result was that Palestrina was appointed chapelmaster to the Pope, and exercised a most beneficial influence in church and other styles of composition for many years. He is now regarded as a landmark in musical history, and when we remember that the Catholic church was in those times the main conservator of musical art, we realize that even at this day we owe him a debt of gratitude.
20.—KEEP IN WITH THE ACCOMPANIST.
It is good policy for a singer to keep "on the good side of" his accompanist. A really fine accompanist is a rara avis. Besides the technical skill necessary to a soloist, an accompanist must have the finest musical feeling and discrimination, and at the same time sacrifice himself to the interests of the singer.
And oftentimes the accompanist has to shoulder the sins of the singer. It is an easy way to relieve one's self from the blame of a "bad break" by charging the fault to the accompanist. A singer once tried this with Händel, and declared that if Händel didn't accompany him better he should jump over onto the harpsichord where the player sat, and smash it. Said Händel:
"Let me know ven you vill do dot, and I vill adverdise id. I am sure more beoble will come to see you shump as vill come to hear you sing."
He didn't jump.
21.—THE YOUTHFUL BEETHOVEN'S TRICK ON A SINGER
Another incident of the necessity of a good understanding with the accompanist is found in the life of Beethoven. He, as a mere boy, held the responsible position of organist in the Electoral Chapel at Bonn. In the choir was a smart singer, who declared he could sing anything, and no accompanist could disconcert him.
