elements which fall into the concept of singing: the phrasing, the narrative, the recitation and the articulation. It seems to me that for a conflict-free performance, the horizontal and vertical control should be maintained equally well, continuously and to the fullest extent possible. Singing without rhythm seems crippled, but rhythm without singing is just as lame.

            The infringement of proportions in horizontal and vertical controls, the advantage or even domination of the rhythm, while neglecting the idea of singing, phrasing, narrative and recitation is again a fault in my understanding. I point it out to my students gently, yet resolutely. And again, as an ostinato of sorts, I reiterate that the implementation and assessment of these characteristics of the concept of singing, is left by me for the competence of the interested parties. I do not fear their youth and ostensible lack of experience. All of them are  sensitive people, with larger or smaller talents in which they should fully and rightfully trust and which they should use on their own. An appeal to their own sound musical reason can often bring about surprisingly creative results.

Crucial issue of connecting two phrases

 

            Quite a long time ago, I made an amazing discovery: there are just two critical reflections which I am generally obliged to share with almost all of my students. They concern recitation and dynamics. In recitation, the vital spot seems to be the joint between two phrases, or their fragments. Although a deformation or a dramatic logical fault can occur also in the course of the phrase, they are relatively easy to rectify, for instance by playing the melody with one hand, as discussed above. Graver problems are related to  the phenomena occurring between the phrases. In recitation, they result in a a sort of panting; the fragments begin to couple, the punctuation evaporates, and it is the timing - keeping the time and sensing it - which is most frequently affected. The common phenomenon of shortening the time between phrases is not only a defect, but simply a fault of a performance. Even mature artists do not escape it, and irrespective of their status, I often point it out to them, if they seek my opinion.

Shortening the time between phrases

 

            While elaborating on my understanding of recitation, I use most common, usually improvised examples, without recalling any sophisticated instances. Let us discuss the simplest of the sentences which I say to my students: “Please, play a single phrase, then continue with the next one, until you reach the climactic point.” Even such a sentence can be uttered in many ways, starting from natural and ending with excessively emphatic. All of them can be acceptable, save for one, which is faulty, mechanic and truly devoid of any sense: when this sentence is uttered without any punctuation: “Please play a single phrase then continue with the next one until you reach the climactic point”. As a usual reaction to such intonation is  get not only a burst of laughter, but also a quick grasping of the problem. I understand  recitation in the language of music precisely in the same way. Without indulging in excessively detailed analysis of the way in which the discussed sentence is uttered, I also make my students understand that the awareness of the continuation lets them maintain logical connections between phrases, even when the rests between them extend for many seconds.

The feeling of time by a performer and listener

                                                               

            The aforementioned defect of phrasing is also detrimental to the musician. One tends to forget that the time of the performer and the time of the audience are not the same thing. The performer is active, and his time is flowing in a slightly different manner. He knows what comes next in the musical piece, knows its continuation like an actor. A listener is passive. He has to understand the passage which is being recited, he needs a moment to reflect and a chance to release tension.  Meanwhile, the performer, hurried by the rhythmic stilts, is interfering with an utterance which has not yet come to an end. The listener has not yet managed to exhale, to bid farewell to one climactic point, and here comes another one.  Perhaps it is due to this phenomenon, among others, that one can listen to some performers comfortably, and to the others – almost with irritation. This is certainly true for me. I react physically, almost physiologically, to the music I hear.  Perhaps this is why I am particularly tired after examinations. My heart is tormented with shortened, hastened breathing, not due to emotions, but rather because of being mercilessly flogged with sounds by musical reciters who are still clumsy in what they do. Regrettably, similar feelings pester me quite often also during philharmonic performances. Once, the chase of phrases one after another forced me to leave a concert in the Solesmes Abbey. In spite of a thoroughly beautiful sound of a choir of Benedictine monks, I could not stand the effect of phrases crowded one upon another; I was actually suffocating.

Four basic steps the dynamics

 

            The second main critical reflection concerns the dynamics. In my perception, it has four basic registers: forte and piano, fortissimo and pianissimo (and, naturally enough, countless nuances occurring in between). The most frequent fault of performances by young people, even those well advanced, is to give just an approximation of piano and forte. Typically, their forte is not forte and their piano – not  piano. The differences between forte and fortissimo as well as piano and pianissimo are hardly noticeable. I consider it a mistake, and I clearly emphasize it as such to my students. Generally, forte creates slightly less problems, while piano is usually grossly neglected.

            A young person asked to play piano, offers most frequently a dynamics somewhere between mezzo-forte and mezzo-piano, saying that he cannot play more piano. Yes, he can! After a certain amount of persuasion it proves that he can elicit beautiful, melodious piano even from the university instruments which are not quite the thing technically. I do my best to convince him that the dynamics and articulation, legato and staccato can be trained similarly to all the other necessary instrumental skills. Let me make a marginal, bitter remark here; the most frequent fault of university students is their clumsy or inadequate execution of basic instrumental skills which include precisely the  forte&piano and fortissimo&pianissimo dynamics, legato&staccato articulation and fasts&slow and very fast&very slow agogics; these are basic techniques, indispensable for any sort of instruction. If they are non-existent, any teacher of ensemble performances is helpless and finds himself in an uncomfortable position, forced to cross over to the terrain pertaining to piano teachers and not to partnership teachers.

Mozart and opera

 

            Let me return to the Quartet. Oh, yes, I know, counting is necessary, just to make the ensemble take off and move together; sometimes one even has to count rests at the beginning; fair chance for that. However, when the music plays on, I do not expect the performers to count in order to measure whatever happens between bar four and five, but to use their understanding of recitation, complete the phrase and join it with the next one. Hearing and understanding the plot is indispensable there. The whole beginning of the exposition can be clicked together as if made of Lego blocks, or one can recite and sing it as a whole, important utterance.

 

            I mentioned singing mainly due to the fact that I associate almost all Mozart music with singing and opera, just as I associate Beethoven and Tchaikovsky with orchestra and  Chopin and Rachmaninov - with piano. Mozart music makes an impression of a series of recitatives and arias. In my view, it has never been just a demonstration of instrumental and figurative frolicking. The beginning of the Quartet clearly reminds of intoning some sort of ensemble theatrical or operatic utterance, the more so, that it begins with a clear, fascinating, dramatic forte played by the four instruments and with piano performed by the pianist.

 

 

 

(SHOSTAKOVICH – PIANO QUINTET)

 

The way of playing “crescendo” and „diminuendo”

 

            Just a few words on the architecture of dynamics and phrasing. I mean here the commonly used crescendos and diminuendos. It is a mistake, particularly in ensemble performances, to play them without sufficient awareness and control. Most frequently, both of them start too early which results in the shortage of dynamic options needed to achieve the culmination, the climactic point. Particularly in the case of crescendo, the strength is often gathered too early and in the result the culmination almost requires shouting. My students are well aware of how I form the development of dynamics; the work on culminations begins with the very culminations and gradually retracts to the beginning of the crescendo or diminuendo. Such method aims at testing the potential of one's own forte and fortissimo, piano and pianissimo, as well as the dynamic limitations of the instrument and acoustic features of the concert hall. This issue is equally applicable to every performer, vocalist and instrumentalist alike, who has to solve the architectural problem of using a series of phrases or their fragments to build tension which leads to a climax. In ensemble performance, such progression requires extreme concentration, lest the essence of the dramatic situation is lost in the fervor of crescendo or the waning of diminuendo. This would constitute another mistake waiting for rectification. Therefore, I never hesitate to point it out, as soon as it occurs.

Dynamic architecture

 

            The six bars of the Shostakovich Piano Quartet seem to be a clinical demonstration of the issue of  architecture of dynamics which has been mentioned above. The fortissimo appears there at the very beginning of the first bar! The third one begins with  piu ff, and the sixth is just fff. Sadly enough, none of the ensembles which I tutored was originally able to notice such dynamics. I just heard permanent  fortissimo in their rendition. It is but a small solace, that I heard the same non-modified fortissimo also in performances by professional ensembles.

            My suggestion is to start the work on the dynamics from the sixth bar, which is the culmination. This  makes my students aware of their own  fff, which should never turn into a yell. Then, they may retract with their dynamics, softening the sound by one degree in the third bar, and let the audience hear the difference between the  ff and fff. I also advise to cherish the nuance between ff in the third bar and in the first one.  Whenever the first bar begins with too strong a ff, things will surely end in a catastrophe. The dynamics and the key factor which is the tension, will have no chance to increase up to the sixth bar. 

            Another problem is the crescendo in the second and fifth bar. In my opinion, if this crescendo is to be noticeable and dramatically justified, it should begin with softened intensity of the timbre. Therefore, the first bar and half of the second one should be played ff, the beginning of the second half of the second bar should be marked by a slight withdrawal and then a clear and legible crescendo should grow up to the third bar. I managed to convince my students to such rendition. They easily understood that instead of dynamic trickery, I suggest theatrical, dramatic building of the dramaturgy of this awesome work. 

            Let me make  a remark for the sake of order and organization. In my view, there are no ensemble works of music in which the decision on starting the performance would be left to the pianist.  For understandable reasons, such as the need to make the instruments ready, the signal is given either by the violinist or, for obvious reasons, by the vocalist.

Teacher-pianist and an ensemble of wind or string instruments        

                                                                                                    

As a pianist, I often felt torn and anxious when left alone with a string or wind quartet. It usually happened when  pianists working with quintets were incidentally absent.   Naturally I would never dare to interfere with  par excellence instrumental problems of violinists or issues specific to wind instruments. However, I soon noticed that my reflections on team playing refer to every instance of playing together, irrespective of the composition of the ensemble. The requirements are identical with respect to the individual preparation, perfect mastery of one's role, flawless knowledge of the whole work, valid identification of the leading and accompanying elements and understanding the utterance played by the leading partner, as well as a sensitive reaction to the dynamic context, compliant with the logic of the recited phrases. This has confirmed my conviction about the value of the basic canon of ensemble playing, applicable to every instance of non-solo and multivocal music making.

 

The impossibilities of being in an ensemble

 

            A word on the inability to perform in an ensemble – a phenomenon which I like to see as an aspect of the natural selection of musicians. How does it happen that two musicians, perfectly well prepared, very or even immensely talented, heeding all feasible pieces of wisdom and cultural guidelines, are just unable to play together? I am not quite sure why it is so. And how does it happen that two people, good, fair, valuable, even with best intentions, just cannot live together? I do not even attempt to answer such questions. Let them remain a mystery.

The perfect partnership

 

            Let me reflect in turn on the ideal partnership in performance. In my view, it occurs when the music played by one partner fully meets the expectations of the other, when their visions of the musical work, even if not identical, do not stand in conflict, and when one performer is able to identify himself with the other.  I would not hesitate to name such inspiring partnership happiness. Benevolent fate let me experience such happiness. Such partnership cannot be taught. It remains in the domain of metaphysics, tastes, mentality, propensity, aesthetic and other preferences and the aforementioned mysterious forces which unyieldingly attract one person to another or fill them with reciprocal aversion.

Instrumental performance technique in opera

 

            I like to associate the musical performative art with theatre, opera and particularly with acting. This brings in expectations for creating drama, for meeting fundamental rules of punctuation and articulation, requires obvious comprehension of the language of recitation in the asemantic world of sounds, and above all, it evokes the whole psychological truth about the actor. It is me, the musical actor, who has to perform a whole set of duties: read the text, comprehend it, learn it and convey it to others. How feeble would be an actor who acts and lives his role only for himself: think about a comedian who bursts with laughter at his own jokes, a tragic actor who alone cries for the dramatic emotions he creates. It would be pure bad taste. I keep reiterating it to my students that we do not play for ourselves, we play for others! This is the fundamental duty of acting, including musical acting. One can but acclaim Master Diderot for saying this so aptly in his genial essay Paradox sur un acteur which I recommend to all my students with all my heart! We do not cry with real tears, calls Canio in I Pagliacci: “Nostre lagrime sono false”.

 

 

 

 

 

Piano Chamber Music

Genesis and Prospects

Explanation of the term

There is a certain justification in ascribing to me the authorship of the term piano chamber music. Actually, I invented it and used for the first time in 1973, with full approval of the then Board of the Piano Department at the Fryderyk Chopin Music Academy in Warsaw, when I was working on my post-doctoral dissertation. Since that time, my definition has been quite efficiently functioning in the  Academy (currently Frederic Chopin Music University) and has gradually gained wider recognition among Polish – and not only Polish – musical milieu.

            Generally speaking, piano chamber music encompasses, in my understanding, all non-solo forms of pianist's artistic, performative activity including traditionally understood accompaniment, various feasible combinations of instrumental an mixed ensembles with piano, along with the training offered at all levels of musical education of vocalists and instrumentalists, and the so-called coaching which is a specific form of a cooperation between a pianist and a vocalist.

Solo Performance vs. Ensemble Performance

            Let me share a few personal thoughts, or - more precisely - a   set of selected  ideas on solo  and ensemble music  performance. I first became aware of  the issue  in my student times or just a while later, and since then, my reflections have been maturing throughout the rest of my  professional life.  I have never come across a similar trail of thoughts and nobody has ever discussed the  issue in my presence. 

            The  key, basic thought is surprisingly simple, to the point of banality: Every musician performs either alone – solo - or in the company of others,  that is in an ensemble. This is the only available  alternative.

            The ramifications of  this reflection helped me find my stance and effectively roam along the intricate paths of the world of soloists, accompanists   and  coaches of all sorts,   becoming increasingly aware of how befuddling  and formalistic  the commonly used terms  are,  in particular  accompaniment  and chamber music. 

            My thoughts are based on  the definition of the musical work.  Among  quite a few that are available, I definitely side with  the compact and concrete one proposed by a composer and professor Kazimierz Sikorski:  The musical work, albeit a unity, consists of many elements: melody, rhythm, harmony, dynamics, agogics, articulation, counterpoint, form and emotional contents.

            Consequently, it seems obvious to me to define a soloist as a musician who performs the whole piece on his own, without the participation of any other person, implementing all the elements of that work at his own risk and responsibility.  Despite appearances to the  contrary, there are relatively few pieces suitable for such performance.  They generally feature works for key instruments and the harp.   A significant majority of musical works is intended for group performances in all the feasible combinations, starting from vocal/instrumental duos and ending with the grand symphony orchestra. Therefore, a performer who is not a soloist, automatically becomes an ensemble musician  in the full, fundamental sense of the concept. 

            An ensemble performer executes a number of  selected elements of the work  which function either as leading or as supporting ones, depending on the decision of the author.  At this point,  it is worth noting that the leading role is hardly ever given to a single performer. The weight of the elements is exchangeable, shifting from one performer to another,  as determined or at least suggested by the composer. In most cases,  performers who first act as soloists in relation to the others, later take the role of accompanists, as their part ceases to be the leading element and  turns into the accompaniment.

            Precisely at that moment a question of the most desirable type of relations among ensemble performers arises. Partner relations seem to me the only valid solution there. I perceive partnership as a kind of  voluntary  arrangement binding two or more free persons with a view to reaching a goal which can be the common good, success, profit or values of any kind; in short – the creation of life.  The partnership in music consists in  joint efforts of performers to deliver to the audience  the most perfect, comprehensive, true and beautiful rendition of the thoughts and emotions of the author, as enclosed in the notation. 

            The duo immediately springs to mind as the basic partner arrangement which seems to be the simplest and most transparent.  It is a lens which  concentrates all the  expectations of satisfactory co-existence with the other person, the other musician, other people and other musicians. 

            In addition to the evident, achievable, individual, professional perfection, such arrangement has also a number of other key features, including:

·       joint responsibility for the whole performance

·       reciprocity

·       respect to one's partner

·       understanding of the partner

·       openness to the dialogue

·       readiness to accept the  differences in the partner

·       internal space

·       the ability to simultaneously hear oneself and the partner

·       the culture of being together with another person

·       confidence in the partner

·       the ability to accept compromise

·       tact in resolving pressure issues

·       understanding for imperfections of the partner and... oneself.

            Partnership, like any other value, does not happen by itself.  Just like   culture or the whole domain of feelings, it requires care, effort and wisdom.  One can hardly imagine successful partnership which fails to encompass  the aforementioned expectations. 

            The antithesis of musical partnership is the relationship between the soloist and accompanist in which – for non-artistic reasons – one of the performers seems to be privileged  a priori, while the other seems to be  a priori subordinated.  I was and I still am against such relations, due to their anachronistic character, abounding with more or less camouflaged and  pejorative   connotations which are detrimental to art. 

            In order to achieve the optimal  final result, all the elements of the musical work must be performed perfectly well.  It is of no importance that the right hand of Chopin's Nocturnes sings the leading cantilena, while the left one seems to be complementary.  This complementary element must be equally perfect, or else the whole performance will be good for nothing.   Similarly to a solo performer who   must not evade his or her responsibility for the whole piece even for a moment, the musicians who perform in an ensemble  must not feel relieved  from the awareness of performing the work as a whole, in favor  of focusing on their individual parts.

            At this point, it seems worthwhile to reflect on accompaniment and  chamber music.  This division, mostly affecting the milieu of pianists, was introduced a long time ago and has continued ever since. Once again, I have to go back to my student times when I became aware that the very essence of playing the piano  and probably other instruments as well is exactly the same, whether one plays solo or in a group.  The performance has to strive for perfection within one's individual capability, aiming to achieve beautiful sound and  faultless articulation, based on perfect preparatory work.  

            I have always considered the strict division into accompaniment and chamber music anachronistic and artificial, for a number of reasons including the one discussed above. Obviously, I am aware that it is commonly accepted and applied and its transformations or modifications of any sort seem to be hardly possible.  However, one can cherish one's hopes,  can one not? Throughout my life, I have witnessed  so many huge and minor changes which previously seemed unimaginable! Whenever I walk Nowy Świat street in Warsaw and pass by the building which used to house the Central Committee of the  Polish United Party of Workers -  a Communist party which was a burden to  my country for almost 35 years -  and all I can see on its walls now are  plaques of various financial institutions, I just smile at this obvious memento.   Therefore, there is a fair chance  that the  fossilized concepts of accompaniment and chamber music will someday become history and will be replaced by actual and realistic  ensemble performance.  Who knows, perhaps my work will contribute to that change a tiny little bit?

            Actually, how should one venture through the world  defined by such  turbid terms as accompaniment and chamber music? How should one approach  Dichterliebe? Is it still accompaniment or is it chamber music already? What to do with sonatas for piano and another instrument? Should one treat The Kreutzer Sonata as chamber music or as accompaniment?  Does chamber music begin with a trio, as it is maintained by  many renowned musicologists? But why exactly  should it be so?  The composer just creates music, for  solo, duo or multiple performers.  Do pianists and instrumentalists play differently up from the trio? Do the expectations as to professional perfectionism somehow change from that point on?

            It seems self-understandable that  differences in performance are a natural phenomenon for diverse ensembles  of musicians, starting from the duo. One does perform differently when working with a singer, a string instrumentalist, or a wind instrumentalist; there is even a difference between performing with a violinist and a cellist; obviously, one plays differently in a  trio, quartet and in a larger ensemble.  However, these  are not differences that would explicitly introduce any  classification or categorization. The essential foundation of  partner-like ensemble performance, universal for all kinds of ensembles, is in fact based on the idea of the duo. 

            Such simple perception of the performing activity as solo or ensemble in nature, sheds a different and hopefully more realistic light on the psychological aspect of the musical profession.  The conviction that solo is a single  or main option  available in education may result in a psychological impasse with its  many negative consequences, mostly  bitterness and thwarted hopes.  Regrettably, as it happens, the chances for total, both professional and private self-fulfillment  as a soloist seem quite enigmatic.  The supply of talents is considerable, the effectiveness of professional training has greatly accelerated,  the competition is often  ruthless and social demand remains scarce.

            It is not particularly revelatory to hint that contrary to the above, the prospects of professional and personal self-realization of an ensemble performer are broad and seem to be almost inexhaustible, especially for pianists.   Without their  participation, a significant  part of the artistic activity of instrumentalists and performers and almost the whole process of their education, as well as the functioning  of opera theatres, would be simply unimaginable.  That is why I am convinced that it is necessary to provide perfect professional and psychological background for performing in an  ensemble.  Such background has immeasurable importance for ensuring the sense of satisfaction which should  accompany every, even the most modest  artistic duty.  Such  highly important psychological aspect involves  primarily one's liberation from the impasse of solo career  perceived as the only alternative. This immediately leads to the issue of wise education at schools, academies and universities which should ensure sustainable, solid ideological foundation for solo and ensemble performance. Huge chances are, that such foundation will support successful self-realization of a large number of musicians, free from the sense of  disappointment, resignation and any possible forms of frustration.  

            It is with certain irritation that I react to the common approach to ensemble performances.  I perceive it as a combination of courtesy, benevolent approval and camouflaged sense  that playing in an ensemble is in fact a supplementary discipline, to the point of being marginal.  Smooth words are often said about its significance and importance, but sooner or later a conviction emerges that only a soloist is a true artist, and  while ensemble musician belongs to another category; he is perceived as somewhat disappointed and his aspirations are seen as not fully satisfied.  Actually, the   only criteria to differentiate an outstanding artist from a mediocre one are  his talent and professional quality. 

            It is worth  pointing out that the situation of  pianists is not quite typical for the world of music.  Namely, a violinist or a flautist remains a violinist or flautist for good, whether he plays alone or in a group, in a duo or in a quartet.  Regrettably, a pianist who plays with another musician, particularly in a duo, is often, or even almost immediately perceived by a large part of the musical milieu as an “accompanist” with all the  possible,  pejorative implications of that term.  The other musician in his duo is seen as a privileged soloist, while the pianist is encumbered by the atmosphere of subordination. This phenomenon occurs even while performing pieces which are as clearly egalitarian as sonatas.  Beethoven's and Brahms' sonatas are still etched in the mentality of many violin pedagogues as solo pieces with piano accompaniment. 

            Naturally, one could just shrug ones shoulders at all these humbugs, however  I feel particularly uncomfortable with their huge negative effect on the  par excellence artistic result in performances which I describe as philharmonic ones.  Just take a leap of faith and believe me that even in studio environment the partnership between performers is  worse when the  pianist perceives himself as an accompanist, and that  his self-perception as a pianist brings about quite a different effect.   I see it as an amazing mental phenomenon which affects even the top performers.  I daresay  that Songs by  Schubert, Mozart  or Wolfe recorded by  Elisabeth Schwarzkopf and the emperor of the accompanists have drastically lower artistic value than the same Songs recorded by  her with real partners,  Gieseking, Fischer and even  Furtwängler. Actually, a similar curve of performances frequently occurs in  relation to  solo and ensemble performances.  It seems  hard to believe, but   even an outstanding soloist who performs excellently on his own  may often offer impoverished renditions while playing in an ensemble, as if he failed to employ his full spectrum of performing capabilities. 

            I have also come across a notion that playing in an ensemble   generally  differs  from playing solo.  This is true to a certain extent, because  while playing in an ensemble   it is impossible to disregard the presence of one's partners and  the joint responsibility for a successful  performance. However, there is no difference as to the very  application of   one's instrumental skills. In any situation, the artist should comply with the obligation to be perfectly prepared and to use his professional capabilities to the full.   However,  this does not seem as obvious for a major part of the musical world, as one would expect.  

            Another misleading notion says that outstanding talents become soloists and inferior ones turn into ensemble performers. It  results from   the false heritage of the cult of so called virtuosi and primadonnas,  and the conviction that solo music is superior to ensemble performances.  How easy it is to overlook the existence of weak solo performances and grand ensemble renditions!

            Another notion which encumbers  the concepts of solo vs.  ensemble in broadly understood awareness and psychology of performers holds that solo pieces are often perfected throughout long years, while the work on ensemble pieces is commonly seen as just playing through the part and cursorily acquainting oneself  with the more difficult instrumental sections, followed by one or more rehearsals and then... on to the stage.  Quite a musical   fast food!

            A word about instruction.  In my opinion, one of the key duties of an academy or university is  to provide professional and psychological education of the artist, the master of solo or ensemble performances, so that he should always  consider  an incessant striving for perfection within his capabilities  as his non-compromising, lifelong imperative. 

            Finally, a brief coda. I wonder what efforts of musicologists and theoreticians may prove  useful for a performer? Definitely, quite a lot of them.  They provide a collection of facts on the period, works, circumstances and relations accompanying the creation of work s, as well as on the character and life stories of the composers.  Some circles consider such information as useless and unnecessary for a performer. Good riddance to them! In my option, any information about the composer and his work may prove very supportive for nuances which are often decisive for the grandioseness of the performance. 

            In summary:  forget about  chamber music and accompaniment which are just notions introducing unnecessary chaos of terms and – more importantly – about their contents and think simply in terms of  ensemble performance. The notions of solo vs.  ensemble performance and solo vs.  ensemble pieces seem to me the most rational, realistic and effective ones.

            I am positive that there is no need to educate anyone on the  immense consequences of words and their meaning.  Although I do not intend to organize  or lead any group actions for the revision of the terms which are currently in operation, I will never, as long as I am alive, withdraw from my personal crusade for introducing in common usage the concepts of musical partnership, pianist in lieu of accompanist and  ensemble performance instead of chamber music and accompaniment. 

Dubious tradition  values

            Musical communities worldwide still favour the deeply rooted concepts of accompaniment and accompanist, referred to pianists who perform in an ensemble. It results from the general perception of a pianist, who – in traditional understanding – deserves this name only when playing solo. When he partners another performer, as already discussed above, he ceases to be a pianist and he inexplicably turns into an accompanist or a similar performer.

             Among manifold reasons for this deviation – including the inheritance from the era of virtuosos and divas – the most important one seems to be the habit which takes roots during lessons which instrumentalists and vocalists have with a pianist; during such first contacts the pianist, usually a mature person, is perceived as an accompanist of those youngish, newbie performers, and the professors give their full approval to this. He is mainly expected to be a subordinate service provider and such arrangements continue up to the university or academy level, where the pianist is an “accompanist” for every musical work, sonatas included.

            Such deviation of perceiving a pianist as just an accompanist, instilled at school, may never wane, even at the stage of mature artistic activity. There are some instrumentalists and vocalists who, never minding the requirements of the structure of the musical piece, try to exert pressure on the partnering pianists, so that they never cross  the limits of their pianistic service.

            I am fully convinced that a simple trick to replace the term “accompanist” with “pianist” in school and university teaching, and rename the subject which is currently called “collaboration with the accompanist”  “collaboration with the pianist” would foster creative, partnership relations between the performers in lieu of the deformative soloist-accompanist arrangement.

Pianists – the largest group of performers

            First, a brief explanation on why the problem of piano chamber music seems to me worthy of special consideration and presentation from a non-traditional perspective. It results from my reaction to a very narrow understanding of the term pianist which in general perception refers almost exclusively to solo performers. A pianist is a soloist. As I have already mentioned, the pianist who ceases to play on his own is immediately stripped of his pianistic status. Surprisingly enough, this phenomenon concerns only pianists. A violinist is always a violinist, whether he performs solo or with another musician, in an orchestra or in front of it. 

            Meanwhile, there is a vast array of opportunities for artistic activity for a person who has professionally mastered the piano – that is, for the pianist. He can work together with a multitude of various instrumentalists participating in their concert activity which would almost be non-existent without his input. The same holds even more true for vocalists, whose performing activities are to a large extent dependent on the pianist.

            However, the overwhelming climate is that of dissatisfaction, frustration, despair, panic and all sorts of lamentations over the dire, hopeless fate of pianists and  overproduction of such. This may be true enough, but it reflects only the deadlock in which the soloist finds himself when his solo career is seen as the sole alternative for fulfilling his life's ambitions; young musicians are blindly and mercilessly pushed into such impasse almost from their first contacts with the piano, by indiscriminating professors who tend to the task with determination which is truly amazing.

            Meanwhile, all the aforementioned options available within broadly understood piano chamber music most favourably change the perspectives for the professional career of a pianist. He may fulfil his ambitions in a multitude of ways in accordance with his dispositions, preferences, achieve an appreciated position in the community and work towards his professional and private aspirations to his satisfaction. Having said all that, there are no obstacles whatsoever for continuing one's solo activity. Actually, it is highly commendable never to part with it, irrespective of the preferred form of ensemble activity.   As the saying goes, “Every soldier carries a marshal's baton in his pack,“ but it is generally known that not every soldier is given promotion. The army does not consist of generals only. There is a place in its ranks for every soldier, starting from the common private and ending with the marshal.

No matter how perfectly any profession has been mastered, talent is needed for every venture, but as we all know, it has not been distributed quite fairly. I am deeply convinced that talent escapes instruction. Profession can be taught; talent just cannot. However, let me emphasize - just to avoid any covert, false associations that talent equals solo performances and less talent equals chamber music - that a pianist may be extraordinary or mediocre, irrespective of whether he plays on his own or with someone else. Everything depends on the talent and professional perfection. There is such an abundance of weak, common solo performances and equally rich treasury of outstanding chamber creations!

            I put extraordinary emphasis on the paramount role of the pianist in training instrumentalists and vocalists at all  levels of education, and in the case of professional vocalists, also in their everyday “adult” concert activities. One cannot overestimate the importance of pianists in the work of operatic theatres which would simply have to suspend their functioning if no pianists were willing to co-operate.

In the course of their training, pianists must be provided with optimum, professional ability to use the piano in order to meet the requirements of a musical work, such as for instance Hammerklavier, for some unattainable, for others just a simple song. The requirement of mastering the pianistic craftsmanship to the highest degree possible is always there, whenever the pianist sits down to play. 

After bidding farewell to the pianist-soloist deadlock, one is able to notice all the aforementioned options, and realize that actually, pianists constitute the most populous group among all performers of music.  With the exception of those for whom solo performances provide sufficiently in all the aspects of existence with only occasional involvement with chamber music and who constitute just a fraction of a percentage point of the group of pianists, the rest of that group can fulfil their ambitions in the manifold forms of ensemble music. I have not mentioned here any teaching activities, as they constitute a slightly different aspect of the artistic activity of all performers. Actually, the whole musical performing community depends on the pianist, to a larger or smaller degree.  This is quite an obligation, but it also opens immense perspectives.

 

Life and work circumstances of a pianist

            Life and work circumstances of a pianist wedged into the solo option seen as the only solution may not be enviable. The average level of professional background is very high and the supply of talents is quite big.  Actually, only the outstanding artists have a chance to succeed.

            The awareness of the above circumstances generates various psychological encumbrances of young adepts of the pianistic art which generally lead to the sense of injustice, disappointment, bitterness and various shades of frustration.

            I am deeply convinced that a pianist may fulfil his ambitions, artistic and private, in any form of his activity, be it solo or ensemble. Actually the pianist seems to be the most needed performer who is truly sought for. This is a vital argument in favour of providing parallel training in these two forms, in reasonable proportions, at all levels of education, starting from primary schools and ending with universities.

Educating craftsmen vs educating artists

            Generally, music is taught at three levels: primary, secondary and tertiary (at universities and academies). The first three levels are to equip performers with professional foundations, while the third one is of university quality. Presumably, it should educate the lucky and talented who managed to progress to the university level, broaden the minds of the graduates and endow them with the potential to climb the artistic heights.  It seems obvious to me that all students should explore and perfect their pianistic profession as thoroughly as their abilities and dispositions allow throughout their whole education on all the three levels. One of the basic duties of schools, academies and particularly universities is to ingrain in them the lifelong imperative of striving for perfection.

            It is also advisable that the training in performing in an ensemble, which begins almost immediately after the initial stage of mastering the instrument, should continue parallelly, in reasonable proportions, until the graduation from the university. Besides providing general information about playing in an ensemble, it is particularly important to instill very early the foundations for establishing a proper relationship between the performers; it should be based on the idea of partnership and not on the soloist-accompanist relation.

            As certain aforementioned forms of performing in an ensemble such as collaboration in educational institutions of vocalists and instrumentalists, and vocal coaching, have special professional features, they are out of necessity only outlined in the curriculum, particularly at the university level. The necessary professional knowledge is provided at post-graduate courses.

All the other aspects, concerting with instrumentalists and vocalists included, lead unambiguously towards one goal which encompasses professional perfection and artistic creation. In my understanding, such is the purpose of education, particularly at the university level. An academy or a university are to educate artists, just because they are universities and not vocational schools. They are to educate artists: masters of solo and masters of ensemble music. It hardly matters that only a few of these artists will reach the heights of the proverbial Carnegie Hall or will partner the true giants of the profession. Others will spend their life in modest conditions and less spectacular arrangements. However, they should maintain a never-ageing awareness that they are communing with Art, and this is what matters most. 

The role of a pianist in educating instrumentalists and singers

 

Let me share a few thoughts on the role and share of pianists in training of vocalists and instrumentalists. These thoughts, similarly to all the others which I have already published, are individual and personal, without aspiring to create any generalisations, doctrines, instructions or lectures.

I do not recall any discussion on this issue in any form, or in any national or foreign magazine. The only work on this subject which I have encountered is the doctoral dissertation of Polish pianist Ewa Skardowska, PhD, elaborating on the seemingly marginal, yet important issue of a pianist acting as a collaborator who cooperates with teachers and instrumentalist students. Regrettably, this excellent presentation of one of the forms of artistic activity of pianist, who seems to be the most popular and most frequently encountered musician, has not yet been translated into English.

            In general perception, a pianist is an artist who almost always performs solo. A pianist who does not play alone somehow ceases to be a pianist and turns into a queer creature akin to the accompanist. All the other performers – violinists, clarinettists, trumpeters remain themselves, whether they play on their own or in the company of another musician, in the orchestra, or in front of it. It is only the pianist who undergoes such transformation. Regrettably, also in his self-perception.

            Such state of affairs is highly detrimental for the pianistic community, both artistically and psychologically. For me, a person playing the piano is a pianist, once and forever, should he play solo or with some other artist; he is a pianist also when he is acting as a collaborator or coach.   The requirement for professional perfection is always the same.  The world of musicians has left relatively little space for pianists-soloists, while the non-soloists have almost unlimited opportunities for valuable self-realization in various forms of artistic activity.

            The piano is one of the few instruments which enable the musician to perform the full contents of a musical piece. All the other instruments, particularly the homophonic ones, cannot do without a pianist, either when the performer is in training, or at the vast majority of his stage performances.  The following comments concern the role of the pianist in training of vocalists and instrumentalists, as well as the obligations of a pianist employed at the operatic theatre.

 

“Pianist-collaborator” of vocal and instrumental teachers

 

            This is a pianist working at a musical school, university or at an opera theatre. In educational institutions, he divides his time between participating in classes of instrumentalist and vocal professors, and individual lessons with students which have been commonly known as “collaboration with accompanist”. In the opera, the main duty of the pianist-collaborator is to play at run-throughs and technical rehearsals  with the conductor, as well as individual work with the singers.

            The aesthetic choices of the pianist-collaborator depend to a large extent on the instrumental teacher and the conductor. Similarly, during his individual work with students, and also with opera singers, he is to a certain extent obliged to respect the aesthetic orientation of the professor or conductor, and it is hard to imagine a situation in which his aesthetic preferences would stand in opposition to them.

 

Pianist-coach.

 

            This English term, increasingly popular in the musical community worldwide, signifies a combination of a pianist-collaborator and coach. It is most commonly used in the context of the performing activities of singers, including mature and independent ones. Even the greatest of them would find it difficult to cope without their coaches, as they need to co-operate with a pianist in developing their repertoire of operatic arias and songs.

            A pianist-coach is an independent artist who works on his own responsibility. He hardly ever performs in concert with singers with whom he develops their repertoire for recitals. Typically, the partners of vocalists for recitals and recordings are chosen, particularly in recent times, from among concerting pianists, even the most renowned ones, just to mention Pollini, Brendel, Ohlsson or Barenboim.

 

 

 

Why  “the pianist-collaborator” and not “an accompanist”?

 

            From the very beginning, the accompanist finds himself at a psychologically and artistically handicapped position in relation to other performers. His key task is to make the so-called soloist comfortable, irrespective of the soloist's status. The soloist can be a mature artist, or just a very young student or university graduate.

            Giving the name of “accompanist” to pianists who work at educational institutions of all levels and calling classes conducted with their assistance “collaboration with the accompanist” seems to me a gravely detrimental phenomenon whose negative ramifications, both psychological and professional, exert lifelong influence on the pianists and on their instrumentalist and vocal partners.

            A young, often very young, budding instrumentalist develops at the very dawn of his career the conviction that the fundamental duty of the pianist who works with him, and who usually is a mature, experienced artist, is obedience and focus on his comfort during the performance. “Accompaniment” to sonatas during instrumental classes is plainly a blameworthy approach, as it contributes to deformed relations between mature instrumentalists who forcefully and often rudely attempt to enforce on their pianist partners a subordinated, obedient attitude. Many pianists, for a variety of reasons including non-professional ones, yield to the pressure, usually with unsatisfactory artistic result.

             However – as a befriended New York pianist and critic once remarked – as long as professors of violin or cello discuss with their students violin or cello sonatas with piano a c c o m p a n i m e n t – it will be very difficult to develop such desirable, partnership relations. It is not only the interested parties – pianist collaborator who should promote the idea of partnership and the role of the pianist; the professors of instrumentalists and vocalists should be willing to accept it at least with the same, if not stronger, conviction.

            In school practice, the term “accompanist” should be replaced with “pianist”, which better reflects the reality; similarly, “collaboration with an  accompanist” should be replaced by “collaboration with a pianist”. This will create a realistic foundation for creative relations of instrumentalists and vocalists with pianists. A foundation, upon which fruitful partnership will blossom.

            The term “pianist-collaborator” seems to be a much more precise reflection of the actual role which the pianist plays in training of other performers. The pianist-collaborator provides invaluable assistance for the professor and conductor, acting as an extension of their thought. He helps young talents to mature, supporting them with his knowledge and experience, not only in professional but also in practical dimension. 

               Finally, an aspect which is perhaps the most important one. The pianist carries the greatest responsibility for teaching partnership in music to his students! Instrumental and vocal teachers’ right is to get fully focused on supplying the students with technical knowledge about using the instrument and with general professional know-how. However, no one can best the pianist in showing the students the way to achieve partnership in music which is the foundation for ensemble performances. There is only one condition: to do so, he must be a pianist and not an accompanist.

 

What should be the proper education of a vocal coach?

 

            Contrary to appearances, the key factor is the right psychological background which involves shedding the destructive conviction about the solo career as the only way to ensure a pianist's self-realization professionally and in private. This weed should be uprooted as early as possible in the teaching process. While teaching music, one should  primarily instruct students on how to communicate with another person; an instruction on how to use the piano should enable them to speak the language of music. Forget about career, the desperate chase after victories in competitions, the destructive desire for fame and  enslavement by sickly ambition which can never substitute talent, even with greatest efforts and self-denials. Talent will always defend itself and lead to the artistic triumphs, often in quite unconventional way.

            Regrettably, the distribution of talents has never been fair enough. How wise and healthy it is to accept one's own potential, even if quite modest. What treasury of beauty and joy, together with life's satisfaction, also in the literal sense, can be derived from working as a pianist-collaborator – provided that such work is not tainted with frustration, disappointment and degradation. The world of science is not composed only of Einsteins, either; one can be quite happy working as an ordinary lab technician; nota bene, without such technicians even the most valuable scientific experiment would have scarce chances for success. What a responsibility lies with the whole system of musical education which should protect the students against the soloist obsession and persuade them that a pianist has a whole plethora of valuable options from which to choose!

            Therefore, the key aspect of the process of education and professional training does not consist in my view in developing  par excellence instrumental and performance techniques, but in forming an attitude. Perfect preparation is, naturally, a  sine qua non condition of all artistic endeavours, and this, naturally, refers also to pianists-collaborators. I have ingrained it in my students that they can never, ever, under no circumstances and in no conditions, sit down and play a piece which they have not sufficiently mastered - whether they perform at a recital in the Philharmonic, or support a violin lesson in a primary school. Those who play pieces which they have not learnt, commit an offence against Art and profession, and they also hit an incline, unavoidably heading towards degradation and effeteness.

            However, I think that every pianist, whatever his specialisation, should never resign from playing solo. Even if he does not perform on stage too often, it is really worthwhile to start the day from Prelude and Fugue, keep in touch with Mozart and generally – never part with the basic solo repertoire.

            A pianist-collaborator working in opera theatres and a pianist coach should, during their university studies, get some instruction on basic requirements of these professions. It would be hardly possible to squeeze more into the curriculum which is already bursting, and perhaps there is even no need to do so. However, the Chair of Piano Chamber Music of Warsaw Music University has developed a post-graduate course for pianists-collaborators and coaches, including the technique of playing opera orchestral reductions, elements of reading the score, conducting, playing in  various clefs, simultaneous playing and singing various operatic parts, basic principles of voice emission, performance of Baroque recitatives,  pronunciation, articulation in foreign languages, elements of rhetoric and history of opera.

            The aforementioned requirements of preparing oneself individually for the performance and the unconditional requirement of constant work on solo repertoire remain unchanged. They are extremely important, because many opera pianists-collaborators who neglect their individual piano practice suffer from inevitable and noticeable degradation of the quality of their pianistic art.

            To avoid any misunderstandings related to the above remarks concerning the work of pianist-collaborator, let me emphasize that the mastering of the pianistic art to the highest extent possible is in my view the unbreachable condition, binding all and one throughout the whole education process and also during their mature professional activity: artists who have chosen the solo career, those who fulfil their life aspirations in fascinating partnership relations, or those who simultaneously pursue solo and ensemble options.

             

Conservative trends – progressive trends

            The two above tendencies concern solely the ensemble activities of a pianist. Briefly, backward tendencies are based in my view on the soloist-accompanist arrangement. Progressive trends are based on partnership relation of the performers.

            The soloist-accompanist relationship is crooked by nature, as it is a priori based on privileging one performer over the other. This translates both onto the interdependence of the performers and on the perception by the community. Worse still, it affects also the specific artistic result. The awareness of the “official” supremacy of one performer and equally “official” subordination of the other encumbers the final result of the performance – either to a dramatic extent, or affecting nuances which can turn a performance into a great artistic achievement.

            The backwards tendencies find their ardent supporters even among the most unexpected members of the community: professors who teach pianists, instrumentalists and vocalists, critics who are considered luminaries, various decision-makers, philharmonic societies and impresarios.  True enough, the effects of the struggle for the emancipation of pianists performing in ensembles are beginning to emerge coyly among pianists and professors. Although the “accompanist permafrost” persists, I do believe that spring will come, hopefully when I will still be around on this most charming of worlds. 

            Participants in a partnership arrangement are free persons who share responsibility for the artistic result of the performance. Their reciprocal relations are shaped by the structure of the musical piece. When one of them acts as the leader, the other is accompanying, but they quickly change roles, just as it happens in Spring Sonata.  There may be two of them or more, but the musical piece is just one. The final result of partnership performances is at times awesome, and it dramatically differs from those offered by the soloist-accompanist arrangement. Schubert's Songs recorded by Schwarzkopf and the emperor of accompanists Gerard Moore, albeit delicious, are incomparable with the same Songs recorded by authentic partners - Schwarzkopf and Fischer or Gieseking. Naturally, in favor of the latter ones.

Perspectives

            Aware of the fact that pianists constitute the most populous group of performing musicians, and also the most populous group of teachers and pianists-collaborators, I feel entitled to declare that piano chamber music is not a marginal, niche or peripheral problem for the performing community.  It concerns a large group of musicians whose professional proficiency affects not only themselves, but it also shapes to a considerable extent the performing and didactic qualities of orchestra instrumentalists and of vocalists – that is, almost all performing musicians.

            Piano chamber music, irrespective of its huge potential for creating art, cannot be overestimated as a  career and life-forming alternative for a huge crowd of pianists, wedged into a debilitating deadlock of solo career seen as the sole option for self-realization. The concept of ensemble performances based on the idea of partnership and the psychological attitude of being a partner and an artist developed in the process of musical education offers pianists a great chance to spend their life full of professional satisfaction, far away from resignation, degradation and all the other destructive forms of frustration.

            A discussion on the prospects of piano chamber music is in my view akin to forecasting, diagnosing and divining the unforeseeable.  Undoubtedly, the progressive and backward, traditional and futuristic tendencies are going to clash again and again. Strictly speaking, the conflict between the concept of the accompanist and the partner is not going to disappear as if touched by the magic wand.  The concept of the accompanist, overgrown with negative connotations, is still deeply rooted in the awareness of a major part of the milieu, including persons who boast professorial titles.

Regrettably, a huge majority of professors instructing instrumentalists and vocalists at all levels of musical education contribute to shaping an unfavourable, even negative image of a piano chamber performer. They bear a major part of the responsibility for the artistically deformed, crooked relationship between performers, which often remains so for life. Sadly enough, it is they who instil in their students the idea of “solo” sonatas by Beethoven and Brahms with “piano accompaniment”. For many professors of the vocal, the most desirable feature of a pianist is the ability to play softly and “not to disturb”. Another group deserving a mention in this context are newsmen, who also aggravate the situation, indirectly shaping the negative attitude of the general public who in the result gets accustomed to reading about “accompanists” in Franck's Sonata. 

Heralds of the idea of partnership work through the aforementioned, everlasting “permafrost of accompaniment” with considerable difficulty, but they are on the move! After a few years' existence of the Chair of Piano Chamber Music at the Fryderyk Chopin  Music University in Warsaw, the idea of partnership has been blossoming more and more spectacularly and effectively, nourished with zest and grateful enthusiasm of the most precious treasury of the University which is its students.

            The future prospects of piano chamber music pertain to a domain which is extremely sensitive and also very resistant to evolution – human mentality which is often lined with various shades of reluctance. However, I do believe in the ultimate triumph of the ideas of a partner and partnership. One of the reasons for my confidence is the fact that it affects a multitude of pianists involved in all forms of ensemble music. I am deeply convinced that  this multitude often sees the measurable, practical issues of daily life as less significant than the need for the sense of dignity stemming from being appreciated as a perfectly valuable artist.  

            I decided to include here this brief text on piano chamber music which I wrote in 2006. It repeats some of my reflections, but also includes a more extensive discussion on the Chair of Chamber Music. I admit to be the father of the concept of this special university structure and I consider it to be the third of my children. Even now, a few years after I ceased to lead it, the Chair successfully upholds the atmosphere born from my concept of playing in partnership. Not parallelly or subordinately, but in partnership and freedom, when all the participants in the performance contribute to a common work of art without giving away their identity. I used to play so, I used to teach that. I am happy that the Chair of Piano Chamber Music has not forgotten about me. 

 

 

Chair of Piano Chamber Music (CPCM)

Idea and reality

 

 Origins of CPCM

         In the 1970’s, professor Bogusław Madey, Rector of the Fryderyk Chopin Academy, offered me the post of Head of Chair of Chamber Music. I had a clear vision of that department’s structure and character, and I accepted on the condition that it would be a Chair of Piano Chamber Music and not of a body dealing with the ensemble playing of all instrumentalists. I did not feel competent to preside over a division concerned with string or wind instruments. Although the professional and psychological foundations of ensemble playing are the same for all non-solo performances, piano playing has its own characteristics.        

         This is a consequence of the simple fact that a pianist can perform without any other musicians. One could even think of a pianist achieving world-wide fame exclusively as a solo performer without any partners except perhaps a conductor. All other instrumentalists, including singers, are largely dependent on the participation of a pianist, both in performance and in the learning process. 

         I have always believed that one of the most fundamental duties of a Chair of Piano Chamber Music is to offer a pianist the necessary professional and psychological tools required for fulfilling this auxiliary role for other instrumentalists and singers.

         Here I would like to pay tribute to the Rector of the Academy, professor Bogusław Madey, who immediately approved of the idea of a Chair of Piano Chamber Music charged me with the responsibility of becoming its head. With one exception, all the subsequent authorities of the academy were equally enthusiastic. This resulted in the reinstatement in 2002 of the Chair, the absence of which had been regretted for several years.

Conceptual foundation of piano chamber music and CPCM

         I have defined my views on piano chamber music as the ideological basis for the functioning of CPCM in the paragraphs above, including in them what I think to be the most significant. For the sake of clarity let me recapitulate the essence of those views in the form of points:

·       The relationship between performers should be based on a willing partnership. Developing partnerships is surely the most fundamental requirement of any collaboration, including those involving music. The pianist is a partner of the instrumentalist and the vocalist, and the instrumentalist and vocalist are partners of the pianist.  CPCM intends to dispense with the concept accompanist and to promote the concept partner.

·       There are two forms of a pianist’s artistic activity: solo playing and ensemble playing.  Should any conflicts appear between partners they are to be solved by means of negotiation rather than orders. Both forms of piano playing are complementary: they both require an array of skills and both call for a non-compromising pursuit of perfection. 

·       The first duty of a musical academy or university is to educate and shape an artist to be a master of solo and  master of ensemble playing. When a pianist performs in an ensemble, the relationship between the musicians is determined by the structure of a musical piece and not by a hierarchy of the soloist-accompanist type.

·       The leading task of CPCM is to shape an ensemble performance pianist by offering him/her professional and psychological background as well as forming the attitude required for this type of piano playing. Training for the job of a coach, or the so called ‘professional accompanist,’ should take place during post-graduate courses.

·       The "accompanist" mentality has a negative impact on the final result of a group performance: even if the influence is not dramatic, it is significant enough to make the difference between a great and an average performance.

·       The concept accompaniment concerns the relationship between the leading and accompanying elements of a musical piece and not the pianist’s part.

 

               The idea of piano chamber music relies on two assumptions. First, that partnership between the performers is based on the structure of a musical piece and consequently on the relation between the leading and accompanying elements of the work itself.  It is not based on the conventional relationship between a soloist and accompanist. Second, that there are only two forms of a pianist’s artistic activity: a solo performance, and a group performance. Both forms require an array of  flawless piano skills.     

 

Artistic and professional aspects

         The artistic aspect of piano performance has always been dominant in my approach to ensemble playing. Although the details of my views may have evolved over time, and a slight formal transformation has taken place, I still believe the artistic aspect is the most important one.  The significance of the functional aspect of piano playing is undeniable, yet it is a distinct strand, calling for a different treatment.  Since in my perception poetry co-exists with prose, the spirit co-exists with the physical and the abstract co-exists with the concrete, I place artistic matters in the respective realms of the first concept of each pair, and the professional, functional matters in the realms of the second. The two realms are obviously inseparable and in all their fascinating, multifaceted complexity they make for a complete picture of the pianist-artist as an ensemble performer.

Main obligation of a music university

         The main task of a musical academy or university is, in my opinion, to educate an artist to be a master of solo and a master of ensemble performance. Training a student to be a “professional accompanist” or coach should belong to post-graduate studies, preferably in the sense of the post-MA program, or alternatively in the sense of M.A. studies. Such training should be conducted in conjunction with continuous work to perfect the pianist’s skills, and is a life-long obligation of every pianist, whether soloist or ensemble player.

Structural and conceptual problems of CPCM

           Initially, there seemed to be some organizational obstacles, such as combining two separate subjects taught in the Piano Department, “Accompaniment” and “Chamber playing,” into one called “Piano chamber playing.” This, however, proved unexpectedly easy to do. The true difficulty lay in the attitude towards piano chamber playing that was felt by a part of the music community.

         There was a deeply-rooted idea that there are two kinds of pianists: a solo pianist holding the exclusive right to be called an artist of the piano, and a non-solo pianist who was obliged to accept a subservient position. The non-solo pianist would often be denied the status of an artist, or even  decent billing.

         This view on pianism was by no means confined to the Warsaw community of the time. The proponents of this outrageously ill-founded and fossilized idea can still be found world-wide. Relentless attempts at crushing it are inscribed in the CPCM’s  manifesto and encouraged in daily activities.

Implementation of CPCM’s mission

         Since I accepted the position of Head Chair, I have been obliged to voice my opinions and act accordingly, disregarding reactions of astonishment, irritation and even  contempt shown by parts of the community. My efforts have produced a number of positive effects.  Let me just mention one of them, hoping that this will not be understood as revealing a ‘top secret’ of the Piano Department Board.  The first vote on reinstating CPCM after a few years of suspension ended in an almost unanimous NO, except for three members of the board who were chamber piano players themselves. As I remember, the next vote, which took place some years after the first, ended in an almost unanimous YES , with only one voice abstaining.

            I still consider the CPCM experience to be one of the most fascinating professional adventures of my life, even though I am no longer formally a member of the University staff.  The adventure would not have been possible without the University’s general atmosphere of openness to new ideas and the supportive attitude of its authorities, and without the enthusiasm of a number of free and independent thinkers. I had easily managed to convince them of my views so that they whole heartedly supported my struggle for the emancipation and professional dignity of chamber music pianists. 

         I mention my adversaries with due respect since our professional arguments facilitated my full appreciation of the problem and in fact turned out to be really helpful. Our current mutual contacts are a source of genuine joy for me as they are characterized by feelings of understanding, solidarity and good rapport.

A few reflections on teaching “profession” and “vocation” at CPCM

            The concept of profession embraces all the instrumental skills, general musical skills as well as the humanities and psychological knowledge – everything which actually creates the value of a performing artist.

            “Teaching the vocation” means chiefly the training  which allows to undertake the role of a   coach who cooperates with music theatres.  Such training is addressed to persons who make a conscious choice to take up this role.

            Professional education has always been in my view the paramount obligation of the CPCM.  Vocational education, although included in the CPCM's scope of competence, should rather be positioned as a post-graduate study.  In my opinion, the very concept of such study as well as its implementation in local conditions still require thorough reconsideration.

            The work as a pianist-collaborator of instrumental and/or instrumental teachers actually does not require any special training, besides the ingrained, life-long imperative of preparing oneself  for the work  as perfectly as possible.

            Generally it might be possible within the framework of the hitherto teaching formula followed by the CPCM to  provide professional and vocational training for a chamber pianist.  The basic scope of professional training might encompass an annual seminar and practical demonstrations of classes performed by experienced professionals.  The basic condition for the success of a coach and a pianist-collaborator of instrumental and/or vocal teacher is the active approach of the interested parties, combined with the sense of duty of absolute,  perfect preparation for the task at hand.

            To avoid any possible misunderstandings: “vocational training” is by no means an antithesis or negation of the CPCM's ideals. The whole educational process at  the CPCM is based on artistry and partnership. This foundation, developed and strengthened by the CPCM throughout the whole period of study, should serve as a basis for the whole artistic life of a pianist, whenever he sits down to play chamber music  in an ensemble.

The present day of CPCM

         CPCM’s activities are still concerned with building and strengthening the ideological foundations.  This takes place on two planes: organizational and psychological.

         The plane of organization includes academic curricula, examinations, tests, and relations with the instrumental department and the vocal department of the university.  Co-operation with the other departments is vital for establishing links between pianists and other instrumentalists and singers in the learning process. The psychological plane involves activities aimed at continuous promotion of the partnerships from the very moment a student is confronted with ensemble playing. 

          I also believe it is very important to make a student realize as early as possible that ensemble playing does not require less perfect preparation than solo playing. On the contrary, owing to the psychological and professional complexity of common performance, the expectations may be even greater.

         CPCM attempts to introduce ensemble piano playing into the curricula of musical schools at the primary and secondary level so that ensemble playing may be taught in conjunction with individual playing at all the levels of musical education, from primary school to university.

         CPCM has also taken steps towards changing the name of the subject called ‘Work with accompanist’ to ‘Work with pianist’ at the instrumental and vocal departments of all musical schools. The professional consequences of such a change would be a new understanding of what collaboration involves, both by the artists themselves and by the community. Last but not least, this would also enhance the artistic quality of performance. At the Fryderyk Chopin University of Music such changes have already taken place.

         The idea of partnership is promoted at seminars, conferences, and master courses devoted to partnership. The benefits resulting from joint performances with students from other departments are not confined to concerts, but include also the preparations involving the instrumental and vocal pedagogues. The selection of concert themes initiated by CPCM and realized jointly with the other departments include Krzysztof Penderecki’s chamber music, American, French, and English ethnic music, monographic concerts dedicated to Hugo Wolf or Dmitri Shostakovich, and even  cabaret and musical comedy.  These concerts played a vital role in developing students’ sensitivity to and awareness of the sense of partnership.

         A duo is a kind of arrangement which epitomizes all the ideological and professional tenets of partnership. CPCM is attempting to establish a regular, perhaps even annual, competition of duos consisting of a piano and voice, or a piano and any other instrument (excluding two-piano duos).

         There are actions undertaken at CPCM aimed at providing the framework for training professional coaches who would participate in educating instrumentalists and vocalists, or who would be employed in opera houses. These actions focus on post-graduate studies as it is virtually impossible to add more material to the already overloaded curriculum of the B. A. program. Besides, the decision to choose a particular form of artistic activity should be made not by first-year students but by graduates who are mature enough to realize their talents and preferences as pianists.

         I am inclined to think that in the sphere of mental and psychological experiences, the problems encountered by CPCM in its daily operation do not diverge from those encountered by others trying to implement changes to the well-established status quo. The popular saying The devil is in the details is reflected in the reality of CPCM, too. As a counterpoint, I often quote another proverb: Better the devil you know, than the devil you don’t know. In the case of the piano chamber music, the metaphorical devil is to be found in the deeply rooted prejudice regarding the “traditional” soloist-accompanist relationship. This prejudice, found in some quarters, has pejorative connotations for all concerned. 

 

CPCM prospects

         Considerations of the future prospects of CPCM are inseparably associated with considerations concerning the future of all the arts, including music. I personally look into the future without fear, believing in the eternal truth “Ars longa, vita brevis”. I am deeply convinced that art is invincible, since the desire for beauty, poetry, and music is inseparable from the human spirit and for this reason I feel no fear for the future of music and musicians. The realm of high art and performances of masterpieces seems not to be threatened by the flood of kitsch and media fast food. Great performances attract huge audiences who come to opera houses and concert halls to enjoy the sheer beauty of music, even when they are not widely advertised.  Hence, my conviction that an arts university should always remain faithful to its duty, which is to plant in the minds of youth an interest in art and the need to strive for perfection. \

        

The Collaborative Performer

            In the English-speaking world, especially America, the term Collaborative Pianist has appeared in recent years, and is now beginning to replace the term accompanist.   The former, although positively meant still seems closer in spirit to the sense of pianistic service. In order to convey the sense of true collaboration and partnership, it invented a more adequate name Collaborative Performer, also preferred at CPCM.

       During the common performance of a musical piece by a pianist and another instrumentalist or vocalist, collaboration applies to both parties, not just the pianist. The pianist is a partner to the instrumentalist in the same way as the instrumentalist is a partner to the pianist. For the sake of illustration, let me mention the beginning of the Beethoven’s “Spring” sonata, where in the first 10 bars the pianist accompanies the violinist and in the next 15 the violinist accompanies the pianist.

            The need for reciprocal partnership figures evidently in all kinds of ensemble performance, including music for the piano and voice. CPCM considers it to be its natural duty to make this point clear not only to its own students but also, however tactfully,  to partners collaborating with them. That is why, perhaps, if it were necessary to find a two-word phrase epitomizing the purpose of the existence of CPCM, it would be “teaching partnership”.

Unique character of CPCM

         Obviously, CPCM is not the only institution in the world dealing with piano playing in an ensemble. Practically, each musical university has a separate body dealing with this domain.  

            The Chair of Piano Chamber Music if not the only institution in the world is certainly a unique undertaking. For the first time in the history of university musical education in Poland and probably abroad, a chair specialising in ensemble piano performance opened in a piano department. For the first time in history, two rightful chairs, of solo and ensemble performance, came into being side by side in a piano department, the stronghold of the pianist-soloist concept. The Fryderyk Chopin University of Music has the right to feel proud of its courageous and unique decision.

         I am certain that the teaching of partnership by CPCM, providing the professional and -- what is equally important -- psychological basis for partnership, is possible in the case of all students.  The most significant elements of education are those pertaining to piano skills and to the awareness of the idea of partnership. These two elements are also crucial for the professional functioning of all instrumentalists and vocalists.

Forecasts for CPCM’s future

         Predicting the future of CPCM is inseparably tied to  generational change. I am unable to foresee what our graduates will do with the knowledge we have passed on to them. What  they will keep, what they will reject, what will happen tomorrow, what progress and evolution will bring remains to be seen. The only certainties seem to be that art will not cease to exist and develop, and that the idea of partnership is of  great value.

         The very existence of CPCM proves that the ideas described in this essay are possible to realize. The atmosphere of partnership being the basis of education in piano chamber playing results in the young people’s enthusiastic attitude to their studies. I do hope that the generations to come will preserve that enthusiasm at CPCM.

Relationship between the spirit and the matter

         As I have already mentioned, I consider art, artistic values, partnership, attitude and other related concepts as being of the spirit, and the problems of doing the job of a coach or professional accompanist as being more practical.  In this sense, the atmosphere at CPCM  undoubtedly belongs to the spirit. 

         Here the old problem of the relationship between the spirit and the physical appears. To my mind, the spirit has an almost unlimited power to make things happen. It is the driving force behind development and progress, having given the impetus to the creation of “Solidarność” (“Solidarity”) movement, it eradicates obstacles on the way to freedom, both small or local, and great, such as the Berlin Wall.

        Therefore, it seems that the outlook for the future of piano chamber music in general and at CPCM in particular is bright. It is based on the deeply felt conviction that the final triumph of the idea of partnership is inevitable and that the accompanist mentality, still widespread in the musical community, will have to yield to it.

            The harbinger of partnership is laboriously making its way to the surface through the stale ground of accompanying. But it is making its way! In the Fryderyk Chopin University of Music for instance, only a few years after the launching of the Chair of Piano Chamber Music, the concept of partnership is blossoming ever more beautifully and effectively, nourished by the grateful enthusiasm of the University’s most valuable resource: its Students.

      In the final chord of this essay I would like to remind the reader that the main idea underlying the activity of CPCM is to equip the graduate with the professional and psychological qualifications for group playing, to educate him/her in the spirit of partnership and in the awareness of being an artist employing their talent – the gift bestowed upon them -  and the acquired skills in the service of Art.

 

 

Epilogue

 

On Reiterating

            I have a slight suspicion that my Pleno Titulo Readers may have noted the fact that I am reiterating various issues and returning to concepts and phrases which have been mentioned earlier, etc. Here's my counterargument: these reflections are not a textbook or a lecture on methodology. My intention was rather to give them the structure of a musical piece with a more relaxed form. Many compositions return to motives which have already been presented and slightly modify their form or context, sometimes in the atmosphere of an ostinato, don't they? Not to mention the concept of the Leitmotiv. My Finale will also include a few loose reflections which are only seemingly unrelated to teaching ensemble performance and partnership.

Regrets for Speaking About “My Charges”.

            Please accept my apologies for the term “charge” which seems slightly uncomfortable, and yet I have to use it in place of a more natural expression “student” or “pupil”. Regrettably, certain pedagogical circles of pianists/soloists at universities categorically oppose using the term student/pupil by a teacher of ensemble performance and partnership, considering it a privilege reserved solely for teachers of solo performance. Without further discussion on the justification or atmosphere of such statements, I just decided to duly respect their claim.

Lack of Direct Instruction in Interpretation

I also envisage a reproach for not including here any reflections on direct instruction in interpretation and beauty. It just stems from my personal perception of these concepts. I see the performing on the professional level as a phenomenon involving a vast amount of knowledge and skills which are not only par excellence musical or strictly instrumental, but also belong to the domain of the knowledge of life, education, vastly understood culture, plain good manners, psychology, philosophy and even marketing and social engineering. Agogics, articulation, dynamics, leading and accompanying elements, rhythm, melody, and even timing and narrative can be identified and measured almost unambiguously. I can teach them practically to anybody with relative ease, even if he is very modestly talented.

            However, interpretation and beauty are incredibly delicate matters.  I perceive them as belonging to the world of the spiritual, abstraction, mentality, thoughts and feelings. In this domain, the partnership between the master and his apprentice is put to a difficult test, and most frequently it is the maestro who has to pass the examination, and not the apprentice. I do not even try to conceal the fact that I have always taken utmost care to encourage young people to boldly develop their interpretation and sense of beauty, without being afraid of committing an error or confronting my own interpretation and sense of beauty.  In my view, teaching people is not just a simple transmission of a set of information on aesthetics, history of art and the humanities done as comprehensively as possible but it is primarily a dialogue and a fascinating process of creating a man and an artist. It seems that this is a perfect place to refer to Socratic adage that “…the art of teaching is like the craft of the midwife, as it assists to give birth to a new personality”.

            In order to avoid any possible misunderstandings concerning my relations with my charges, I would like to reiterate strongly that I neither leave them alone nor observe their independent endeavours from a distance.  Contrary to superficial conclusions which one might have drawn from my reflections, I do care about my charges not only as their cicerone in the world of Art and profession, but I also support them in the process of achieving maturity abound with difficult choices, worries and  cataracts of various nature. Undoubtedly, being true to myself, I just try to keep away from the atmosphere of excessive care and intervention. However I am mindful of the warning from a charming tale about a hen which mothered a flock of chicks which accidentally included only ducklings. Let the image of a hapless caretaker who anxiously watched her inconsiderate children safely floating away over the depths which would surely be her death, remain a jovial memento. 

Before and After the Performance     I am positive that reflections from various domains of human experience may be – surprisingly enough – more than useful and necessary for achieving professional perfection, and one of these domains is social engineering. Albeit not directly related to performing music, it is important for concerts.  In my opinion, performances are not limited to playing the music but they begin at the moment when a performer appears on stage and end when the last guest heads home from the green room. It seems that a vast majority of the audience do not come to concerts in order to assess the performer – this job is left to critics, teachers or sophisticated music aficionados – but to experience something beautiful, to be moved. Reactions of the listener begin with the appearance of the artist and are induced even by the manner in which he approaches his instrument and the way he treats it before he begins playing. The happening is already on. After the performance, some of the listeners want to get close to the performer. They visit the green room not only to share some pleasantries with the artist, but to see him close up, to look in his eyes, touch his hand and hear his voice. In my view, all these elements belong to the spectacle offered to the audience. Therefore, I do not hesitate to say that a listener who appears in the green room after the performance deserves particular attention. The great Arthur Rubinstein was a master also in this respect. He had a unique gift of making even the most anonymous listener feel that the great artist, is there only for him even if for a brief moment only. Many years ago in Paris, I was one of the dozens of anonymous listeners queuing to the green room of the Maestro. 

Apprentice-Master Relationship after the Performance

            It might be worthwhile to discuss here the relationship between the apprentice and the master directly after the performance. In my opinion, after descending from the stage, be it a grand one or just a school stage, the performer remains in a very special spiritual state. He is vulnerable, excessively sensitive, at times happy, at times tormented. He expects considerable tact and certain protection, and also needs time to settle down. The worst thing which can happen to him at that moment is a critical, or - worse still - a negative assessment of his teacher, even if  justified. Therefore, I always do my best to show my charges a friendly, smiling face just after the performance. The time for a critical analysis will come on the next day or even later. I still keep in my memory the face of a teacher – luckily not mine – who just after crossing the green room's threshold began to criticise and lecture me in an aggressive manner.  Immediately, almost instinctively, I asked him delicately but resolutely to leave me alone. 

Preparing the Ensemble for Coming on Stage

            The manner of entering the stage and preparing for the performance seems to be of considerable importance for ensemble concerts. The process of tuning the instruments can either be discreet, and even elegant or turn into an unpleasant or even slightly irritating experience. I encourage my charges to use a trick which I have often used. It consist in tuning the instruments as finely as possible with the piano when the hall is still empty, just to save the audience from the screeching of the strings which can be quite vexing. Then, it is enough to check discretely if everything is still fine, just before commencing the performance. And just a small comment on the pianist giving an A. It can be done in a variety of ways, depending on the preferences and agreement with the instrumentalists. Some of them want to have a single sound, others request a minor, major seventh or ninth chord. However, the pianist has only one obligation: whichever the request, his sound must be very beautiful and melodious, instead of some random jab at the key.  I most frequently used the pedal as well, to make the aliquots more audible. I also suggest that the “A” should be given at the moment agreed with the instrumentalists and only upon their request. \

Social Engineering and Marketing

            Hypocrisy aside, I would like to share my reflections on social engineering or even plain marketing. It seems to me that these phenomena do not pertain solely to the modernity. If I remember correctly, many geniuses of the past, with Mozart and Wagner in the lead, were quite resolute in establishing their place in the market, if we choose to give it these names. At present, it is the job of impresarios and PR agents. I consider it really advisable for every performer, even a young one, to have a brief recital repertoire which he can perform any time, without much preparation. For a Polish pianist, a diversified mini-recital of Chopin's works including Mazurkas, the Polonaise and the Revolutionary is just indispensable.  For understandable reasons, he is expected to perform Chopin, just in case some Sol Hurok wishes to hear him by lucky coincidence. It would be quite a faux pas to  say “Sure, I'm at your service but let me just go home for a couple of hours to practice.” Such situation is not just an invented fable. Once, a mini-recital of this sort which I performed in private resulted in my concert tours in Italy and Canada.

Expectations towards a Polish Artist

Just a word about special expectations towards a Polish artist. There is no point to compare by numbers the renowned Polish composers with Germans, Russians, Frenchmen or Italians whose works are included in the repertoires of all the performers worldwide. However, I see it as our duty to promote Polish art abroad. I was very lucky to participate in performances of various marvellous partners on the most prestigious stages in the world, in Vienna, Paris, London, in New York's Lincoln Center, and these artists had always included Polish musical works in their repertoires – in reasonable proportions, if not exclusively. These works had always been received with admiration combined with disbelief, often in the atmosphere of sensational discovery. There is no problem whatsoever with Polish piano, as well as vocal/piano and instrumental/piano repertoire. I also greatly encourage ensembles with which I work to include in their repertoire Chopin's Trio, or Quintets by Zarębski or Bacewicz.

„You Have Played It Just Wonderfully!”

            I have always been aware that my charges are not monoliths but multi-element structures. A change of one of such elements may result in hardly foreseeable reactions in the personality. One of my most amazing experiences is a case of a female student who had very modest talent, and apparently suffered from a complex about her beauty, or rather the lack of it; she just looked sort of washed out. One day, while working on Brahms Quintet she played a few bars of the leading element on her cello in a very satisfactory way. “You have played it just wonderfully”, I cried spontaneously in the presence of the whole ensemble. She just started to cry in response and said “Sir, I have never heard anything like this from anyone!”. Actually, I was quite moved by that. But soon afterwards, the young lady had underwent quite a change. She got herself a new, attractive haircut, began to use make-up and, wonder of wonders, she actually played better. It seems that just a few words exerted quite a significant influence on her life.

I have mentioned that story because of the simple difference between playing in an ensemble and solo; solo music, as the name suggests, is performed alone, while ensemble performances require the direct participation  of one or more persons. A solo artist can surround himself with a cocoon in which he plays on his own account, and lives through his own truths and ideals. For a soloist, a performance is his own, private property. For an ensemble, the property is always common. I have always seen it as one of the fundamental differences between solo and ensemble performances.

„Intentional Playing”

            Ensemble performances may also constitute an effective antidote to the „intentional playing”. This phenomenon occurs when it seems to the artist that he plays piano and legato, flexibly and in multicolour, while the actual effect is surprisingly mean. Many years ago, after finishing a professional recording session in a radio studio, I was amazed to hear the result of my efforts, which was a flat, monotonous performance with narrow dynamics. This serious signal made me focus my attention on listening to the dynamics and articulation as if from the outside. 

The Partner Is the Primary Listener

The partners in ensemble music act as the primary listeners to one another, and also as judges of sorts. Solo artists can only listen to themselves; ensemble musicians also have to listen to their partners, participate in one another's narrative and jointly create the dramaturgy.  I greatly encourage my charges that they should not only point out to their partners some incidental errors which have not been noticed earlier, but also  meet reciprocal expectations, particularly concerning the development of dramaturgy. I used the word “reciprocal” here on purpose, to emphasize that it is not only the pianist who should meet expectations of his partner. The partner is equally obliged to meet expectations of the pianist. I see partner interaction as an extremely fertile ground for all kinds of psychological benefits to develop.  Also, it is an incessant test, not only of professional skills, but also, and to an equal extent, of the universal values of a person, his wisdom and the culture of being together. Such is my vision of authentic, musical partnership, however idealistic it may seem.

Italian Language (Musical Indications)

 

A few words about Italian, which truly is an international language of musicians, as most of interpretative indications are written in it. Contrary to the common, false opinion, Italian is extremely precise, probably excelling English in this respect. I find it quite irritating when Italian indications are understood only as approximations, which happens quite often. Let us take as an example  forte, ritardando, ritenuto and rallentando. It is quite rare to hear  that  forte means “strong” or “forceful” and not “loud” as it is often falsely interpreted; ritardando and ritenuto are commonly understood as “slow down”, although ritardando means “retarding” while ritenuto - „withholding”, and only rallentando can be literally taken as “slowing down”. To me, these differences are quite significant. I decided to discuss this problem in the context of ensemble performances. Flippant or nonchalant interpretation of indications  of a soloist is his private decision for which he alone bears responsibility. For an ensemble, the understanding of the indications is a common issue, as the ensemble shares the responsibility for anything it does.  I indicate this problem to my charges, encouraging them to continue learning foreign languages, with Italian being simply a must.

Acoustics Rehearsals Before the Performance

 

A reflection on acoustics. In common opinion, it is necessary and useful to test the acoustics of the performance hall.  I do not share this opinion and would even venture to say that an acoustics rehearsal can be misleading or even harmful. This is due to the presence of the audience. The acoustics can change dramatically even when only a small part of seats is occupied. The sound of the instruments is totally different in an empty and full room. The dynamic relations between partners also differ. I am not against the obvious and necessary need to rehearse in the performance hall, mostly to get acquainted with its appearance, the shape of the stage, arrangement of the instruments, entrance and exit, and – for the pianist – to strike an acquaintance with an unknown instrument.  In order to avoid any surprises, I definitely suggest to replace encoded dynamic relations with readiness to immediately adapt and correct things, depending on the unwinding acoustic situation. In my opinion, such attitude is be a must for any ensemble performances, without exception. One more minor and jocular reflection. It might seem slightly malicious, but I have noticed that when assistance is requested in a concert hall, an instrumentalist or vocalist will always complain that there is too much piano, while the pianist will almost always think that the presence of his instrument is too low. 

The Selection of Musical Examples

 

The musical examples quoted in my book have not been specially selected. They are just random examples which came to my mind. I could give an almost unlimited number of such examples, as my reflections concern practically every non-solo piece. I can teach basics of partnership using any musical piece. However, my attitude quite sharply contrasts with tendencies which seem quite popular in certain circles and countries and advocate teaching vast quantities of songs, sonatas, trios and all the other feasible arrangements.  I think that it is more beneficial to prepare one work or just a few of them, to serve as a model which then has a chance to remain in the repertory of professional tools and be useful for developing partnership. This allows also the performer's initiative to develop freely, without permanent interference of an opinion-giving professor, which relieves a young person from active attitude and responsibility for his own music making.

„Teacher” versus “Professor”

            A word about “teacher” and “professor”. I see a clear difference between these terms. To put matters very simply, in the teacher/student relationship it is the teacher who is usually active, while the student adopts a passive role as the object of the teaching process. In the professor/student relationship, the relations change significantly. The student is active, while the professor is seen as an advisor, consultant and master. Some over-protective professors are often unwilling to leave the role of a teacher and they lead their charges by the hand, often until they retire. That is, until the students retire. Sometimes I wonder whether “teachers” should work as academic professors at all.

Academic Relationship between Master and Student

My style of working with my charges has always been based on the academic relationship between master and student, with its significant foundations of partnership, dialogue and co-operation. Such partnership has ranged between total inability to communicate and creative, problem-free commonwealth of thought, both in the case of outstanding talents, and of those with more modest abilities.  I dare to say that such bold, yet not quite popular attitude has been always rewarded with easily noticeable satisfaction and joy of young person who were able to make a step on their own, to make their own aesthetic choices. This holds true for any performer, but in my opinion, particularly for ensemble artists. True partnership and creation are hard to imagine without immediate evaluation of one's own role and the context in which one participates in the work on the performance. 

Sin and Error

            Just a general comment on sin and error. I see them as inseparably related to the consciousness. A person unaware of error and sin actually does not commit them. Conversely, when he is aware of being stuck deep in the error, if he knows that it is necessary to prepare himself thoroughly for a performance and yet he fails to do it, he commits a sin against art, his partners and himself. I do my best to protect my charges from these sins, chiefly by instilling in them a lifelong, absolute imperative of perfect preparation. 

Two Aspects of the Concept of Error

            An error? I can see two aspects of this concept. The first of them is quite common and concrete, when a defect just happens. The second aspect is psychological and concerns the fear of committing an error. At times, I think that this fear is more dangerous than the error itself.  It affects the teachers and the students alike. We tend to forget that erring is a natural cost of progress and development, and the process of learning. Errors committed by others provide an important guidance on what to avoid, while one's own errors teach wisdom and efficient action.  Errare humanum est, isn't it? The awareness of this fact is a protection against depression and destructive doubts, considerably neutralising the aforementioned fear, and providing an opportunity for positive understanding and a dash of ordinary, human indulgence, also for one’s own imperfections. Consequently the fear of committing an error ceases to be a paralysing, immobilising phenomenon which in particular affects any activities performed on one's own.  Encouraging my charges to various independent ventures, I keep telling them that this Earth has yet to see, a person who has done anything perfectly and impeccably from the first time, and most probably will never carry such an ideal. In ensemble performance, when errors are committed in the presence of witnesses and are therefore additionally stressful, special attention should be paid to the attitude to one's own and partner's errors.

Seven Deadly Sins of Ensemble Performance

            As one of the last chords of the Epilogue, let me share a catalogue of the seven “deadly sins” of ensemble performance. Sit back and enjoy:

            The First Sin which may prove the most deadly, is the insufficient preparation of the piece. Contrary to quite common opinion, an ensemble piece cannot be performed after just a few runs. Well, actually it can be done and it is, regrettably, done by quite a number of artists. However, such performance is just cheap stuff, a musical equivalent of  fast food.

             The duty of perfect preparation should be encoded in the mentality of every performer for life, whether he plays solo or in an ensemble and whether he is an immense talent or just a modest artist.

Pianistic creations such as Gieseking's performance of Mozart Songs with Elizabeth Schwarzkopf, or Alicia de Larrocha's rendition of de Falla's Songs, with Victoria de los Angeles are a living proof of the grandeur of pianist's partnership with a vocalist. Actually, Schwarzkopf told me herself how she was quite impressed by the amount of time spent by Gieseking while working on those seemingly easy Songs.

 The Second Sin is parallel playing.  Each of the musicians is performing his part, perhaps even fluently and correctly, but without any relationship with the partner. Obviously, such soliloquies can never turn into a dialogue which is de facto an ensemble performance.

            The Third Sin consists in the aforementioned defects of phrasing. Phrases are often recited without comprehending their structure, without elementary respect for punctuation. One phrase chases another while it is still sounding. 

            The Fourth Sin is neglect and carelessness with regard to dynamics, articulation and agogics.

            The Fifth Sin: Lack of knowledge of the partners' parts.

            The Sixth Sin: Disregard for the fact that everyone is playing the same, complete piece and not its individual parts.

            The Seventh Sin: No differentiation between the leading and accompanying element and no respect for their interrelations.

 

The Character of Reflections Presented in this Essay

            I have jotted down my personal reflections on partnership and teaching it. They are the fruit of experiences and observations, errors and defeats and successes achieved within my capacity. True to myself, I have only hinted at errors or rather at things which I consider errors. I shared my reflections, deeply convinced that anybody can either accept them or reject. Taking full responsibility, I consistently made my charges aware of them at the very first meeting and afterwards. Believe me, none of my reflections are fabricated or contrived. I have put my signature under them, I adopt responsibility for them before myself and – which is more important – before the reader. Similarly, I share them with young people during musical get- togethers which are commonly called lessons.

            I am fully aware that the partnership arrangement between the student and the master, which I have described here in two options: solo and ensemble, is just one of many possible options, it is just one extreme of the scale. The other, opposite one, is the option of over-protectiveness, excessive intervention, orders and hand-holding, permanent lecturing, categorical direction without any protective space, and aesthetics which has been restricted to the only acceptable version which, needless to say, is the one conceived by the professor. Some friends told me that their professor, lecturing at one of the most prestigious musical universities in the world, used to send out of the room students who displayed even the tiniest disobedience. I have observed the relations in some other centres which were guided by the old Russian maxim “shut up and do as you've been told”. Such option may be quite effective. I suppose there are many others, which can be placed in various locations along this scale. This would just be a confirmation of the complexity and immense scope of the problem, and the truth which says that there are many roads leading to the destination.

„Methodology of Teaching Ensemble Performance to Pianists”

            I am well aware that it would be impossible for me to discuss partnership and teaching partnership in a single dissertation. I cannot imagine writing a “Methodology Of Teaching Ensemble Performance” or a similar book. The problem seems almost impossible to cover, as it encompasses plenty of doubts, and an amazing combination of general aspects which can be systematised only to a very limited degree, with those which are absolutely individual and evade any regulations.  I can just hope that the aspects which I tried to present in an understandable way, may come useful. They have already proven effective and brought positive results throughout many years of my teaching career. I will be happy if my verbal and written reflections leave even a small trace in the memory of people to whom they had been addressed. 

Restatement

            This text's statement is a general reflection on solo and ensemble performances. Time has come to restate it, also with a general reflection on the relationship between ensemble performers. I feel that it should also be partner-like in character. Actually, save for special situations in which a service is being provided, they should never turn into soloist/accompanist relations.  It seems to me that this collection of my reflections clearly enough explains the essence of musical partnership and partner-like relations between performers. This also refers to the concept of the accompanist and accompaniment, which describes only the relationship of the leading and accompanying elements of a musical piece and not between the performers.

 

 

 

 

A reflection on the psychological aspect of ensemble performances by a pianist (a large fragment of a presentation at a scientific conference “Piano Music” at the Musical Academy in Gdańsk, 2004)

 

         

 

 I. Solo vs. Ensemble Performance

 

             The following reflection serves as a motto of this presentation: “The musical community generally perceives ensemble performances of a pianist as less valuable than solo performances”.

            The problems start right here. Such reflection, being a certain statement, should be proven in some manner, the more so that it has been voiced at a scientific session, to an audience which has well-justified reasons to expect a clear and uniform, and even concrete argumentation. Regrettably, the discussed domain is full of traps which always emerge wherever art borders with science. Scientific and artistic metaphors cannot be applied across the border in an uniform manners. Science wants everything to fit nicely, vertically and horizontally, as in a crossword puzzle.  Art is a bit more complicated: the vertical matches the horizontal, and yet no Art seems to dwell there. Who knows, perhaps the individuality is a dominating aspect in art, while science is mostly dominated by objectivity.

            It seem quite easy to notice that science and art are not separated by any demarcation line which would set apart these two beautiful, awesome properties of human mind. Certain scientific methods may prove very helpful and useful in the domain of art, particularly for art's logistics, and phenomena which seem to be almost reserved for art  such as intuition, inspiration and emotion – can do wonders in science as well. 

            As I consider my relation with art infinitely stronger than that with science, I'll take the above arguments as a justification for a reservation which I would like to make here: almost all of my opinions on the aforementioned reflection should begin with “in my opinion”. I accept responsibility for them and I can sign my name thereunder, although, naturally enough, I am not able to convince everyone that they are right.

            To start with, let me define the individual and ensemble performance. Both are inseparably related to the manner of performing a musical work. Albeit uniform, a musical work consists of many elements, with basic ones including the rhythm, melody, harmony, counterpoint, dynamics, articulation, form and agogics. The composer's thought and creative intention are included within these elements, while the fundamental duty of performer is to convey to the audience the thoughts and intentions of the author.

            A musical work can be performed by one or more artists. A solo performance is individual, while ensemble performance is a team work. However, the musical work is only one, while the character and roles of the performers may change.  A solo performer has to implement all the elements of the work in his own and on his responsibility, following a vision, understanding and criteria which, when realized, can bring his individual success or failure. An ensemble performer executes selected elements of the work, following guidelines provided by the author. Sometimes, these elements remain the domain of the same performer throughout the whole performance. This refers in particular to melody, rhythm and harmony. In other contexts, they pass from one performer to another, depending on the intention of the author.  The success or failure of the performance are obviously shared by all members of the ensemble.

            Actually, it constitutes the sole difference between and individual and ensemble performance. It does not seem too distant from  aspects of every human activity, performed independently or in partnership relations with others. Although the satisfaction from independent and team activity has different hue, it still remains the satisfaction and joy from a success, and it seems of lesser importance whether it was exclusive or shared.

            However, there is one requirement which is definitely common and binding for all performers without any exceptions. It is the expectation of professional perfection. Each element of the work has to be performed in a perfect, optimal manner, whether it is played in a team or solo, at an independent performance. There is no fare reduction applicable here – irrespective of whether the currently played element is leading or accompanying. To understand the issue better, just make an effort to imagine, for instance a Chopin’s Nocturne, in which the beautiful cantilena, sung perfectly by the pianist's right hand, is damaged by slapdash counterpoints played by the left one. Perfection is required uniformly for all the elements of the work, without scholastic consideration ascribing higher or lesser importance to various utterances. Similarly, in ensemble performance one artist plays “the right hand of the Nocturne”, while the other performs the “left hand's part”. Just to clarify matters further, I signal that perfect mastery of the instrument is an obvious requirement there.

II. Teaching how to play solo and in ensemble

            Obviously, the problem on teaching solo and ensemble playing concerns all the performers. However, pianists constitute a specific case, because the piano is one of the few instruments on which a single performer, without co-operation of others, can execute all elements of a musical work. Actually, almost all the other performers, almost from the start of the learning process, are dependent on the pianist, whether they are vocalists or instrumentalists of any kind (naturally, with the exception of keyboard instruments). In addition to the mastery of their own instruments, they develop a close relationship with  pianists which is a dependency of sorts, throughout their whole study and also their mature artistic activity. In addition to the issues related to individual playing, they are involved in all the issues of ensemble playing.

            It might be possible for a pianist in very special, individual circumstances, to develop his career, even on the international scale, by performing only solo, without partnering with any other musician. However, such situation would be unimaginable for a vocalist or instrumentalist, particularly one who plays a string instrument. Just answer a simple question, irrespective from educational issues: “How many solo recitals (without piano) can be given by a violinist or a cellist?” Probably no singer can perform even one recital  a capella, either. It seems obvious that teaching and a major part of artistic endeavors of vocalists and instrumentalists would not be possible without the participation of a pianist.

            A few words on the foundations of partnership between performers Actually, partnership is the only term known to me to  adequately describe the requirements of the most desirable relationship between them. Not soloist/accompanist relation, but partnership. The former presumes that one of the performers is a priori privileged throughout the whole musical piece. The latter accepts the actual equality of all the performers of the work, whether there are two of them or more, while the privileged or subordinated position in relation to the others results only from the relationship between the elements of the musical work and depends on its structure. It is easy to identify privileged and subordinated – or in other words: leading and accompanying – elements in every work. They are the determining factor for the switches in importance of the parts played by the performers. One may justifiably say that musical works with a fixed domination of only one of the performers throughout the whole piece are extremely rare (Paganini’s “Moto perpetuo”, for instance?).

            The role of a performer who currently plays the privileged element is the one of a leader who architects the dramatic situation. He should do it with authority, convincingly presenting his recitation. The main duty of the accompanying partner, who for the time being occupies the subordinated position, is to provide optimal comfort for the leader and the utterances which is being expressed. This  arrangement  undergoes dynamic changes throughout the piece, as the performers swap their leading or accompanying (in a certain sense) positions. In my opinion, this is one of the most important features and one of the fundamental requirements for authentic partnership.

            The implementation of this seemingly simple and obvious precept turns a bit complicated and dimmed in the result of the school reality in which the presence of the pianist in the process of teaching the subject which is defined as the leading one – that is vocal or an instrument other than the piano – is reduced to a supportive, service-providing role.  Therefore, a deformed and false image of a pianist and his subordinated and vulnerable role is instilled in vocalists or orchestra instrumentalists from the early days of their career. This pressure tends to turn into a habit and undergoes but a slight correction at the stage when a pianist should be treated as an equal partner enjoying the same rights, even if only the partnership on a student or disciple level is at stage. For instance, it is quite common among violin student to request that their piano playing colleagues play for them the “accompaniment” to Brahms Sonata!

            The school relationships between pianists and other performers are of special character and in fact they have little in common with the desirable, natural partnership arrangement of performers who share a comparable level of professional mastery and experience. Very young students find themselves playing with pianists who are much older and, naturally enough, much more experienced.  Paradoxically, the more experienced partner has to subordinate himself to the younger one. In truth, such pianist plays a similar role to a teacher and is to a large extent an artistic mentor and advisor. His role continues throughout all the levels of education, from primary to university. The authentic, partnership arrangements begin to emerge at the secondary school, and naturally at the university, when the students begin to perform with their peers.

            Pianists involved in training of vocalists and instrumentalists are usually named “accompanists”. In the result, the students get a fixed and deformed idea of a pianist whose main task is to perform a service of sorts, and who focuses almost without exception on making the young performer comfortable at work.  However, such a situation seems unavoidable, as setting the obvious didactic issues aside, an adult, experienced pianist can hardly treat a young or older student as a fully-fledged partner and expect to be treated like a colleague at work.  This characteristic inequality is an unavoidable element of conservatory reality which one has to accept with understanding and healthy self-objectivity. Regrettably, negative ramifications of such arrangement echo in adult artistic life, when the majority of performing vocalists and instrumentalist expect the pianist to provide -almost with no exceptions – only the pianistic service. Teachers of instrumental music and vocal, together with their co-operating school and university pianists, have an extremely important role to play in preventing such deformations.

            Actually, this aforementioned, highly tempting and comfortable, special character of the piano as an instrument which allows a single artist to perform the whole musical work on his own results, among other things, in a didactic style which almost always favors individual, solo endeavors. It seems to overlook the obvious fact that the performing activity of a pianist can adopt two forms: solo (individual) and ensemble (chamber) which, setting aside obvious differences, are equally valuable and equally demand absolute, professional perfection. It would seem natural for the whole, long lasting educational process to encompass both solo and ensemble music on an equal basis perhaps just with varying proportions.

            Respective from the aforementioned,  par excellence artistic and professional reasons, one should also emphasize another aspect, that is the everyday life, as I call it without much hesitation. It encompasses the artistic activity of professional, mature pianists. A tad of in-depth observation is enough to notice the obvious fact; just a minimal percentage, or perhaps permillage of active professional pianists follow their professional aspirations and life ambitions a soloist. Others are involved in various forms of ensemble performances or work as teachers on all the levels of musical education. It might be worth an effort to find to a reply to a weighty question: are these young people sufficiently prepared by their schools, professionally and mentally, to begin their mature artistic life without the sense of loss, frustration and general degradation. 

            The postulate of simultaneous education of pianists in solo and ensemble performances from the very first years of teaching is gradually finding its way to school curricula and – which is most important – to the awareness of the community. Self-evident benefits of ensemble playing for young people include primarily professional ones: expanded hearing skills, enriched musical imagination, discipline and direct contact with the dramaturgy of words. One cannot overestimate the contact of the pianist, whose instrument is actually a kind of percussion instrument, with the singing, monophonic instruments. Ensemble performances are also a perfect training in coexistence with other people and in the culture of partnership. As a result, one has a chance to avoid the risk of the treacherous, extremely destructive, damaging stalemate of solo career.  It is a pleasant duty of the schools to show their young adepts of the piano that beauty, satisfaction and art can also thrive outside the solo enclosure.

            In the reality of today, the ensemble music actually acquires its intended expression mostly on the university level. However, the first few heralds of the shift to full, normal education in this domain on the primary and secondary level have appeared on the horizon. The initiative and awareness of headmasters and teachers seems to be of paramount importance there. The official school curriculum is regrettably corrupted with the harmful associations with accompaniment understood as the main duty of a pianist, particularly in duos. The concept of partnership as a cooperative attitude of the performers still waits to be discovered and accepted as a common phenomenon. 

 

III. Individual and Ensemble Artistic Activity

 

            The artistic success is a combination of many factors, including, naturally, talent and many other natural predispositions, but also education, character, attitude to life, professional background, the situation and cultural tradition of the audience, demand and simply a dose of good luck. Let me discuss just one of these elements which is education.

            The aforementioned educational style at schools which definitely prefers solo activity, leaves a fixed mark on the pianist's mentality which stays for life and is very difficult to reform.  The young man, educated in the atmosphere of pressure on the solo career as the only option, pays a cruel price which often means lifelong disappointment, if his career does not happen without his fault, but only as a result of limited demand, knock-out competition and supply-demand distortions. The search for some substitute solutions in life is unavoidably tied with frustration which often leads to a disaster. A human wreck instead of an artist and man who lives his life to the full, happy and satisfied! I am positive that an amended, reshaped curriculum and atmosphere created at schools around ensemble performances would be invaluable, if they could direct young people to an alternative in their mature professional life and convince them that it is not only a soloist who fully deserves the name of an artist, but also an ensemble performer, although the character of the artistry may slightly differ in both cases.

            Technical challenges such as the introduction of  suitable curriculum guidelines or even postulates of managing bodies of the educational system seem quite surmountable. I think they are a hundred times easier to pass than the mental barriers and burdens resulting from harmful tradition which exists in the collective awareness of the musical community, including even the elite. Although signals heralding new, better and healthier reality for pianists and other ensemble performers have emerged, but it may take time, even a few generations for them to become commonplace. I am happy to say that the youngest generation accepts the changes with the greatest openness. Their older colleagues have certain problems with such acceptance.

An extraordinary precedent has already been established, in the form of the Chair of Piano Chamber Music at Frederic Chopin Music University in Warsaw. It may be interesting to add here an information about CPCM available on the Web:

„On October 6, 2002 the Senate of the Chopin Academy of Music (now Fryderyk Chopin Music University) held a historic vote as a result of which the Chair of Piano Chamber Music was officially established, ending a long, stormy period throughout which the collective awareness of pianists kept maturing and the concept worked its way through distrust, shortage of information and even certain unwillingness of the community.

            The Chair of Piano Chamber Music (CPCM) is probably a unique structure in the musical university education worldwide. Everywhere, not only in Poland, piano faculties are associated only with individual, solo performances. Similarly, the traditional perception of a pianist is reduced only to a soloist. A pianist, who does not play solo, somehow ceases to be a pianist.

Pianists' ensemble performances are positioned mostly among services. However, such classification is false and harmful both artistically and psychologically. The relations between performers are based on partnership and not on the a priori privileges granted to some of them, while subordinating  the others.

The professional activity of the pianist can adopt two worms which are equal in their importance: solo and ensemble work. The requirements concerning perfection are identical for both.

The establishment of the CPCM provides an opportunity to equip graduates with professional background adequate for meeting the challenges of contemporary expectations posed to performers. It is equally important to provide them with appropriate psychological background, so that they could enjoy their mature, independent artistic life being justly convicted that an artist is not only a soloist, but also, equally so, an ensemble performer. This will help a huge number of pianists avoid a lifetime of frustration, degradation and disappointment.

The fact that the Piano Faculty of the Fryderyk Chopin University in Warsaw has currently two Chairs, one devoted to solo performances and one for chamber music, elevates the University to an exceptional, pioneering position.”

 

            Approaching the conclusion, I would like to elaborate on a topic which in my understanding is essential and most important in this domain, and refers directly to the performance itself and to the comprehensive  relationship of the pianist with the musical piece. The deformation of the awareness of the performers resulting from the defects of school curricula and the deeply rooted mentality of the community, contributes to gross neglect in the work on the musical pieces and the sense of responsibility for the perfection of the performance. It seems obvious that a pianist, both young and mature, is ready to spend many months perfecting a solo piece. However, when working on the ensemble piece, he falls victim to a false and highly misleading conviction that it is enough to run through it a couple of times and to solve pianistic textural problems to master the piece to an extent suitable for a public performance.  This is to some extent fostered by using the music sheets, which seemingly release the performer from the obligation to study the work in depth. However,  it is a natural thing for an experienced and responsible artist to spend many years on Chopin Mazurkas, although he could play a vista a vast majority of them. At the same time, certain renditions of Songs or the Trio by the same Composer seem as if they were really played almost a vista.

            To be fair, one should mention also many true artists who approach the keyboard aware that they will not only touch the instrument, but will also get in touch with a work of art which should always be respected, whether a solo or an ensemble piece. Such approach is an effective protection against the undesirable inheritance of the school system and the atmosphere surrounding a pianist who performs in an ensemble. As discussed before, this harmful inheritance consists in expecting from the pianist just a service. This phenomenon is not limited to one country, for instance to Poland, but it rules, more or less openly in all musical universities worldwide, including the most renowned and prestigious ones.

            A pianist, particularly one who specialises in duos, somehow, almost automatically, turns into an accompanist, even when he is an independent, mature performer.  In some incomprehensible way he tends to forget that he remains a piano artist who should always employ his full professional potential, irrespective of whether he plays solo or in a partnership. Instead, he suffers from momentary atrophy of his skills. His music becomes weak, colourless, subordinated and a far cry from any requirements posed by partnership. However, once musicians are  made aware of the difference between “accompanist” and “pianist”, the quality of the ensemble performance can undergo a dramatic improvement.

            Due to the heritage of faulty education and neglected culture of ensemble performances, as well as the pressure of the mistaken, yet deeply rooted tradition of the whole music community, press included – performances by all the so-called accompanists, even the most renowned, are stained with false submissiveness, subordination and anti-partnership.  Such performances remind of a flight by a bird with a clipped wing. Works performed by an excellent vocalist or instrumentalist and an accompanist, even if he is the Emperor of accompanists, are incomparable with the same works by two masters – a soloist and a pianist (c.f. Brahms' Magelone by Dietrich Fischer-Dieskau and Sviatoslav Richter).

            This is precisely the psychological aspect of ensemble performances by pianists, which I intended to present here. The psyche – awareness, consciousness and mentality which amazingly and measurably translates into a material, audible result of  stricte artistic character, with positive or negative effect. Surprisingly, this refers equally to pianists who have been more and less generously endowed with talent by nature. Even some outstanding masters who – when playing solo – inspire awe with the brilliance of their multi-coloured technique and marvellous message, may lose their fullness, lustre and  authority when sharing the stage with others, particularly in a duo. Only an appeal of a teacher, or an intelligent and more experienced partner who asks them to quit accompanying and go back to being a pianist, can help them restore their full professional potential. Conversely, if a moderately talented pianist ceases to perceive himself in a duo as an accompanist and begins to employ his pianistic potential, his performance can be radically transformed, heading towards artistic excellence and partnership, which is so desirable. 

            I am fully aware of how difficult it is to consider my arguments which have been presented only verbally, without any chance to provide empirical evidence. I can only hope, in this extremely delicate and hardly verifiable context, that my readers will be willing to understand and approve the manner in which I explained my view on the special situation of pianists and hopefully they will consider them a sufficient argument in favour of the opinion that the common approach to playing in an ensemble is debilitating both in the professional and the psychological sense.

Final reflection on Partnership and Soloist/Accompanist Relations

            Yielding to temptation, I would like to add as a final chord my reflection on partnership in music and in life. The foundation of partnership is freedom; in my understanding, such relations create the most conducive atmosphere for creativity, development and satisfaction. Domination/subordination relationship, or in other words the soloist/accompanist arrangement, seem to be lame both in music and in life, and they bring questionable results.

                       

 

 

 

 

 

 

Post Script

This book is the fruit of the many years of my performing and teaching endeavours and of my ordinary, human reflections.

 

I have never intended to write a textbook or a scientific study of partnership.

 

This is rather a relaxed collection of reflections, fragments of press articles, speeches at various symposia and seminars – all with a common dominant which is the fascinating phenomenon named partnership in music, and perhaps human partnership in general.

 

This Essay does not quote or refer to any authorities. It is my personal reflection, whose effectiveness and value survived the test of my half-century professional work and for which I can accept full responsibility.

 

I decided to add the Addendum, an extensive table of contents, replacing a typical, ordinary brief list of chapter headings with a detailed listing of reflections and paragraphs which may serve a potential reader, guiding him to some points of specific interest, without the need to go through the whole text.

                                                               

As I have already mentioned at the beginning of this Essay, the concept of musical partnership, or perhaps any other partnership as well, has  proven to be extremely broad and difficult to embrace and systematize.  My efforts aimed at viewing the whole  issue as a mosaic composed of a variety of elements.  Whether it was successful or not, it remains for the kind reader to decide. 

                                                               

Actually, I focused on the problem of pianists, but not due to the fact that I was a pianist myself, but mostly due to the fact that, in my opinion,  pianists are traditionally expected to extend conscious and perfect partnership.  Perhaps this is true also for conductors.

 

In my view, the problem of the  partnership of pianists may serve as a laboratory of sorts, to tackle this extremely important topic.  I am also convinced that all the things which were said about partnership of pianists can be easily applied to the reality of ensemble performances by any other musicians, while accounting for certain differences which result from the characteristics of other instruments.  However, the fundamental idea of partnership and its philosophical and psychological aspects, along with the  common, professional one, can be applied to any kind of action, not only artistic in nature, which is not performed solo but with the participation of another man. 

 

            I would be greatly indebted to my Pleno Titulo Reader for any comments and evaluations, both critical and more indulgent. Please feel free to contact me at  jmarchwinski@gmail.com. Thank you.

  

 

 

 

 

 

              

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

           

 

 

 

 

 

 

 

 

 

 

Professor Jerzy MARCHWIŃSKI – Pianist

 

          Jerzy Marchwiński graduated from Fryderyk Chopin Academy of Music in Warsaw (Poland) where he studied piano with Prof. Maria Wiłkomirska and chamber music with Prof. Kiejstut Bacewicz.  He further developed his artistic skills in Salzburg and Taormina with Carlo Zecchi.

          Until recently, he has been a prolific performing artist specializing mostly in piano chamber music.  He partnered   Konstanty Andrzej Kulka, Rita Streich, Teresa Żylis-Gara, Régine Crespin, Andrzej Hiolski, Halina Słonicka, Jerzy Artysz,  Stefan Kamasa, Maureen Forrester, his wife Ewa Podleś and many others. He also performed as the official pianist partnering participants in numerous international music competitions (Munich, Toulouse, Bilbao and Rio de Janeiro).

          He combined concert performances with educational activities which he has been continuing until now.  He achieved the academic rank of full professor and founded and headed for many years the Chair of Piano Chamber Music at the Fryderyk Chopin University of Music in Warsaw and L’Association des Artistes Musiciens Polonais en France. On November 5, 2015 the National Centre for Education and Promotion of Musical Partnership and the Culture of Ensemble Performances at Artur Rubinstein Schools of Music in Bydgoszcz was established on his initiative. He also lectured in the U.S.A. and Canada. 

          Partnership in music is the leitmotiv of his educational activities. He wrote three books on the subject:   O partnerstwie w muzyce (On Partnership in Music,   Fryderyk Chopin Academy of Music in Warsaw, 2001), Partnerstwo w muzyce (Partnership in Music, PWM, 2010), Kameralistyka fortepianowa (Piano Chamber Music, Fryderyk Chopin University of Music in Warsaw, 2014) and many articles and essays in the Ruch Muzyczny (Musical Movement)  magazine. 

          He recorded over 25 CDs.  Together with Konstanty Andrzej Kulka whom he partnered for many years, they received Level 1 Award of the Polish Radio for recording all works by Karol Szymanowski’s for violin and piano.  He was awarded the Gold Cross of Merit and is Laureate of Level 1 Award of the Minister of Culture and Art for his overall artistic achievements. He was also awarded the Gloria Artis Medal.  Received the Commander's Cross of the Order of Polonia Restituta from the hands of the President of the Republic of Poland, also for his overall artistic achievements. 

 

 

 

ADDENDUM (A detailed table of contents):

 

 

Preface                                                                                                            3                                                                                                                         

Prof. Andrzej Jasiński                                                                                                              

                                                                  

The Overture                                                                                                   5                                                                                                                                                                                                              

The initial reflections - solo playing, ensemble playing                                                     6  

I do not teach how to play; I warn how not to play                                                              6

An anecdote about interpretation                                                                                            7 

Evaluation of the quality of a performance                                                                                      8 

Teaching the interpretation                                                                                                8

Playing with one hand                                                                                                        8  

The relationship between the leading and the accompanying element                                      8  

Singing a melody                                                                                                                   9  

Reflections and suggestions                                                                                              10

The entire ensemble plays one musical work                                                                        10

Two or more staves                                                                                                             11  

School and Academy (University)                                                                                                   11                                                                                            

 

Theme with variations                                                                                   12                                                                                                                                    

The Idea of partnership as the theme of variations                                                         12  

PREAMBLE.                                                                                                                        13  

Motives for undertaking the subject                                                                                       13  

Partnership. The explanation of the concept                                                                       14

The first value.  Shared responsibility  for the whole performance                                       14

The second value. Reciprocity                                                                                                15

The third value. Understanding for the partner                                                                      15

The fourth value. Openness to dialogue                                                                                 15

The fifth value. Readiness to understand the otherness of the partner                                  15

The sixth value. Internal space                                                                                               16

The seventh value. Ability of hearing the partner and oneself at the same time                    16

The eight value. Good manners in togetherness                                                                    16

The ninth value. Tactful reduction of tension                                                                         16

The tenth value. The ability to accept compromise                                                                17

The eleventh value. Respect and confidence in the partner                                                   17

The twelfth value. Understand imperfections of your partner and…yourself                        17                                             

MOSAIC                                                                                                                                18

Freedom, the basis for partnership                                                                                          18

Leading element – accompanying element                                                                             18

Leading role - accompanying role                                                                                             19

Individual (soloist) performance, ensemble (chamber) performance                                       19

The relationship between partners results from the structure of the piece and the      relationship between the leading and accompanying element, not from the non-artistic soloist-accompanist relationship                                                                                    20

Trust and tolerance in partnership                                                                                      22

Totalitarianism, dictatorship, democracy in partnership                                                22

All partners play the whole piece and not only their own parts                                    23

“Rhythmists” and “melodists”                                                                                                  23

Partnership with a vocalist                                                                                                    24

Partnership with an instrumentalist                                                                                          25

Partnership with a conductor                                                                                                 26

Partnership with a débutante                                                                                                     27

Partnership with  a star                                                                                                              27

Partnership with a  life partner (marriage)                                                                                28

Exclusive partnership - “everybody with everyone” partnership                                         29

The ideal and reality                                                                                                                29

Responsibility in partnership                                                                                               30

Personal culture in partnership                                                                                           30

Partnership: composer-performer-audience                                                                             31

Partnership with a manager                                                                                                   31

Fighting, polarization in partnership                                                                                         32

Selfishness and overprotectiveness in partnership                                                                 32

Domination and submission in partnership                                                                      33

Good-Truth-Beauty in partnership                                                                                     33

Alliance-antagonism-parting                                                                                               34

The intimacy of a partnership                                                                                                 34

Partner as a first listener                                                                                                          35

Habit-burnout-routine                                                                                                               35

Time and discipline in partnership                                                                                     36

Teaching partnership                                                                                                            37

Master-disciple partnership                                                                                                 40

CODA                                                                                                                                      41

 

Rhapsody                                                                                                                             42                                                                                                                                                                                                                                  

"Chamber music and accompaniment” or “ Ensemble performance”                                      42

The meaning of the terms:  "chamber music" and "accompaniment"                                      42

Transformation from a pianist into an accompanist                                                              42

False legacy of instrument and voice teachers on accompaniment                                          43

Teaching the requirements of partnership                                                                               43

The condition of the success of ensemble performance                                                           44

Antidisposition to ensemble playing                                                                                         44

The expectations of professional perfection                                                                      45

Playing chamber music pieces from memory                                                                         45

The lack of information on ensemble performance techniques                                            45

Three stages of teaching                                                                                                        46

Pursuit of the master – the miracle worker                                                                      46

Incorrect expectations of a university graduate                                                                   46

Professional database of a university graduate                                                                       47

What to do after graduating from a university?                                                                     47

Profession, talent, individuality                                                                                         48

A word about talent                                                                                                             48

The problem of individuality                                                                                                  49

Search for originality                                                                                                           49

List of duties when preparing an ensemble performance                                                      50                              

The PIANIST: Soloist-partner-accompanist                                                                   51                                                      

Pianist – soloist                                                                                                                     52

Pianist-partner                                                                                                                                     53

Pianist-accompanist                                                                                                                53

Double meaning of the term “accompanist”                                                                   54

Coaching                                                                                                                                55

Life and work circumstances of a pianist                                                                         55

 

Pianist-singer                                                                                                                        55                                                                                                                                

Socrates:  “A musician is an interpreter of poet’s thoughts”                                                   

Pianist-singer duo as a basis for ensemble performance                                                        55

Understanding the text                                                                                                         56

Translating the texts in other languages                                                                                56

Recitation the text aloud                                                                                                         56

Logic and articulation – interpretation and "feeling the music”                                     56

A „mockery“                                                                                                                         57

Schumann: Dichterliebe op.48,                                                                                               57

Even the punctuation marks are not respected                                                                        57

Abstraction and lack of semantics in musical language                                                         58

Learning the text by the pianist                                                                                               59

The text and musical word logic compatibility                                                               59

Vertical aligning of voice and piano (Orchestra)                                                                   59

Reciting the text aloud and playing simultaneously                                                               60

Pronunciation in a foreign language                                                                                 60

Schumann: Frauenliebe und Leben                                                                                         60

The relationship between the rhythm of words and music                                                  60

Tchaikovsky: Song Of Mignon                                                                                               61

Where did the musical rhythm of this song come from?                                                       61

Continuing the phrase initiated by the pianist                                                                      61

Wolf: Auch kleine Dinge                                                                                                         61

I do not intervene in the interpretation                                                                                   62

Developing the sensitivity of the students                                                                              62

Puccini: LA BOHÈME. Si, mi chiamano Mimi                                                                     62

Lyrics of arias and songs                                                                                                     62

Beginning the aria in partnership                                                                                            63

Other threats in partnering a singer                                                                                   63

"Playing or singing about nothing"                                                                                  63

 

Pianist-instrumentalist                                                                                                        64                                                                                                     

Beethoven: Sonata in c minor, op. 30 No. 2                                                                         64

 Punctuation of the beginning of the sonata                                                                      64

Authoritative playing of the opening of the sonata                                                          65

Evaluation of the performance                                                                                          65

Beethoven Sonata: "Spring"                                                                                                66       Demonstration of partnership relations                                                                             66

The role of the left hand of a pianist in partnerships                                                           66

Brahms: Sonata in d minor for violin and piano                                                           67       

Another illustration of the importance of the pianist's left hand                                     67

Brahms: Sonata in e minor for cello and piano                                                                    67

Playing the accompanying material                                                                                     67

The terms "softer, louder"                                                                                                  68

Lecturing or patronizing                                                                                                      68

           

Pianist- chamber group                                                                                                        68

The same expectations                                                                                                     68

Restrained, shy way of playing                                                                                            68

Paying attention to partners by the current leader                                                      69

Mozart: Piano Quartet in g minor                                                                                     69       Declamation of the beginning of the Quartet                                                                      69

Influence of consciousness and imagination on a particular sound effect                           70

"Rhythmic Stilts"                                                                                                               70

Example of "characteristic and ethnic music"                                                                    70

"March-like rhythmical performance”                                                                                71

Terminology of comments and reflections                                                                          71

The concept of dramaturgy, narrative, declamation, context.                                         72

Sustaining the time                                                                                                               71

Linear and vertical line in playing                                                                                       73

Crucial issue of connecting two phrases                                                                         73

Shortening the time between phrases                                                                            74

The feeling of time by a performer and listener                                                                  73

Four basic steps the dynamics                                                                                         75

Mozart and opera                                                                                                              75

Shostakovich: Piano Quintet                                                                                                76

The way of playing crescendo and diminuendo                                                                  76

Dynamic architecture                                                                                                       75

Teacher-pianist and an ensemble of wind or string instruments                                      77

The impossibilities of being in an ensemble                                                                     78

The perfect partnership                                                                                                    78

Instrumental performance technique in opera                                                                      78

 

PIANO CHAMBER MUSIC. Genesis and perspectives                                            79                                                                  

                                        

Explanation of the term                                                                                                    79

Solo Performance vs. Ensemble Performance                                                              79

Dubious tradition values                                                                                                  85

Pianists-the largest group of performers                                                                       86

Life and work circumstances of a pianist                                                                            88

Educating craftsmen vs educating artists                                                                     88

The role of a pianist in educating instrumentalists and singers                                          89

“Pianist-collaborator” of vocal and instrumental teachers                                        89

Pianist-coach?                                                                                                                     90

Why a “pianist-collaborator” and not an “accompanist”?                                          91

What should be the proper education of a vocal coach                                                        92

Conservative trends-progressive trends                                                                               93

Perspectives                                                                                                                        94

 

Chair of Piano Chamber Music (CPCM). Idea and reality                                         96                              

Origins of CPCM                                                                                                               96 Conceptual foundation of piano chamber music and CPCM                                            97

Artistic and professional aspects                                                                                    98

Main obligation of a music university                                                                           98

Structural and conceptual problems of CPCM                                                             98

Implementation of CPCM's mission                                                                              99

A few reflections on teaching “profession” and “vocation” at CPCM                      99

The present day of CPCM                                                                                              100

CPCM's prospects                                                                                                           102

The collaborative performer                                                                                          102

Unique character of CPCM                                                                                            102

Forecasts for CPCM's future                                                                                          103 Relationship between the spirit and the matter                                                              103       

Epilogue                                                                                                                           104

On reiterating                                                                                                                  104

Regrets of speaking about “My charges”                                                                    104

Lack of direct instruction in interpretation                                                                 104

Before and  after the performance                                                                                105

Apprentice-Master relationship after the performance                                            106

Preparing the ensemble for coming on stage                                                              106

Social engineering and marketing                                                                                107   Expectations towards a Polish Artist                                                                              107

“You Have Played It Just Wonderfully”                                                                     108

“Intentional playing”                                                                                                      108

The partner is the primary listener                                                                             108

Italian language (Musical indications)                                                                       109

Acoustics rehearsals before the performance                                                            109

The selection of musical examples                                                                              109

“Teacher” vs “Professor”                                                                                              110

Academic relationship between Master and Student                                               110

Sin and error                                                                                                                   111

Two aspect of the concept of error                                                                              111

Seven “Deadly Sins” of ensemble performance                                                        111

The character of reflections presented in this book                                                   112

Methodology of teaching ensemble performance to pianist                                   113

Restatement                                                                                                                    113

A reflection on the psychological aspect of ensemble performance by a pianist 114

Solo vs Ensemble Performance                                                                                    114

Teaching how to play solo and in ensemble                                                              116

Individual and Ensemble Artistic Activity                                                                119

Final reflections on partnership and soloist/accompanist relation                       122     

Postscript                                                                                                                         123                                                                                                               

Musical Samples                                                                                                            

Schumann – “Dichterliebe” Op.48 (Im wunderschönen Monat Mai)                         125

Schumann – „Frauenliebe und Leben“ (Seit ich ihn gesehen)                                   126

Tchaikovsky – „Song of Mignon“                                                                                127

Wolf – „Italienisches Liederbuch“ („Auch kleine Dinge“)                                         128

Puccini – „La vie de Bohème“ (Si, mi chiamano Mimi)                                              129

Beethoven – Sonate Op.30, No2 (I part)                                                                      130

Beethoven – Sonate Op.24 (I part)                                                                               131

Brahms – Sonate in d-minor for piano and violin                                                     132

Brahms – Sonate in e-minor Op.95, for piano and cello                                           133

Mozart – Piano Quartet in g-minor                                                                             134

Shostakovich – Piano Quintet                                                                                      135     

 

Author’s Biography                                                                                                       136     

Addendum                                                                                                                      137     

Akt Notarialny, Notary Act                                                                                         143

 

Translated by Katarzyna Przybyś-Preiskorn            

(kasia@pfirma.com.pl)          

                                                                                                         

 

 

 

 

 

 

Prawa autorskie potwierdzone i zastrzeżone Aktem Notarialnym Nr. 1885/2016, z dnia 19 maja 2016 roku.

Mecenas Waldemar ADAMUS, ul. Patriotów 77, 04-950 Warszawa, Tel: +48.22.872.90.98