CHAPTER XV
Conductor and Accompanist
NECESSITY OF CORDIAL RELATIONIn chorus directing, it is of the utmost importance that conductor and accompanist not only understand one another thoroughly, but that the relationship between them be so sympathetic, so cordial, that there may never be even a hint of non-unity in the ensemble. The unskilful or unsympathetic accompanist may utterly ruin the effect of the most capable conducting; and the worst of it is that if the accompanist is lacking in cordiality toward the conductor, he can work his mischief so subtly as to make it appear to all concerned as if the conductor himself were to blame for the ununified attacks and ragged rhythms.[1]
CHOOSING THE ACCOMPANISTIn order to obviate the disadvantages that are likely to arise from having a poor accompanist, the conductor must exercise the greatest care in choosing his coworker. Unless he knows of some one concerning whose ability there is no question, the best plan is probably to have several candidates compete for the position; and in this case, the points to be especially watched for are as follows:
- Adequate technique.
- Good reading ability.
- Sympathetic response to vocal nuance.
- Willingness to cooperate and to accept suggestions.
- ↑ On the other hand, the conductor sometimes shifts the responsibility for mishaps to the accompanist when the latter is in no wise to blame, as, e.g., when the organ ciphers or a page does not turn properly.
