why is it so difficult to find a classical piano accompanist
why is it so difficult to find a classical piano accompanist?
someone who can with practice play Pieces like Charles Dancla's air varie no 1 or ravel's tzigane
Are you talking professional accompanists?
The challenge for the pianist in both those pieces is substantially different. I could probably tackle the Dancla with a little practice. Good luck hunting!
Talent is rare among all of us, humans. I think is difficult to find any fine performer of almost any instrument. One problem with pianists is that it´s always quite popular, so you have to be very aware who are you performing with.
It's not especially difficult to find accompanists. You just have to pay them.
The Air Varie piano parts are not so bad but Tzigane accompaniment is really, really hard.
You know what pianists are asking on the piano forum?
I agree with Lydia Leong, why should we expect capable pianists to support our musical projects for free?
Katherine, exposure of course!
So-calle "accompaniments" are often very tricky; and not all pianists know how to accompany.
There are probably huge amounts of pianists that play at the level that they could play accompaniments, but only a small amount can or want to do it. First, its is tricky, I played at a very high level but I was lousy in accompaniments, it is a different skill. I was by nature more of a soloist than accompanist. And also I didnt really like it, the violinist is the star of the show and the pianist is in a second place, it is quite impossible to make the music your own when there is the star player to do that allready.
Beyond finding someone with the skill, one needs to find a pianist with the
Beethoven's "Kreutzer" is a great example of "give and take between the parts", but you really need two players who are both at concerto performing standard to give that piece its best.
It is tricky. For the same money, some pianists may prefer to accompany singers where the music might be less challenging. For “music making”, some pianists may feel that the violinist takes too much spotlight.
Catherine Stay did not make at all clear what she wants to do with a "piano accompanist." That is very important information.
"Concertos with piano reduction are just wrong"-I assume what was meant is "I do not prefer listening to Violin Concertos performed with piano reductions". Even composers played piano reductions of their concerto works "back in the day", and we all know of Milstein and others doing the same. That it's not as commonly done anymore at recitals doesn't make it incorrect-especially if the composer wouldn't have minded (and suppose it would have been considered a "grievous musical offense"-many Concerto playing violinists won't have easy chances to perform with full orchestra, so piano reductions at least provide something closer to the original rather than no performance at all.)
The violinist-pianist duos that actually work on a long term basis are usually married to each other. There are exceptions, but that would be cases where there is a huge reputation asymmetry ( e. g. Ann Mutter and her long term accompanist/collaborator).
The OP mentioned works at two extremely different levels of difficulty (for both the pianist and violinist), but for both, I think the pianist is traditionally the "accompanist", given the unequal weight of the piano part (even though in the Tzigane it's the reduction of a complex orchestral score). Pianists often hate playing orchestral reductions, so paying them tends to be the most fair thing to do.
Accompaniments vary a lot in difficulty. It varies from person to person. Plus, regional circumstances should be considered as well when it comes to availability of accompanists.
Rule of thumb: Piano accompaniments, in general, are at the very least twice as hard as the violin part, and this assuming the piano part is relatively easy. Seems natural to expect there would be less people that can play the piece than violinists (or maybe there are much more pianists than violinists at that level?).
To judge by what she's posted elsewhere, she wants a professional pianist to accompany her to record a CD, but doesn't want to pay.
I just checked her youtube channel. It's hard to give a sensible answer in consideration of OP's circumstances.
"Rule of thumb: Piano accompaniments, in general, are at the very least twice as hard as the violin part, and this assuming the piano part is relatively easy. "
I am not sure what to say. I have had the experience of an accompanist refusing to play a piece with me once before. The pianist, who had accompany me several times at that point, refused to accompany me on a joint recital program on the Bartok viola concerto, saying she would never attempt that piece. I did however, quickly find another.
Lydia, I'm pretty sure the piano part is the original for the Tzigane, and the orchestral part was created later.
The piano part of Harold in Italy piano reduction MAY be more difficult than the viola part - I think the piano reduction was done by someone of the name of Franz Liszt ...
"The violinist is the star of the show and the pianist is in a second place."
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