A Manual For The Vocal Accompanist

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A MANUAL FOR
THE VOCAL ACCOMPANIST
CAROL RICH
A DISSERTATION SUBMITTED
IN PARTIAL FULFILLMENT OF THE
REQUIREMENTS FOR THE DEGREE OF
DOCTOR OF MUSICAL ARTS
UNIVERSITY OF WASHINGTON
2002
SCHOOL OF MUSIC
UMI Number: 3053548
Copyright 2002 by
Rich, Carol Ann
All rights reserved.
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©Copyright 2002
Carol Rich
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Carol Rich
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and that any and all revisions required by the final
examining committee have been made.
Chair of Supervisory Committee

ittee: |\ .
Robin McCabe
Reading Committee:
K/v CuU
R Q l ^ n M ^ a b e ^ ^ ,,,^ .
Julian Patrick
/Craig Sheppard
Date: V A .w e ,
University of Washington
A bstract
A Manual for the Vocal Accompanist
Carol Rich
Chair of the Supervisory Committee:
Professor Robin McCabe
School of Music
Vocal accompanying is a specialized discipline that is often overlooked in the arena
of higher education. By studying the specific skills required of an accompanist, the
quality of musical presentation can improve significantly. This manual of vocal
accompanying studies in depth, the nature of a good collaborative relationship
between the pianist and the vocalist. It is written from the viewpoint of the pianist,
and deals with technical, practical, and inspirational elements of accompanying
singers. The importance of working with languages and knowledge of the text is
emphasized.
TABLE OF CONTENTS
Page
LIST OF EXAMPLES................................................................................. iii
Chapter 1: INTRODUCTION...................................................................... 1
Chapter 2: ARTISTRY AND ACCOMPANYING...................................... 3
Art Song............................................................................... 3
Artistry and Accompanying.................................................. 5
The Vocal Coach.................................................................. 10
Chapter 3: TEXT AND STYLE................................................................... 12
Chapter 4: CONSONANTS AND LIAISONS.............................................. 29
Chapter 5: MUSICAL REPRESENTATION OF POETIC IDEAS............... 41
Chapter 6: DEVELOPING YOUR SKILLS.................................................. 51
Steps to Learning a New Piece.............................................. 51
Sight-reading......................................................................... 53
Balance................................................................................ 54
Keeping Your Eye on the Vocal Line................................... 66
Voicing................................................................................ 69
Playing with the Vowel......................................................... 74
Cueing.................................................................................. 78
Cut-ofFs................................................................................ 83
Breathing and Phrasing Together as an Ensemble................ 84
Playing for Auditions........................................................... 95
Harpsichord.......................................................................... 96
Chapter 7: PERFORMING WITH THE SINGER....................................... 97
Pacing.................................................................................. 97
Stage Deportment and Page-tumers...................................... 98
"Pianist to the Rescue”......................................................... 99
Chapter 8: POSTLUDE..................................................................................... 101
SELECTED BIBLIOGRAPHY................................................................... 103
APPENDIX: THE POETS.......................................................................... 106
Vitae.................................................................................................................. 115
ii
LIST OF EXAMPLES
CHAPTER 3
Example Number Page
1. Strauss, Traum durch die Dammerung............................................................. 14
2. Poulenc, Violon................................................................................................. 16
3. Debussy, L 'Ombre des Arbres........................................................................... 18
4. Strauss, Ruhe, meine Seele............................................................................... 20
5. Duparc, Phidyle............................................................................................... 22
6. Schubert, Heidenrdslein................................................................................... 26
CHAPTER 4
1. Ives, Remembrance..........................................................................................30
2. Strauss, Morgan................................................................................................31
3. Debussy, Mandoline.........................................................................................32
CHAPTER 5
1. Schubert, Gretchen am Spinnrad......................................................................42
2. Debussy, Chevaux de Bois............................................................................... 44
3. Ravel, Chanson a Boire.................................................................................... 45
4. Brahms, Der Schmied...................................................................................... 46
5. Brahms, Lerchengesang................................................................................... 48
6. Brahms, O Wust' ich dock den Weg zuruck...................................................... 49
iii
CHAPTER 6
1. Schumann., Und wufiten's die Blumen, die kleinen.................................................... 55
2. Schumann, Das ist ein Floten und Geigen........................................................ 57
3. Schumann, Stille Trdnen...................................................................................58
4. Schumann, Ich grolle nicht............................................................................... 59
5. Schumann, Er, der Herrlichste von alien .....................................................................61
6. Schubert, Ruckblick........................................................................................... 62
7. Brahms, Meine Liebe ist griin............................................................................63
8. Poulenc, Airs Champetre...................................................................................64
9. Debussy, C'est VExtase......................................................................................67
10. Strauss, Breit' iiber mein Haupt......................................................................... 68
11. Schumann, Aus meinen Trdnen spriefien........................................................... 70
12. Wolf, Verborgenheit..........................................................................................72
13. Schumann, Die alien, bosen Lieder................................................................... 73
14. Schubert, Der Doppelgdnger............................................................................. 75
15. Mendelssohn, Winterlied...................................................................................79
16. Quilter, Fear no more the heat o' the Sun.......................................................... 80
17. Wolf, Ich hab' in Penna einen Liebsten............................................................. 81
18. S c h u m a n n , Lieb' Liebchen, leg's Handchen....................................................... 82
19. Schubert, Die Stadt.......................................................................................... 82
iv
20. Chausson, Le Colibri......................................................................................... 85
21. Debussy, Beau Soir........................................................................................... 87
22. Schumann, Nun hast du mir den ersten Schmerz getan..................................... 88
23. Chausson, Les Papillons....................................................................................89
24. Debussy, Le Tombeau des Naiades....................................................................91
25. Schumann, Ich hab' im Traum geweinet............................................................ 92
26. Brahms, Die Mainacht...................................................................................... 94
ACKNOWLEDGMENTS
The author wishes to express sincere appreciation to the School of Music for its
support and especially to Professor Robin McCabe for her expertise and generous
wealth of knowledge. I am forever indebted to my partner without whom this
dissertation would never have been completed.
vi
To My Father
vii
1
CHAPTER I
INTRODUCTION
The discipline of accompanying is generally acquired by following the natural
evolution of one's instincts, or by being passed down traditionally in some cryptic
way. The suggestions given in this manual are an attempt to remove some of the
mysteries surrounding artful accompanying, and to make the study of Art Song more
accessible in general.
There are a few conservatories and universities that offer accompanying as a
course of study. However, the greater population of accompanists will find
themselves desirous of information, but won’t know how to go about developing their
skills. Whether you are studying accompanying with a teacher, or on your own. I
hope that this guide will be of benefit to you.
I have included many examples to illustrate particular points in the discussion.
While I have used only partial citations of the music. I suggest that you refer to the
entire score, and familiarize yourself with the literature. My illustrations are taken
from the traditional body of vocal repertoire, the canon, if you will. You can apply
any point discussed in this manual to your specific repertoire, even to the easiest
pieces.
It is a difficult task to instruct students of music on the specifics of
interpretation and presentation in a general, all-encompassing way. One really needs
to hear a student's playing in order to identify the areas in need of attention. My goal
here is to anticipate potential pitfalls, and to show some ways to avoid them.
This manual is designed to approach the art of song from the pianist's point of
view, but everything that is discussed here should ultimately benefit both pianist and
singer. If this guide has fallen into the hands of a singer, you too are welcome to read
on. but remember that the information given within these pages is intended for
pianists. Vocal production is foreign territory to most accompanists, so my approach
to song is directed strictly to the non-vocal aspects of Art Song. I avoid giving
suggestions to the accompanist that belong in the arena of your coach's or teacher’s
studio. Be considerate in asking your partner at the keyboard for time to breathe, and
for the correct balance. In the spirit of collaboration, keep the lines of communication
open with your partner. Hopefully, you will have an accompanist who has acquired
the skills needed for you to be able to sing with ease, and to achieve a higher standard
of musicality than you've experienced before.
While much of this book is analytical, it is intended to lead to an
accompanying style that is free and inspired. To quote Alfred Brendel. "Thinking
about the music does not exclude the emotions, it stimulates them."1
1Gerald Moore, Poet's Lave: The Songs and Cycles o f Schumann (New York: Taplinger, 1981), xii.
CHAPTER 2
ARTISTRY AND ACCOMPANYING
Art Song
Art Song is the pure union of poetry and music. According to Pierre Bemac,
"The constant awareness of these two aspects of vocal music, verbal design and vocal
curve, implies not only the achieving of the mysterious blending of words and music,
but above all, the synthesis of the poetic idea and the musical idea."1 The text that is
chosen by the composer is the inspiration for the music that they write. Poetry is not
easily accessible for many people, but for the lover of Art Song, music enhances and
enlivens the text. Music can lend poetry an intimate angle, manifesting itself in a
specifically personal interpretation of the words.
Just as poetry and music complement one another in this art form, so do the
pianist and singer rely upon one another to create a unified and collaborative product.
This interdependent relationship is at the heart of Art Song. When beginning your
activity as an accompanist, keep in mind that you must be more advanced technically
than the singer with whom you are partnering. This will enable you to act as a support
for singers; creating an atmosphere of security for them.
1Pierre Bemac, The Interpretation o f French Song (New York: Norton. 1976), 5.
4
In the course of your career as an accompanist, a large variety of repertoire
will pass before your eyes. Hopefully, you will experience the highest level of
musicianship in your partnerships, and also the most challenging. It is the pianist who
has been involved with many vocalists' styles and personalities that will inevitably
develop the greatest breadth of understanding of this art. Whether you are partnering
singers or instrumentalists, it is a part of your job as an accompanist to leam to "read"
and anticipate the people with whom you are working. Many of the skills needed for
instrumental accompanying are directly transferable to the vocal studio, and vice
versa. Bowing is related to breath control, and bow speed is related to "air flow."
The greatest goal will be to become a musician who will not compromise the
intentions of the composer. After the notes are written down on the page, the
composer then has passed it along to the performer. As the French poet Paul Valery
put it, "A work of music, which is only a piece of writing, is a cheque drawn on the
fund of talent of a possible performer." Serve the music—no matter what the
circumstance, nor with whom you are playing. Remember that the performer serves
as the interpreter of the composer. According to Stravinski, "The sin against the spirit
of the work always begins with a sin against its letter." To be an ambassador of this
message, inspiring those around you to do the same, is a worthy goal.
5
Artistry and Accompanying
The term "accompanist” is a controversial one. After all. the piano part is
heralded by the accompanist as being of equal importance to the voice part. On stage,
the singer is acknowledged as the leader of the duo, but behind the scenes, "it is
widely maintained that the pianist is the more musically sophisticated, one of his
tasks being to keep the singer in line on matters of musicianship."2 While I do not
oppose the term "accompanist," I do object to any negative connotations associated
with it. Specifically, I am referring to the thinking which promotes the idea that an
accompanist has an inferior technique, or lesser goals than those of the piano soloist.
Admittedly, some pianists approach accompanying as a way to use their musical
ability without the added stress of being exclusively in the spotlight, or as a way out
of memorization. Hopefully, in the course of their study, these people will realize that
being a pianist who plays Art Song takes work, dedication, and informed judgement.
The high demands of the song repertoire necessitate a well-developed facility
at the keyboard. Much of the vocal repertoire presents technical hurdles that need
generous hours of practice. But a good technique also opens up a great deal more in
terms of tone production and control. One of the most respected vocal accompanists,
Gerald Moore, said that, technique "embraces production of tone in the same way that
a singer's or a violinist's technique does, not only the production of a beautiful tone.
2 Sara K. Schneider, Concert Song as Seen: Kinesthetic Aspects o f Musical Interpretation (New York:
Pendragon. 1994), 7.
6
but a variety of tone colors; technique is called on when effecting a well-modulated
crescendo or diminuendo, for controlling a rallentando or accelerando. The shaping
of a phrase, a sure test of a pianist's musical grammar or musical good manners, is
founded largely on technique." He goes on to say, "One pianist can draw a beautiful
tone and variety of tonal color from his piano, while another on the identical
instrument will fail to do so. Who can say where technique begins and ends? . . .
Technique is the foundation without which love and feeling will go for nought."3 A
sensitive touch will allow for a range of flexibility in following the vocalist, and for
matching tone quality. In a significant way, touch is crucial to the accompanist's
technique.
The physicality of the accompanist's body must be engaged while
collaborating with a singer. After alt, it is the unification of mind and body that is the
ultimate indicator of awareness which is an ongoing necessity for the vocal
accompanist. The anthropologist, John Blacking believed that the artist's nature is
elementally a physical one.
The mind cannot be separated from the body . . . for it is in the areas of
nonverbal communication, especially dancing and music, that we may observe
mind at work through movements of bodies in space and time . . . The
essential function of the artistic process is to mediate between the
impermanent and permanent in man to capture the force of feeling with forms
that must always begin as extensions of the body. If the creation of a new
aesthetic form may seem to be a product of conscious thought, I think that
most creative artists will agree that it begins as an "explosion" of the body
which produces apparently spontaneous results.4
3 Gerald Moore, Am I too Loud? (New York: Macmillan, 1962), 192-3.

4 John Blacking, The Anthropology o f the Body (London: Academic Press, 1977), 18-22.
7
Physical awareness will allow a pianist to follow the singer technically and
artistically. This is the foundation of their vocation. Such an accompanist will be
highly regarded. The specialized art of accompanying lies in one's ability to anticipate
the soloist's intentions, to attune oneself to the singer's artistic style, and to recognize
the singer's artistic shortcomings. It is "a continuous give and take, a molding of two
personalities into one . . . Without sensitivity there can be no artistry."5 The
accompanist can acquire a facility for hearing and producing nuance by listening to,
and matching, the singer's subtle vocal inflections.
Ideas about what constitutes "interpretation" will vary from singer to singer,
so the accompanist must be able to adapt to many approaches to the same song.
Bemac. a great interpreter of French Art Song (melodie), said this about performing:
However carefully prepared and minutely worked out a musical performance

may be, it will never be the same twice, even if the performer lives to the age
of a hundred and plays or sings the same work a thousand times. There will
always be an element of improvisation, of inspiration, of the unforeseen. A
performance is always an adventure. One runs a risk at each and every
performance, which leaves its future uncertain until the moment it ends. This
is sufficient to indicate how necessary it is that there be a firm basis, a solid
framework of technical security . . . to ensure the security of the performance,
despite the influences that will inevitable operate at the last moment, mental
and material influences that will modify the physical and spiritual behaviour
of the performer.6
Both musicians are responsible for interpreting their own part while
integrating it with the other, into a well-crafted presentation. In his autobiographical
book, Gerald Moore said of Elisabeth Schwarztkopf, "I love partnering her because of
3 Kurt Adler, The Art o f Accompanying and Coaching (Minneapolis: University of Minnesota Press,
1965), 182.
6Bemac, Interpretation, 7.
8
her perfect musicianship and because her recognition of the importance of the piano
part is most rewarding to the accompanist."7 It is expected that you keep your eye
upon the vocal line, but it is equally important for the singer to know what is going on
in the piano part If a singer neglects to study the accompaniment the best way to get
their attention, is to play in a leading, confident and creative manner. If you play with
authority, the singer will be more inclined to partner you with attentiveness and
respect.
An experienced accompanist will be able to identify two types of singers:
those who understand the art of chamber music, and those who rely heavily upon the
pianist to follow them. Think of it as either a two-way, or a one-way street. The
highest form of art, of course, is the one in which both parties recognize the beauty
and importance of the other’s part. After both singer and pianist are secure in their
own parts, the rehearsal process can be a time to share ideas on interpretation. This
"singer/pianist" relationship will be unique to each duo. Some singers appreciate
input more than others do, and different pianists will have varying degrees of
imagination, information, and taste. I once again refer to Moore's assessment of what
makes for a successful collaborative effort. In describing his relationship with
Fischer-Dieskau he said,
We are musical intimates with a complete understanding, and in the course of

our preparation each is vividly alive to the reactions of the other. It is a mutual
affair. Grateful though I am to him for his inspiring influence, responding with
electricity to his promptings, I should be doing this great singer less than
justice if I gave the impression that he arrogates to himself alone the right to
7 Moore, Loud, 158.
9
make suggestions. There are no conflicting personalities when we work

together: we discuss, we test, we try this way and that way, and quite often
Dieter will ask my advice and weigh it up; for he is an artist, not a prima
donna.8
The reason for the enormous success in the Moore/Fischer-Dieskau
relationship is multi-faceted. They were compatible musically, and personally. They
understood each other, deeply, on many levels.
There are various ways that pianists and singers relate to one another; each
case is different. For instance, Richard Strauss and his wife, who was a soprano,
toured Germany together for twenty years performing his songs. They did not always
experience an easy-going partnership.
Even if there was a piano postlude to a song, she began to accept applause
immediately [after] her own contribution was at an end, and even moved to
cover Strauss from view. That he put up with this behavior was all part of a
domestic balance which is another story, but that he did bear with her in all
sorts of awkward circumstances and scenes of her contrivance is witness to his
great love for his wife. They understood each other completely, and
consequently their iieder recitals—despite the occasional odd happening—must
have been extraordinary examples of an almost unanimous interpretation by
two people entirely at one with each other.9
The accompanist must be a well-rounded musician above all. One should be
well-versed in symphonic repertoire, opera, chamber music, instrumental sonatas, and
all other genre of classical music. This is necessary for developing a complete
understanding of how composers approach their writing. Did they hear symphonically
* Moore, Loud, 169-70.

9Alan Jefferson The Lieder o f Richard Strauss (London: Cassell, 1971), 16-7.
10
as Strauss did, or was the specific instrumentation of their writing unique only to
them as was the case in Mahler's compositional technique? These aspects of a
composition impact how a song actually sounds, in real time. Is the sonority full and
thick, or clearly voiced? Is an inner voice emulating a French hom or bassoons? This
depends largely on the style and approach of the specific composer. The informed
accompanist acquires a grasp of those many different "flavours" of style and format.
The Vocal Coach
While the accompanist is an equal partner; the coach acts as teacher. The
accompanist should never give vocal/technical advice without a thorough knowledge
of the workings of the voice. Dispensing vocal advice to a singer can be very
dangerous to the health of the singer's vocal apparatus. If you hear something that you
think could be unhealthy in the singer’s voice, you should suggest that they see their
coach or voice teacher immediately.
While it is not the responsibility of the accompanist to teach the singer their
music, some gentle coaching will usually be greatly appreciated. The well-educated
accompanist should be able to assist and help with inaccuracies in rhythm, pitch
problems, diction, mistakes in memory of text, wrong notes, and the like. This does
not mean that the accompanist will be giving a lesson to the singer—but (s)he can act
as a guardian and caring steward of the music.
11
The responsibilities of a vocal coach are teaching, assisting with vocal
technique, transposing when needed (the accompanist may be asked to transpose
periodically, but I personally hold to the policy that this is not required), and
imparting their knowledge of the vocal repertory. The vocal coach must also have a
thorough mastery of French, Italian, German, Spanish, and perhaps Russian as well.
Coaches help the singer to expand upon their repertoire by choosing appropriate
songs for their specific needs, and to help them to prepare for performances. This
includes aiding the singer with diction and interpretive style.
12
CHAPTER 3
TEXT AND STYLE
The text unequivocally is the most important element of Art Song. Text and
style are irrevocably interdependent. The pianist must not only "get the gist" of the
story, so to speak, but must know the meaning of every word in the song (s)he is
playing. This is of vital importance, and cannot be enough stressed. Fortuitously, the
texts that composers choose are taken from the most inspiring poems in history. It is
advisable for you to study not only the merits of the poems, but also the poets (See
APPENDIX). One of the major downfalls of the inexperienced accompanist is the
lack of interest in, or knowledge of the text. Kurt Adler, the famous vocal coach and
author, believed that "the word with all its nuances is the most important element of
the French art song.”1 Language, in all its varieties, has many hues and aural patterns,
but it is always the most significant component of any Art Song.
There is a difference in style between a Schubert song (lied) and a melodie of
Debussy. Touch, dynamics, tone, pedaling, and articulation are all affected by
language, and the period in which a piece was written. For instance, the prevailing
component of a Spanish song is that of rhythm. There is a distinctly unique rubato
that can only be learned through study and exposure to the style. The rhythm is "an
1Kurt Adler, The Art o f Accompanying and Coaching (Minneapolis: University of Minnesota Press,
1965), 169.
13
object lesson in flexible subtlety. This particular authenticity in the Spanish idiom is
hard to describe--it consists of the most delicate shifts and agogics, and cannot be
notated or imitated. But it is there, and it is what makes the music live"2 and leap off
the page. To play Spanish songs, you will need a technique that can manifest itself in
a fiery temperament with splashes of color, but one that can also maintain coolness in
attitude. This paradox of untamed bravura pitted against total control, showcases the
cleverness and ingenuity of the pianist, and occurs in both Spanish and French songs.
On the other hand, Charles Ives, who was a master of twentieth-century song
writing, said this about setting words to music:
Must it always be a polite triad . . . a ribbon to match the voice?

Should it not be free at times from the dominion of the thorax, the
diaphragm, the ear and other points o f interest? If it wants to beat
around in the valley, to throw stones up the pyramids, or to sleep in the
park, should it not have some immunity from a Nemesis, a Rameses,
or a policeman? Should it not have a chance to sing to itself, if it can
sing?—to enjoy itself, without making a bow, if it can't make a bow?
-to swim around in any ocean, if it can swim, without having to
swallow "hook and bait" or being sunk by an operatic greyhound? If it
happens to feel like trying to fly where humans cannot fly,—to sing
what cannot be sung—to walk in a cave, on all fours,—or to tighten
up its girth in blind hope and faith, and try to scale mountains that are
not—Who shall stop it!
In the case of Strauss, who wrote 20S songs, "the words always governed his
choice of rhythm completely, and accented words had always to have musical accents
too, so as to avoid verbal distortion when they were sung."4 His writing style may
2 Harold C. Schonberg, review of The Concert at Hunter College, Victoria de los Angeles and Alicia
de Larrocfaa, New York Times (November 1971).
3 Excerpt taken from / 14 Songs by Charles E. Ives (National Institute o f Arts and Letters, 1975).
4 Alan Jefferson, The Lieder o f Richard Strauss (London: Cassell, 1971),63.
14
have been more suited to prose, yet, Strauss always produces a touching and inspiring
poetic rendering of the text, as in Traum durch die Dammerung.
Sehr ruhig
Molta IfO fW U g Op. 29. No. 1
Voice
PIANO
p §
m
Example 1
Stratus, Trtumdurck die Dtmmermmg
15
The first two lines of the poem find their musical mate in the first four measures of
Strauss’ setting (at the voice entrance). "Weite Wiesen im Dammergrau; die Sonne
verglomm, die Steme ziehn." (Broad meadows in the gray of twilight; the sun has set,
the stars appear.) The vocal line and the German words are unified in such a way that
the melody naturally flows in pitch and rhythm. Even if you are not at ease with the
German language, try to say the words to yourself in the right rhythm, while
following along in the music. The two-measure introduction sets the mood for the
"broad meadows" at twilight.
Poulenc once said, "The musical setting of a poem should be an act of love,
never a marriage o f convenience."5 For the pianist, performing French songs utilizes a
wide range of touch and tone to evoke the power of the text. Bemac believed that,
"the art of the greatest French composers is an art of suggestion, more often
expressing moods and impressions than precise emotions . . . emotions and feelings
are refined, purified and controlled by reason."6
Poulenc's Violon, from a set of melodies entitled Fianqailles Pour Rire
(Whimsical Betrothal), must be played with taste and a sense of the appropriate
French style. It is easy to play this as if you are in a Hungarian nightclub, but please,
resist the temptation to indulge yourself here. According to Bemac, "This sensuous
melodie demands a style of almost excessive expression, remaining of course within
5 Pierre Bemac, The Interpretation o f French Song (New York: Norton, 1976), 269.
6 Bemac, Interpretation, 33.
16
the limits of good taste. It should not sound like a nightclub song, but should only
evoke that atmosphere."7 Here is the piano introduction to Violon:
M odere J = 63
CHANT
PIANO
Ueaama)
Example 2
Poulenc, Violon
7 Bemac, Interpretation 310.
17
When performing French song, contain your desire to emote, and the essence of the
music will usually come out by itself.
Another French melodie by Debussy, L'Ombre des Arbres (The Shadow of the
Trees) from Ariettes Oubliees (Forgotten Airs), shows the link between the poem's
esthetic meaning, and the music. Bemac, one of the leading scholars of French
melodies wrote that, "No musician of any nationality (with the possible exception of
Hugo Wolf) had greater mastery in creating the mysterious alloy of music and poetry
than Debussy. Not only in the prosody of the literary text and in the rhythm of speech,
for which he had a prodigious instinct, but also because he attained the deepest
concordance between the poetic idea and the musical idea."8 Bemac's translation of
Verlaine's poem:
The shadow of the trees in the misty

river
dies away like smoke,
while on high, among the real
branches,
the doves sing their plaint.
How much, O traveller, this wan

landscape
wanly reflected yourself,
and in the high foliage how sadly
wept
your drowned hopes.9
1 Bemac, Interpretation, 154,

18
Debussy has augmented Verlaine's poem with a verse by Cyrano de Bergerac, which
is printed in most editions near the title of the song. Here is Bemac's translation:
The nightingale, which from the top of a branch looks down at its reflection,
believes it has fallen into the river.
It is at the top of an oak tree and yet is afraid of being drowned.
PIANO
M «rtcom udtU fu. mo-e,
Example 3
Debussy, L 'Ombre des Arbres
19
Debussy has taken de Bergerac's nightingale and personified it in the form of
Verlaine's traveler. By doing this, Debussy has cast an added dimension onto the
protagonist. From the first note, create the mood suggested by the text and all of its
ramifications. Debussy has written some musical reflections in the score. For
instance, the contrary motion in measure 4 shows the piano and voice parts mirroring
one another, and measure 8 has the piano and voice parts with opposing dynamics.
This is most definitely intentional on Debussy's part and should be made evident by
both performers. Debussy's writing has an undercurrent of passion that seldom
completely manifests itself. More obvious than emotion is the delicate evocation of
perceptions and impressions. Perform his accompaniments with clarity and precision,
and without too much rubato. Cultivate richness of sound, and sensuality of touch,
above all.
In the final year of Strauss' life, he wrote the Four Last Songs. He took a brief
hiatus from this work (he had begun on a fifth song), to orchestrate Ruhe, meine
Seele, a song that he had written forty years earlier. First, Miller's translation of
Henckell's poem, Ruhe, meine Seele (Rest, My Soul):
Not a breeze Rest, rest, These times

is lightly stirring; my soul, are portentous,
in soft sleep your storms they try the heart
the grove is at rest; have raged wildly; and the brain to extremity—
through the leaves you have started up rest, rest.
dark cover and have trembled my soul,
steal bright shafts of like the seething and forget
sunshine. breakers! the things that threaten you!10
10 Philip L. Miller, The Ring o f Words: An Anthropology o fSong Texts (New York: Norton, 1973),
124-7.
20
Now remember that Strauss was near the end of his life when he wrote this—present
these tragic chords in a deeply personal manner, as if "not a breath of wind softly
stirs."
Op. 27, No. 1

Voice
Nicht «in Uftchaa Kgtdch 1*1 • w.
PIANO'
Example 4
Straus, Ruhe, meine Seeie
To reiterate, the text is the inspiration that infuses the composer's musical
creation. It determines the character of the song. There are some composers that will
even go a step beyond the intentions of the poet. Music can enhance the text by
placing it in an atmosphere not necessarily represented in the poem. For instance,
Strauss’ Nichts is written with a bawdy accompaniment to what is a simple lyrical
poem. Remarkably, Strauss takes a poem about pure love, and then presents it as a
lusty, carefree drinking song.
21
At the other extreme, let's look at Hotel from Poulenc's Banalites. In this song,
Poulenc takes the images suggested by Apollinaire's poetry, and goes a step further in
creating an exotic atmosphere. He does this by using a languid tempo, and the most
evocative harmonies. You simply cannot play this song correctly without knowing the
poem. This is Bemac's English translation of Apollinaire's poem:
My room is shaped like a cage

the sun puts its arm through the window
but I who would like to smoke
to make smoke pictures
I light at the fire of day my cigarette
I do not want to work
I want to smoke."
In Bemac's words, this is "the laziest song ever written." Since this song begins
without the singer, setting the "lazy" mood falls into the hands of the pianist. The text
indicates that there should be no rushing, whatsoever! Be content with each harmony,
and reside in the moment, being somewhat reluctant to move on to the next.
Remember, all you want to do is sit in your room and smoke!
Text is strongly interwoven with style at most key changes. Some points of
key change do not appear as a change in the key signature, but are composed within
the context o f the larger tonal schematic. Shifts in key center serve to enhance the
text Therefore, as the tonality changes, alter your touch accordingly. As an example,
look at Duparc's Phidyle. The key change into E-flat Major occurs on the word
"Repose," the French word for "rest."
This new key should give the listener a warm, secure feeling. Play this tonal change
from F-sharp Major to E-flat Major with a gentle flexibility.
A u z p e n .t e s d e s s o u rc e s m oussu es Q ui d a n s le s p re s e n fle u rs g e r m a n t___
dim. rmll.
p a r m ille is .s u . e s .S e p e rd e n t s o u s le s n o trs h a l . l i e r s ------- H e.
rmll.
• ttmjo
P h i .d y .
■m XT
Example S
Duparc, PhUyli
23
Being familiar with the text, you can now appreciate the meaning behind the
notes. The sum effect of the two forms (poetry/music) has a greater impact than they
do alone. Moore said something about Schumann's melodies that I think pertains to
Duparc's writing as well. He said that they "undulate with refreshing spontaneity and
should be affectionately handled by the singer. They beg to breathe, and if
strangulated by the strict beat of the metronome are rendered lifeless."12
In contrast to the straightforward key changes in Phidyle, some composers
take poetry along a path of fluid tonality. The shifting of key centers can be an
integral aspect of a composer's natural style. For instance, Strauss' key shifts are a
part of his compositional technique, at the most fundamental level. One can find
examples of ongoing modulations in almost every one of his songs. For instance,
Zueignung has numerous harmonic fluctuations that each reflect the passion of the
text. Every chord that precedes the three renderings of "habe Dank" (Take my
thanks.) is part of a different harmonic progression. The first one passes through A
Minor, the second moves through F Major, and the last reiteration occurs after the
keys pass through F Major, E Minor, and A Minor. The song finally resolves in the
key of C Major. Negotiate these shifts in harmony with a smooth technique, plenty of
rubato, and strong support for the vocal line. Many of Strauss' songs are difficult
because of his harmonic sophistication. One of the most technically challenging songs
by Strauss is Cacilie. Though the piano part lies well under the fingers, one still needs
a great deal of bravura to show the emotional whirlpool suggested in the text:
12Gerald Moore, Poet's Lave: The Songs and Cycles o f Schumann (New York: Taplinger, 1981), xi.
24
"brennenden Kussen," "umschauert von Sturm," and "zu schweben empor." These are
all expressions of extreme events and emotions (burning kisses, raging storms, and
soaring upward). The piano part reflects and enhances these images.
In general, text is one of the primary decisive factors of style. One of the best
ways to understand the style of a piece is to refer to the best editions of the music you
are studying. Look for an edition that includes the poems in the original language in
the front or back of the score. A good translation of the poetry should also be
provided. There are two basic ways that a translation can appear: as a counterpart to
the original poem, or it can appear in the score to be sung if English is required.
(Even if these are provided, it is still important to use a good dictionary to create your
own word-for-word transliteration of the text.)
A good edition will also help with stylistic markings that will greatly enhance
your preparation. Breath marks are often added not by the composer, but by the
editor. Breaths usually happen at punctuation in the text (again, showing the interplay
between text and style). There are, of course, many instances when breaths are taken
at unmarked places. This is for the singer to decide, but different editions will offer
suggestions. In many cases, the editor will place parenthesis around the breath marks
that are not originally the composer's. Some editors will also supply pedal markings. I
am not a believer in following all printed pedal markings, especially those not
included by the composer. However, in Art Song, most of these editorial suggestions
are very good ones. They may help you to decide whether or not to let the sound ring
through a breath, or when it is advisable to play arpeggiated figures in a sustained
manner or not. When in doubt, follow the pedal markings that are provided in the
score.
A word must be said about strophic songs. Many strophic songs can come
across as repetitive and uninspired. It takes a creative mind and soul to get to the heart
of die composer’s intentions. Pianist and singer must be in consort with one another
when performing a strophic song. Each verse must be well defined in character and
execution. Collaborative efforts during rehearsal will find their reward on stage. A
lackluster accompaniment will expose the pianist as uninvolved and uninspired. Both
musicians must agree ahead of time on how they will bring individuality to each
verse. Even though you will usually see only one set of dynamics and articulations in
the score, you can alter them to suit the character of each stanza. Strophic songs
present a challenge for the pianist because of their inherent predictability. Playing
your part in a creative and inspired manner will stretch the limits of your musical
mind. Brahms believed that, "the strict strophic song represents the highest form of
the lied."13
Schubert (who wrote 63S songs in only 15 years) was a master of the strophic
form. He was able to "create a melody whose expression would fit all stanzas of a
poem, divergent in mood as they might be."14 Schubert's Heidenroslein is not
technically difficult to play: die challenge is in the interpretation. There are three
' Adler. Accompanying and Coaching, 161.

14 Adler. Accompanying and Coaching. 159.
26
repetitions of the melody in which the piano has exactly the same notes. Each verse
must be varied in order to reflect upon the text.
Lieblicit (Cob Ii )(
•in • lain laa.lain
■ j u f and a a r - faa.aafcaa. Uaf a r a i t *ia> laa
Imtno mmao) »•»•*«■ (come prim* )
Example 6
Schubert, HeUmr&sleim
27
The first verse can be gentle and lilting; the second verse can be more aggressive. The
last verse ends with the snatching of the flower in the piano part. This is Miller's
translation (the words in bold print are repeated at the end of each verse).
A lad saw a rosebud. The lad said: "I'll pick you.

rosebud on the heath; rosebud on the heath!"
it was so young in its morning beauty The rosebud said: "I'll prick you,
that he ran to look at it more closely; so that you will always think of me,
he gazed at it with great pleasure. and I won't stand for it."
Rosebud red,
rosebud on the heath.
And the brutal lad picked

the rosebud on the heath;
the rosebud defended itself and pricked,
yet no grief and lamentation helped it:
it simply had to suffer.15
While this accompaniment could be construed as dull, it is really an opportunity to be
creative. Heidenroslein shows Schubert's genius in creating an interesting,
nonetheless simple musical structure. Goethe's seven-line stanza is set to fourteen
bars of melody with a "cockeyed" two-bar interlude placed between each stanza
Schubert's influence on the entire repertory of Art Song cannot be over
estimated. Aside from merely being so extensive, his output spans a vast array of
moods, styles and personalities. Perhaps because Schubert was a composer, pianist,
and singer, he was able to understand song from the inside —►out. He captures the
pure essence of poetry by composing musical imagery that provokes emotion. In
Schubert's hands, all of the visions that exist within a poem are given a "remarkable
13Miller, Ring o f Words: 68.
28
musical contour . . . Present sensation and memory are superimposed and
confounded."16 He molds the text into a musical form that crosses over the boundaries
of single thought; reaching far into the past, and the future, simultaneously. Schubert's
ability to create musical sub-texts for poetry, brought a fresh approach to Art Song.
Apart from his genius with this genre, his lied have an "unforced melodic flow"17 and
a rhythmic beauty unsurpassed by the generations of composers to follow.
Much advice has been written for singers concerning the interpretation of the
texts that they perform. I would like to take that a step further, and apply the same
standards to the pianists who shall accompany them. Take these words to heart when
reading the following quote from Martin Rich, the famous opera coach:
As vocal composers became more discerning in their choice of texts, turning

more and more to genuine poetry for inspiration, the art song evolved as we
know it today . . . A concert singer should try to acquire a taste for poetry.
Only then will he be able to do full justice to that wonderful fusion of word
and music which the ideal art song represents. He should recite the poems
before singing them, even if he has only a smattering of the language . . . he
may gain a new insight into their interpretation. Many a spontaneous
inflection was revealed to singers by this method.18
16 Charles Rosen, The Romantic Generation (Cambridge: Harvard University Press, 1998), 203.
17Charles Rosen, The Classical Style: Haydn, Mozart, Beethoven expanded edition (New York:
Norton, 1997), 521.
18 Martin Rich, Art Songs and their Interpretation (Bryn Mawr: Theodore Presser, I960), vi.
29
CHAPTER 4
CONSONANTS AND LIAISONS
Although it is certainly of benefit to be familiar with many languages, it is
unrealistic to think that an accompanist will be fluent in German, French, Italian, and
Spanish. It is possible and necessary however, to obtain a certain amount of
knowledge about languages that are used in Art Song. Specifically, the pianist must
develop the skill to understand consonants and how they work. While much of a
singer’s life is spent in the study of the vowel sound and its production, a pianist
needs to understand what is happening between the vowels. (If an accompanist
decides that they are better suited for coaching, they will need to achieve a high level
of linguistic expertise.) The more time you spend listening to other languages, the
more accessible these languages will become to you.
A thorough understanding of how consonants work will enable you to place
your notes in alignment with the voice part. The importance of this cannot be
overemphasized. To have good ensemble, the piano must play with the vowel. In the
words of Bemac, "to obtain a proper line, a proper legato, one must fill the entire
duration of each note with the vowel sound.”1Consonants surround vowels. They act
as the pianist's marker in a musical phrase. It is not uncommon to hear an
accompanist playing on top of the consonant It may not feel that way to the pianist
1Pierre Bemac, The Interpretation o fFrench Song (New York: Norton, 1976), 23.
30
but it gives the impression that they are rushing, and are playing ahead of the singer.
Not only does this sound imprecise, but it also gives the singer the feeling that they
are being pushed. There will always be a struggle for power in a situation like this.
Sustaining the vowel to its absolute duration creates a smooth legato, so all efforts
that are made to provide time for long vowels will be helpful. Anticipation of pulse is
the enemy of good ensemble.
Here are three examples that show how a singer lengthens vowel sounds. In
Remembrance by Ives, the phrase, "A sound of a distant hom" will sound like "A sou
ndo fa di sta nthom." (Say this out loud to yourself and it will make sense.)
p K aound dia tan t h o rn .
PP
PP
Example 1
Ives, Remembrmnce
31
It is important to be able to hear the vocal line in this way. presented in the
languages most often used in Art Song, so I will also give examples in German as
well as in French. First, in Strauss’ Morgan, the phrase, "und auf uns sinkt des
GlQkkes stummes Schweigen . . . " will sound like, "u ndau fu nssi nktde sGlu kke
sstu mme sSchwei gen . .. " (and upon us will descend the great silence of happiness).
This may be hard to decipher at first, but you will have success if you move quickly
through the consonants, and aim for the vowel.
immer nUrig
werdcn wlr la die Au -geniehaaea.
I**1
G ttk-kee itumme* Schwel -te a ...
«•
Example 2
Stratus, Morgan
32
From Mandoline, a melodie by Debussy. "Les donneurs de serenades"
becomes "Le do neu rde se re na de" (The men serenading). This piece has a quicker
tempo from the previous two examples, yet the same presentation of elongated
vowels pertains.
A llegretto (126 =J.)

_______
V oice
L es d o n n e u rs de
P IA N O
se . r e n a . d e s E tle s b e l.le s e - c o u te u -te s E eh a n g e n td e sp ro p o sfa .d e s
Example 3
Debussy, Mandoline
33
A "liaison" is the connection that occurs between two words. This connection
might be necessitated for Ungual or vocal reasons. Spoken language can be much
different (tom vocalized language. In singing, liaisons can be made in order to
enhance the legato of a vocal line, where when spoken, the consonant would
normally be left silent. In the words of Bernac, "the last consonant, which is mute in
an isolated word, is at times pronounced when foUowed by a word beginning with a
vowel."2 "Petit" becomes "petit-enfant" with the "t" eliding with the "e" of "enfant."
There are many exceptions to the rules of liaison in French, but the final decision on
whether or not there should be an elision must be left up to the taste and style of the
individual singer. In song, liaisons can occur in all languages.
A diphthong is a sound composed of two consecutive vowels in the same
syllable (as in the word "day"). Even though this falls into the category of "vowel
sounds," I am mentioning it here because diphthongs are sometimes important for the
pianist. How a singer produces a diphthong can alter the continuity of the rhythm. If
sung correctly, there should be no problem. However, if you are playing with an
inexperienced singer, a diphthong could alter the inner pulse. When this happens, I
suggest that you stay true to the rhythm in the score and take over the flow of the
music at that point. If it doesn't become resolved after a few lessons or rehearsals, you
might suggest to the singer that they consult with their voice teacher or coach to fix
the problem.
~ Bemac, Interpretation, 25.
34
This section on consonants and liaisons is not intended to teach language, but
rather to provide some o f the material that accompanists will need as they go about
learning the art of listening to singers. Pianists, even those with the best of listening
skills, might not know what to expect until they actually collaborate with a singer.
Sometimes it takes a while to be able to focus the ear and to hear the details.
Fortunately, the majority of consonants in Italian, German, French, and Spanish
sound exactly as an English-speaking accompanist would expect. You will be able to
decipher most consonants on your own. It will be helpful, however, to isolate and
interpret those sounds that are unique to other languages, and that could pose
potential ensemble problems between pianist and singer. The following is not a
comprehensive list of pronunciations.
French
"French is a language based completely on vowels."3 French consonants are
very fluid, so they may be difficult to hear at first. This causes the French mslodie to
be one of the hardest song-types to accompany. Your ear must first get used to the
sound of the language to identify the cues that will enable you to have good ensemble
with the singer. This is a list of the most common consonants.
35
1) Double consonants are pronounced like single consonants. No added length or
weight is given.
2) Many consonants are silent (like the silent ”g" in "weight").
3) Many French words have what are called "nasal" sounds. This means that you
will not hear certain consonants such as the "n” in "penser.” It should not change
your pacing.
4) The rules for liaisons in French are amorphous. Unless you are fluent in French,
simply follow the singer.
5) "gn" sounds like "ny." For good ensemble, play with the "y" sound.
6) The syllable "gua" is pronounced "gwa." Play after the "w" sound. This will
happen in a split second, so anticipation is vital.
7) "h" is usually silent unless it falls at the beginning of a word, then there may be a
slight aspiration of sound. A gently intoned "h" sound should be treated with care
so as to avoid an unintended accent in the piano.
8) The French "r" is a single-rolled "r." The exception to this is when it appears at
the end of a word in combinations such as "er" and "ier."
9) "s" between two vowels sound like a "z."
10) "z" is sounded as it is in English, not as it is in German.
36
German
Kurt Adler said it well: "Nowhere has there been so much sinning against the
musicality of a language than by the exaggeration of the German consonants .. . This
came about mostly as a result of the development of the Wagnerian Sprechgesang,
the whole old style of overdeclaiming, overplaying poetry."4 German is one of the
most pleasing languages to sing in and listen to if done with grace and style. German
is as much a language of consonants as French is a language of vowels.
1) Double consonants are given extra length. Make sure to listen carefully and give
the appropriate time for these words. The definitive source on German
pronunciation by Theodor Siebs, Deutsche Btihnenaussprache-Hochsprache,
suggests that double consonants are the same as single ones. By necessity,
however, language that is sung may sometimes need its own set of rules. This is
one case where a clear deviation exists between language that is spoken, and
language that is sung.
2) A word ending in "b" is pronounced like a "p."
3) "ch" sounds like "h" as in "hue," or can sound like the "ch" in "Bach."
4) A word ending in "d" sounds closer to a "t."
4 Kurt Adler, The Art o f Accompanying and Coaching (Minneapolis: University of Minnesota Press,
1965), 98.
37
5) Words ending in "er" often end, not with the "r" sound, but with what is called a
"schwa." The sound of this vowel-type requires a soft cut-off from the pianist, or
a legato connection to the next note.
6) "f* and "v" both sound like an "f."
6) "g" at the end of a word sometimes sounds like a "k."
7) When appearing at the beginning of a word, "h" is an aspirated consonant.
Depending on the tempo and mood of a piece, you may choose to either play on
the "h" or on the following vowel.
8) "j" sounds like "y" as in "year."
9) "r" can be rolled or flipped depending on the singer and the situation.
10) "B" is the same as "s."
11) "st" and "sp" at the beginning of a word sound like "sht” and "shp."
12) "w" sounds like a "v."
13) "z" sounds like "ts" as in "Mozart."
Spanish
Generally, Spanish consonants have a fleeting quality, and are very seldom
stressed. "It links its phrases, as Italian does, and there are no glottal stops as in
German or English."3 When spoken, Spanish can sound clipped, but when sung, it
becomes lyrical as it flows along on the vowels. Most liaisons in Spanish songs soften
5 Nico CasteL, A Singer's Manual o f Spanish Lyric Diction (New York: Excalibur, 1994), 64.
38
the connecting consonants. Ending consonants are also softened, so most cut-offs
should be treated as such. I have listed the general rules for Castillian only, not for
popular Spanish, or for Latin American. They can be slightly different.
1) Double consonants are pronounced with extra stress.
2) "c," "d," "s," and "z" can sound like "th." This sound is called "ceceo." "It is
interesting to note that the lisping sound of the Castillian "c" and "z" is not, as
many claim, an affectation that began in olden days because of the lisping of
some Spanish king (probably Phillip II, a Hapsburg monarch whose pronounced
underbite could have given him trouble with sibilant consonants), for whom the
entire population, out of respect, or perhaps, believing this to be Tiigh court'
speech, imitated their sovereign's speech defect. Although it makes for good
linguistic fiction, this is not the case at all."6
3) "g" and "j" can sound like "ch” as in "Bach."
4) "h" is always silent.
5) "11" sounds like "ly" as in "million."
6) "n" sounds like "ny” as in "canyon.”
7) "r" can be rolled or flipped, "r" between two vowelsisgiven a single gentle flip.
8) "s” as the final consonant in a plural noun is softened to sound like a "z."
9) "v" sounds like a combination of "b" and "v."
6 Caste1, Manual, 64.
39
English
This can be the trickiest language for an English-speaking singer to produce.
Since we are so familiar with our own language, it can be confusing to alter sounds
for singing. I have listed only those instances that can create potential problems with
ensemble.
1) Some consonants are not spelled out in the word. To cite an example, "one” is
pronounced "won."
2) It is sometimes necessary to separate certain words so that they may be
understood. For instance, two adjoining words that share the same vowel sound
must be separated (the/evening). Do not make a break in the accompaniment, but
listen for the timing. Another case where two words must be separated is when
the meaning of the text will be lost if sung without a break (my/ears). Of course,
the singer may always decide to separate words for dramatic effect.
3) When appearing at the beginning of a word, "m," "n," "1,” and "w” will move
quickly into the following vowel. Prepare to play with these consonants.
4) "r" is most often flipped only once; seldom is it rolled. This includes double Vs."
5) A word beginning with "wh" such as "when" should sound like "hwen."
40
Italian
Many vocalists enjoy singing in Italian because of the extensive presence of
pure vowels. Most voice instructors agree that it is the best language in which to leant
voice placement and a solid breathing technique. However, the greater reservoir of
music from which Art Song is drawn has been written mainly in English, French,
German and Spanish. This is not to imply that Italian Art Songs do not exist, but that
the instances in which you will come across them are very rare. Due to this
circumstance, I will not be including a section on Italian diction in this manual.
Hearing consonants takes keen ears and a lot of practice. This hearing ability
evolves with experience, as does much of the accompanist's arsenal of skills.
Anticipate the vocal line, while at the same time, respond to what the singer is doing
in the present. Many accompanists play with aural blinkers on, watching only the
piano part. It is essential that you keep a vigilant eye on the vocal line and all of its
intricacies.
The work that you do with foreign languages can be something rewarding for
the palate of your general musical abilities. As well, it should make for inspirational
and informed experiences for the listener.
41
CHAPTER 5
MUSICAL REPRESENTATION OF POETIC IDEAS
One of the unique aspects of Art Song is the essential link between the poetic
and the musical. This can take the form o f a literal rendering o f a concrete idea, or of
a representation of an esthetic or concept. Obviously, when an accompaniment has
the sound of horse's hooves or the spinning of a wheel in motion, we are not hearing
the actual sound of the hooves or the wheel, but rather, a "transformation of those
sounds."1 Art Song is enriched with aural symbols. It is the duty of the pianist to
draw out these symbols. On a deeper level, the hooves and the spinning wheel are
also gestures that can represent an aspect of the protagonist's soul. The sound and
rhythm of a thundering, raging horse may conjure a powerful and visceral response in
the listener. If this sound is represented by unceasing eighth-notes in the
accompaniment, it can create an overall effect of anxiety, or even doom. These sorts
of representations carry with them the underlying essence of their symbolism, to great
and compelling effect.
Marcel Marceau wrote that "A gesture is not sufficient; it needs to be clothed
in a thought. And the drawing which expresses this thought must be accurate. Finally,
the style must stand o u t. . . When the actor-mime sustains his dramatic action with
the inspiration o f his thought, the sensitive response he induces is the echo of his soul.
1Edward T. Cone, The Composer's Voice (Berkeley: University of California Press, 1974), 35.
42
and the gesture becomes a silent inner song. The actor-mime vibrates like the strings
of a harp. He is lyrical: his gesture seems to be invested with a poetic halo. "2
Gretchen am Spinnrad by Schubert is a perfect example of how the piano part
can emulate a physical object. In this case, it is a spinning wheel. I like to imagine
that the wheel is wooden and slightly off-center. There shouldn't be rubato per se, but
the piano can project a non-exacting motion to show the rotation of the well-worn
wheel. The sixteenth-note figuration continues on for 120 measures with a single
momentary stop in the middle.
Allegro ooq troppo.*-, n .)

VOICE.
stm pre Ugnto
PIANCU
IE» j n , n , r s , a
%stm prr iMcr.
E u n p le 1
Schnbcrt, Gretchen mm Spinnrmd
2 Jean Dorcy, ed.. The Mime (New York: Robert Speller and Sons, 1961), 103-4.
43
The final few measures may wind down in a quasi-spasmodic fashion to show the
wheel coming to an uncomfortable, and lame halt. Conceptually, the wheel might
signify the unforgiving passage of time in a woman's life. It is this underlying
meaning that gives Art Song its special twist. The richness of meaning—surface and
underlying—that is brought to light, will be a measure of the interpreter’s capacity for
imagination and humanity.
A second example of a turning wheel is in Debussy's Chevaux de Bois from
Ariettes Oubliee. This time, the image of the wheel is a merry-go-round; one that is
noisy, and very fast. Unlike the rendering of the spinning wheel motion in Schubert's
piece, Debussy has written out the rhythmic lopsidedness of the merry-go-round in
the triplet/eighth-note rhythm in the right hand. You need not add anything to
Debussy's aural representation of the merry-go-round. The score supplies all that is
needed. By following Debussy's markings exactly, you will elicit the right character
and speed for this piece. Notice the words in the voice part: "Toumez, toumez."
These words begin as the merry-go-round starts to move. By following Debussy’s
markings of sfy f leger, p, and mp, all of the inherent sparkle in the music will
surface. Debussy has provided many interesting details in the score, and it takes
practice to capture them all. It is well worth the effort, though, and the singer will be
appreciative of it Debussy was known for being extremely involved in any creation
of his making. You can tell that he had a real fondness for the scene that emerges in
this song. Perhaps he had once taken his beloved daughter, Chou Chou, for a ride on a
merry-go-round, and found his inspiration there. The perfect balance of heart and
44
mind is at the core of Debussy's songs. Nothing was closer to Debussy's heart than his
child.
Aller {joytux tt t t nort)

Voice
A lle p o non u n t o (jtytux tt n u n )
PIANO (toprm)
Tour
Example 2
Debassy, Ckevmux de Bob
45
While "drunken hiccups" is hardly an elevated poetic image, none-the-less.
they appear in the piano part of Ravel's Chanson a Boire (Drinking Song) from Don
Quichotte a Dulcinee. (These songs were originally written for the film of the same
name. Sadly, they were never used as such.)
v ais droit. lors . qne j’ai... lors . que j’a i bat

m a r r y hoy! Makes you. laugh, laugh ti k e a hoy!
Example 3
Ravel, Chanson i Boire
This is a fast-paced song, and there isn't a great deal of time to punctuate the vocal
line with the chords representing the hiccups. In fact, the "event" of the hiccup should
be kept strictly in time. As in the Debussy song, Ravel's accompaniment speaks for
itself. No exaggeration is needed to bring out the chord. This is French music, and
Quixote is, after all, a charming drunk.
46
Brahms said this about his own composing technique: "When I have found the
first phrase of a song, . . . I might shut the book there and then, go for a walk, do
some other work, and perhaps not think of it again for months. Nothing, however, is
lost. If afterward I approach the subject again, it is sure to have taken shape; I can
now begin really to work at it. But there are composers who sit at the piano with a
poem before them, putting music from A to Z until it is done. They write themselves
into a state of enthusiasm which makes them see something finished, something
important, in every bar."3 Brahms uses poetic imagery in his setting of Der Schmied:
Ich bur’ mai -Den Sehatz, den

love can hear, His
Example 4
Brahms, Der Schmied
3 Leon Botstein, ed., The Campleal Brahms: A Guide to the Musical Works o f Johannes Brahms (New
York: Norton, 1999), 232.
47
The sound of the blacksmith's hammer can be clearly heard in the accompaniment.
This literal representation called "onomatopoeia," should be played boldly with an
acute awareness of maintaining a consistent rhythm. Not only is this a literal
representation of the sound of the striking hammer, this unrelenting rhythm also
evokes the intense power of love and the flames of passion. The rhythmic pattern that
is set up in the first measure continues throughout the 40 measures of the entire piece.
Brahms uses Schubert's concept of repeating a rhythmic idea (as in Gretchen am
Spinnrad), to "drive home" the inner atmosphere of the text.
Obviously, Schubert had an enormous influence on all of the following
generations of song composers. He elevated the idea of "collaboration" to new
heights. In fact, when Schubert died in 1828, Schumann was heard sobbing
throughout the night.4
Brahms was a master of evoking the atmosphere that permeates a poem. For
instance, his Lerchengesang has as accompaniment filled with painful longing and
despair. To quote Leon Botstein, "Each of the two main sections begins with the
voice's melodic segment followed by the piano's touching appoggiaturas. This
exchange is like a dialogue between the protagonist and the faraway voices of the
past, which gently haunt him. The vast distance in register of the two melodies and
the loneliness of the unaccompanied voice create a nostalgic aura, suggesting that the
protagonist is out of touch with his current surroundings and that he will never be
*Joan Chissell. Schumann (London: Dent, 1967), IS.
48
able to reclaim his past love."5 Brahms envelops the textual story in an ambiance not
readily apparent in the poem.
Andante espressivo
Ae - the - r i - ache fe r - ne S lim - m e n . der

A h, d is-ta n t, c • the - real voic - c s. Oil
L e r-c h e n him m -Ii-sche G rii - see, v ie re g t ih r m ir_ so

sk y -la rk 's hcav -e n -ly g re e t -in g .
do/cr
Example 5
Brahms, Lerckengesang
5Botstein, Brahms, 258.
49
Brahms uses music to enhance metaphorical aspects of the text. Damm 'rung
senkte sich von oben (Twilight Descends from Above), deals with darkness and light,
and their representation in death and life (in that order). Like many poems, these
metaphors are not presented with philosophical terms, but rather, within the context
of a personalized story. Harmonic and rhythmic changes in this song reflect events in
the text, and in turn, each event reflects the representation of the original metaphor of
darkness and light.
Now let's take a look at Brahms' O wiist' ich doch den fVeg zuriick.
E tw aa kangaam
Un poeo lento
wiisst’ iob doch au - ruck den

woold ( knen the way, The
Example 6
Brahms, O WOst'ich dock den Weg zurUck
50
The roaming eighth-note passagework in the piano part emulates the text: "O wiisst'
ich doch den Weg zuruck, Den lieben Weg zum Kinderland!" (O that I knew the way
back, the charming way to the land of childhood!). A complete rhythmic change
enhances the text at the beginning of the second stanza: "O wie mich sehnet
auszuruhn. Von keinem Streben aufgeweckt" (O how I long to go to sleep
undisturbed by any aspirations).6
Lebhafter werdend
AHi/nando // tempo
Hand? O w ie nuch sen net

band? Ah, how [ loner to
The syncopations in the right hand reflect the restlessness of the protagonist.
6 Philip L. Miller, selected and translated by, The Ring o f Words: An Anthropology o fSong Texts (New
York: Norton, 1973), 90-1.
51
CHAPTER 6
DEVELOPING YOUR SKILLS
Steps to Learning a New Vocal Piece
The best way to familiarize yourself with the vocal repertoire is to listen to as
many recordings as possible, and to attend as many live performances of vocal
recitals as you can. Before your first rehearsal with a singer, prepare the score in a
conscientious manner. Don't underestimate the difficulty of song accompaniments.
Spend time on the technical passagework. Use the same solid practice techniques that
you use in preparation for a solo recital. "There are so many things to be observed:
indications of tempi, precision o f rhythm, of values (values of the notes, values of the
rests), the accents, the dynamics, the phrasing, the nuances, etc. It can be said that one
never reads the score with sufficient care."1
1) Play through the piece absorbing as many of the notes, rhythms, dynamics, and
words as possible. Keep the vocal line in your sight at all times. The more
advanced your sight-reading, the more details and language you will absorb.
2) Read a translation of the poem.
3) Write a word-for-word transliteration of the text in the score over each note.
1Pierre Beraac, The Interpretation o f French Song (Sew York: Norton, 1976), 2.
52
4) Gather, through research, any directions from the composer that aren't familiar to
you (tempo indications, interpretive markings, etc.).
5) Study the piano part with as much practice and study as you would a solo piece.
6) Sing through the vocal part while you play the piano part; first on a neutral
syllable, then with the correct words in the original language. Do the best you can
with this step. As you spend more time with vocal music, languages will become
more accessible to you.
7) Sit with the score and hear the entire piece internally. Not enough can be said for
hearing the music with one's inner ear. Conceptualize your part ahead of time, and
you will be able to divine the music quicker, and with greater understanding.
8) Rehearse with the singer (!)
9) It can be very helpful to listen to several recordings of the pieces you are learning.
Unless you grew up going to song recitals, recordings will provide you with a
point of reference from which you can find your own interpretation within a
historically accepted style and tradition. Listening to a variety of accompanists
will broaden the field of interpretive possibilities for you and, inspire you as well.
Of course, it is assumed that you will learn the music from the printed score, and
not from a recording.
Any pianist who wishes to become a serious vocal accom panist should begin
by becoming familiar with the repertoire. Make the library your best friend. Take out
any scores and recordings that you can find. Listen and follow along in the music.
53
Explore as much of the literature as you can. Read translations o f the texts. Do not
wait for a singer to hand you some music to begin the process! Expand your private
collection of vocal scores. Owning music enables you to write indications and
transliterations in the score that will enrich your relationship to the music each time
you revisit it.
Sight-reading
You simply cannot be a successful accompanist without having good sight-
reading ability. The better your skills, the easier and more enjoyable your work will
be. The good news is that sight-reading inevitably improves with practice. The
amount of time and energy you put into sight-reading is commensurate with the
benefit you will draw from it. Sight-reading is important to an accompanist for many
reasons.
1) You will need to leam music quickly. Your part must be completely ready to play
at the first rehearsal with the singer. Sight-reading ability dramatically cuts down
on the time it takes to leam new repertoire.
2) The amount of music the accompanist must have in their repertoire at any given
time is enormous. Oftentimes, one may have several full-length recitals
underway, as well as new music to leam for future events. It is just not viable to
use valuable time in the practice room to wade through notes.
54
3) A pianist who is good at sight-reading can adapt without hesitation in
performance to those situations that require a quick reflexive response.
4) A good sight-reader will be able to accept professional opportunities with little or
no advance warning.
5) A good sight-reader will be able to scan the score far ahead, enabling her/him to
read the vocal part, and the piano part, with greater ease.
Good sight-reading includes playing correct notes, rhythms, dynamics, and
portraying the right character of the piece. If you feel that your sight-reading skills
need improving, practice reading new repertoire every day. You will see quick results
if you are diligent about a rigorous reading discipline. Force your eyes to look ahead,
keep a steady beat, and read from the bottom up. These are, Anally, the basic
strategies for advancing skills.
Balance
Composers of Art Song write piano parts that can be technically demanding,
and necessitate sensitivity of touch and sound. "Balance" does not imply holding the
soft pedal down and staying in the background, yet, there is a point at which the piano
can easily slip over the line and cover the singer. At the other extreme, in an effort to
stay under the singer, one might be tempted to play too softly. Balance is achieved by
55
listening, and by providing the correct level of support for the singer. Remember: the
pianist and the singer are equal partners collaborating in greater service of the music.
There are times, of course, when judicious use of the soft pedal is advised.
The eighth song of Schumann's Dichterliebe, Und wufiten's die Blumen, die kleinen,
is a good example. Not only will using the soft pedal make the thirty-second notes
easier to control; it will help to create the desired sound.
And oh!- if the flow1 - re ts but knew How

Urnd m im . m i die B lu - mem, ate kiei
Example 1
Scham as, Vnd wOflten's die Blumen, die kietitat
Schumann's compositional strategy in writing a song cycle such as
Dichterliebe, is worth contemplating. Each song is like a small fragment of a larger
entity. The idea of the "Romantic Fragment" had been in use for a while before
Schumann started writing his song cycles (in the cycles of Schubert, for instance), but
56
his particular genius excels in forming a complete and coherent musical composition
accrued from several smaller parts.
While finding the correct dynamic level under the singer is important, what is
most essential is that they feel the support of the piano beneath them. Rather than
think of balance as an issue of "loud" vs "soft," think of it as this: "how much support
is appropriate here?" This interplay is very subtle, and it takes years to move about
freely and with confidence as you strive to achieve the perfect balance with the
singer. The amount of support the pianist should render has a lot to do with the song,
of course. But even more, it relates to the experience and ability of the singer. The
pianist should move about as a "doppelg&nger" to the singer; shadowing her/his every
phrase and nuance. A less experienced singer can be highly influenced by what you
do in terms of dynamics. By offering solid support to the singer, you will find that
you can help to complete a long phrase that would otherwise have given trouble. You
can also give the singer the courage to produce more sound, or to take the time
needed to enunciate the text. There is much that you can, and should do, to help the
cause.
Keep in mind that a song by Brahms, for instance, necessitates a different
approach to balance and tone than does a song by Schubert. In general, Brahms' piano
accompaniments call for a weightier, thicker sound than those of Schubert.
Ideal balance is achieved by gently threading the vocal line through the fabric
of the overall sound. This statement could sound as if this is the responsibility of the
singer, yet, it really falls into the hands of the pianist A good example of how this is
57
done can be seen in the ninth song of Schumann's Dichterliebe, Das ist ein Floten
und Geigen. The piano part imitates the sound o f the flute, fiddle, and trumpet while
the vocal line runs alongside. Take care not to cover the vocal line when it crosses
under the pitches in the piano part. There is also an inherent danger in covering the
vocal line when the piano part descends to the lower register.
Not too fast.

Nieht zu rasch
fid - dl«a a re sound

Flo Cm mad (2ri
bftj-ft
blaiw; The (rum - pels

IVam . we
Example 2
Schamana, Das ist tin FUUen und Geigen
58
There are innumerable instances in vocal music when the printed dynamics
don't seem to make sense. Sometimes the piano part will be marked at an equal, or at
a higher dynamic marking than the voice part. The first thing you must do is to
identify the problem. Be observant and see potential hazards. The next thing to do is
to remember that character determines dynamics and tempo. The conscientious
accompanist should question all printed dynamics.
A good song in which to practice your balancing skills is in Schumann's Stille
Tranen. Allow your volume to grow in concordance with the singer's volume. This is
done by listening to the air flow, and the intensity of the consonants. Keep the bass
full in order to give the singer support.
Example 3
Schumaan, Stille TrMnat
59
Inadvertent covering of the vocal line does not always take place during forte
passages, yet, it is so very tempting to get lost in the fury of your own part. Take a
look, for instance, at the seventh song from Schumann's Dichterlieber, Ich grolle
nicht.
Not too fast.

N icht su tchntll.
I niur - m ur not,
le k g ro t • U aiotl,
* «
Example 4
Schamaan, Ich groite nicht
Approach this accompaniment with courage! Allow yourself to be expressive while
you keep your ear finely honed on the voice part. Eighth-notes that are flexible will
greatly enhance the music. Listen to consonants for the arrival point of the vowels.
Wait for the singer to get through the "ch" of "auch" and the "br" of "bricht" in
measure 4. This will help to facilitate the rubato. Practice saying the German to
yourself so that you can empathize with the singer while you are playing. Keep the
bass strong; think of the pedals of an enormous cathedral organ.2 However, always be
aware of the voice part, especially in the lower register. If you play full and
2 This is a cany-over from the idea established in the previous song from Dichterliebe, Im Rhein, im
heiligen, Strome.
60
sonorously, but not too loudly, the vocalist will feel your support, and (s)he will sing
out. This sort of balancing is actually a constant a give-and-take. Strong playing will
foster strong singing; strong singing will enable full support from the piano. Continue
to underplay the dynamics slightly, in order to maintain good balance. You must be
willing and able to relinquish a satisfying forte, and climax at a mezzo forte, for the
sake of hearing the text—and this is all, always, in recti time!!
According to Charles Rosen, "A song cycle cannot tell a story directly—at best
it can hint at one that remains untold."3 Schumann's Frauenliebe und-Lebert is a series
of songs (fragments, if you will), each of which tells of an event in the course of a
woman's life.
Er, der Herrlichste von alien from Frauenliebe und -Leben, presents another
opportunity to supply a solid foundation for the singer. Again, Schumann has
supplied a bass line that is full, supportive, and very gratifying for the pianist. The
same problematic situation exists in this song: over-playing, and conflicts with
registration. Schumann has written piano in the accompaniment throughout much of
the song, but the singer might decide to execute some passages mezzo forte or forte.
Feel free to bring up your volume to match the singer. Remember however, that
acoustically, chords tend to augment in volume as they are repeated. A full sound is
good, but remember to always stay under the volume of the vocal line. Be sure you
hear every word the singer is uttering. This is not easy. It can feel frustrating not to be
able to play as forte as you'd like. But, what you relinquish in volume, can be taken
3Charles Rosen, The Romantic Generation (Cambridge: Harvard University Press, 1998), 175.
61
back through expressive playing. There are counter-melodies that can be voiced,
especially at harmonic anticipations and in moving lines. Unlike the markings in Ich
grolle nicht, Schumann has given the piano part in this song, dynamic markings that
will help with balance.
, vivaciously.
He of ail the best, tbe dear - est. Al-ways

E t„ dlf AnActMe 00a Ml loo, w it to
Eb major.
Es <tur.)
mm m
tie. al Lips al - tar - lag. eyes that
Sol - dr L m - mom Urn - m
H b f f ll *
Example 5
Schamaaa, Er, der HerrUckste von allot
62
Take extra care in balancing to the singer in songs where you have fast
moving notes. Speed creates volume unless, of course, you listen carefully to adjust
for this. Schubert's Ruckblick, the eighth song from Winterreise, is one case where it
is best to keep a watchful eye (and ear) on the vocal line.
1 ^
S * - la , la t r t * anh a k a af Us al lakaa. lik
Example 6
Schubert, RtckbUck
A good solid technique is essential to this piece. Considering the low register of the
vocal part, it is very easy to overcome the singer. A lighter touch is best.
63
Although balance is an issue which accompanists must constantly consider,
some pieces are more of a challenge than others. In Meine Liebe ist griin, by Brahms,
you can see the potential problems. Both the piano and vocal parts are marked forte,
and the vocal part is doubled by the piano. In addition, the piano writing is quite
thick.
Lebhaft
Example 7
Brahms, Meine Liebe ist grQn
There is plenty of opportunity here to play with bravura and rubato. This song is not
an easy undertaking for most pianists. Use your best efforts to stay under the voice
part while still presenting your technical flair.
64
Poulenc's accompaniments often contain fast passagework. In fact, some of
his suggested tempi are almost unplayable! It is far better to choose a tempo that you
can play accurately than to play the printed tempo out of control! Air Champetre from
Poulenc's Airs Chantes is very quick and rhythmically unrelenting.
V i t e J=144
P IA N O
Example 8
Poaleac, A ir Ckmmp&re
While 144 to the quarter note is not an impossible tempo, to the pianist it can feel like
one is bordering on insanity. If taken slightly slower, you can create the fleeting
65
feeling that Poulenc was seeking. Rather than writing crescendos and diminuendos,
Poulenc has indicated the dynamics in general terms. Notice the m f at the opening of
the song. Consider interpreting this m f to mean, "to be played lightly." The lighter
you play, the faster you can go, and the faster it sounds. Even though the score is
marked at m f for both piano and voice, stay an entire dynamic under the singer,
because the tessitura of the vocal line lies close to the upper voice in the piano part,
and this often creates a potential balance problem.
Oftentimes, the lower register of a singer’s voice may possess less volume
than the upper register. Be sensitive when accompanying in this range of the singer's
tessitura. Remember that if you can't hear every note of the vocal part, you should
bring down your dynamic level. Help the singer to feel that their tone can easily be
heard above the piano. As trust develops between you and the singer, feel free to
experiment with the edges of your dynamic range.
Generally speaking, the half-stick is the best position for the lid of the piano.
However, the acoustics of the particular recital space will determine what is needed.
It is very helpful to own a small wood block that can be safely inserted into the piano
to hold up the lid at a smaller angle than the half stick provides. Playing with the lid
all the way down can drastically reduce the singing quality of the tone that is coming
from the piano. Very rarely will you need to raise the lid to full stick.
During a recital, the singer will be facing towards the audience, and away
from you. (Make sure that the singer is standing close enough to the piano for you to
see his or her face.) Project your "balancing barometer” into the hall. Try to hear what
66
it sounds like from the audience. Always err on the side of caution—softer is better!
But, in order not to play too softly, stay at a level just one notch under the sound of
the voice. In some recital spaces, the voice will be substantially louder to the audience
than to you. It is helpful to have a third party come to a rehearsal in the hall before a
performance to help determine if the balance is good, for both parties involved.
Keeping Your Eye on the Vocal Line
If you have difficulty in watching the vocal part as you play, consider dealing
with easier repertoire. Pianists are trained to take in only two lines at once, so reading
three lines might take a little extra practice. The more time you spend on it, the easier
it is sure to become.
There are ways to improve your ability to see three staves of music at once.
Visualization and inner hearing are very useful tools. Look at a score, and notice how
the parts fit together rhythmically. Then, play your part while watching the vocal part.
Imagine how the melody will fit in with the piano part. Eventually, you will be able to
expand your field of sight, and musical perspective. As you look further ahead in the
score, your ability to reason spatially will also grow.
The virtues o f keeping your eye on the vocal line are innumerable. To explore
some of these reasons, take a look at Debussy's C'est I'Extase (It is Ecstasy) from
Ariettes Oubliee (Forgotten Airs).
67
rm m ra n t
Lent e t rnrai
C M tlaz.la . h Ii u o u n . m
PIANO
Cwtli lk . tl|tw «mou-rou
Example 9
Debussy, C a t I’Extmse
In measure 6, notice that the piano and vocal lines move in contrary motion. Also
notice that the vocal part begins below the register of the piano. Because your eye is
68
trained upon the vocal part, you will see a sixteenth rest just before the entrance of the
voice part on the word "C'est." While you are playing your part, breathe as if you
were about to sing "C'est la fatigue." You can now see the importance of the
placement of your second chord in that measure. Rhythmically, this chord will be
your cue to the singer that you are "at one" with their part.
In Strauss' Breit' tiber mein Haupt (Let fall upon my Head), notice all of the
different elements that you can absorb while watching the voice part.
Iralt* i - t o m«ia H 19 t o K to i- m H ut. to a ' »
PIANO'
¥ i i
Example 10
Straws, B n*' Ober mebt Hmmpt
69
First, you will see that the voice part begins simultaneously, as one with the piano
part. Breathe with the singer and listen for the "Br" of "Breit’." Play the chord with
the vowel. Feel the triplets in beat two, and listen for the "n" of "mein" to proceed
with the chord on the third beat. The singer has a plethora of consonants to negotiate
on the word "schwarzes" before you can play the chord in bar two. The speed of these
consonants will depend upon the singer's interpretation and skill. There is also an
upwards leap of a fourth in the vocal line, to which the singer might give some added
expression. Listen for the "s" at the end of "schwarzes" and fit it in with your chord
on beat two of bar two. Moving ahead a few bars, now take a look at the words
occurring from bar five to bar six. "und klar." You will hear the "t" of "und" and the
"cl" of "klar." Again, there is a leap up in the vocal line in which a little expressive
time might be taken. Avoid playing an early downbeat in measure six. Let the singer
get through all of the consonants. Listen to the liaison between measure six and
seven. The "r" in "deiner" will almost elide to "Augen" resulting in "R/augen."
Listening very closely, you may hear a soft gkmle stop between the "R" and "augen."
This amount, and level of attention to detail is essential for good ensemble.
Train your eye on the vocal part at all times.
Voicing
Accompanying allows you the freedom to create truly subtle and pure inner
lines. When the singer has the melody, you will have the bass line, the inner pulse,
70
and counter-melodies to consider. In a way, being unencumbered by the melody-line
leaves your hands and mind free to explore more far-reaching territories in the score.
There is much richness to be found in piano accompaniments that can tap, in ongoing
spirit, into the creative juices o f one's musical imagination.
In the second song of Schumann's Dichterliebe, A us meinen Tranen spriefiert,
take care to bring out the inner chromatic lines. The bass line is a simple but heartfelt
counter-melody that reflects the text. "Aus meinen Tranen spriefien viel blOhende
Blumen hervor, und meine Seufzer werden ein Nachtigallenchor." (From my tears
spring up many blooming flowers, and my sighs become a chorus of nightingales.)
Not quickly.
N ic h t tch n rll.
Am$ Mi - M> Tkrm m u ip r it - o ra v itl btu - k n d t B U - imk her -
Example II
Schumann, Aus meinen Tribun spriefien
71
The simple setting of this poem elicits an innocence that enhances Heine's words. In
Charles Rosen's words. "Schumann's setting emphasizes, not the movement from
despair to hope, but the sense that the hope is not yet fulfilled.”4
Schumann did not always enjoy writing for voice and piano, but when he
finally discovered the beauty of Art Song, he became totally engrossed in composing
for this genre. He said, "All my life I have put song compositions beneath
instrumental music. Never did I think that they were great art . . . I am working
exclusively on vocal pieces, big and small ones . . . I hardly can tell you what joy it is
to write for the voice compared with instrumental compositions and how it rumbles
and grumbles in me when I sit at my writing desk."5
Schumann had originally planned to use the poems of Heine (the poet that
wrote the text to Dichterliebe\ as the inspiration for a solo piano cycle. Although this
undoubtedly would have been wonderful music, the blending of Heine's poetry and
Schumann's music is one of the greatest achievements in Art Song.
Many composers write piano parts with a pure counter-melody in the upper
voice. Moments like this are gifts for the accompanist because they afford the
opportunity to easily achieve a goal of the piano soloist; that is, to clearly project an
inner line. A song such as this becomes an equitable duet between pianist and singer.
Wolf, who wrote over 250 songs, once said, "Poetry is the true source of my
music."6 His Verborgenheit provides a distinct counter-melody in the piano part.
4 Rosen. Generation, S3.

5Kurt Adler, The Art o f Accompanying and Coaching (Minneapolis: University o f Minnesota Press,
1965), 161.
6James Husst Hall, The Art Song (Norman: University of Oklahoma Press, 1953), 113.
72
Q 1 io « w i|r a n a vi u n grwm*
y * " - ' U l , o W«lt, o

f ta p l m t mH, a
p
-_E 2.' '-T f! - J 3 L ' ■ tcL
IV
XII 1 _
___
_1
_ ' 1I. t h
S rj: - j j:
Example 12
Wolf, Verborgenkdt
With open imagination and ear, you will be able to discover inner lines
throughout the entire literature of Art Song.
The concept of "voicing" is incorporated into many facets of a musical
presentation. Let us examine one of the greatest transitions in the lieder repertoire, the
final moments in Schumann's Dichterliebe:
73
laid there all my sor - row, I've laid there

______allL my love.
u n k f auek Lie be u nd mti » men Sehmerxkm -
Andante esnressiva
a.
Example 13
Schamana, Die a/ten, bOsen Lieder
Schumann was a master of the postlude. To quote Gerald Moore, "No composer
created more eloquent postludes than Schumann. Often they are songs without words,
summarizing the emotional content of a cycle of Lied with a felicity which is
peculiarly his own."7 The above example, the last song of Dichterliebe, Die alien,
bosen Lieder, has one of the most beautiful postludes in the Art Song repertory. It is
musically challenging, and has its share of technical difficulties as well. When
playing preludes, interludes, and postludes, link the voice and piano sections
7Gerald Moore, Poet's Love: The Songs and Cycles o f Schumann (New York: Taplinger, 1981), 21.
74
smoothly so that the flow of the music continues in an uninterrupted fashion. This
example shows how the piano part changes from being accompanying in nature, to
being more soloistic. The alteration in timbre as the piano takes up the melody is a
very special moment. Enter into this final journey gradually, to allow time for the
voice part, suspended on a half cadence, to fade in the listener’s memory. "We float
from darkness into light. No longer a reflection of self-pity, it is a new structure: in
truth there are moments of nostalgia but they are gentle and without smart, with a
fragile beauty."8
"Playing with the Vowel"
To a large degree, good ensemble rests upon the pianist's ability to play with
the vowel. Playing "with the vowel" is slightly misleading terminology because in
reality, good ensemble has to do with hearing consonants. Although singers might
take issue with what 1 am about to say, it's just a fact; accompanists need not worry
too much about vowels. To create a truly legato line, a singer will sustain vowels
right up to the next syllable. Consonants will usually be articulated at the last moment
so that the vowel will sustain as long as possible. "To obtain a proper line, a proper
legato, one must fill the entire duration of each note with the vowel sound."9
* Moore, Love, 22.

9 Bcrnac, Interpretation, 23.
75
In Schubert’s Der Doppelganger, from Schwanengesang, listen closely to the
word "graust." For added expression, the singer might decide to briefly linger over
the consonants.
$ P
u d ria g td ie Hiode to t Schaer • len i-g e-w alt;— a i r __ p i n t t>,
■Iflp ( ft; -
poco . ittn tc
r * -d * c .t ~ •i 1J. n .h ' 5t=2=£=!
ick m ib A a tlitt m - he- darUoadMigt air ati-aa « i|-a 0« • lUlt—
o r
Exaapk 14
Schubert, Doppdgimger
To fully understand what motivates a singer to stretch consonants, you need to refer
to the text. In this context, the word "graust" means, "to shudder." Go through the
entire poem and find those consonants that a singer might stretch in order to bring
added emotion to the phrase.
76
Der Doppelganger (My Double)
Heine
Still ist die Nacht. es ruhen die Gassen, Still is the night, the streets are asleep.
In diesem Hause wohnte mein Schatz; In this house my love once lived.
Sie hat schon langst die Stadt verlassen, She left the city long ago,
Doch steht noch das Haus auf demselben yet the house still stands on the same
Platz spot.
Da steht auch ein Mensch und starrt in die Another man stands there looking up,
Hdhe,
Und ringt die HSnde vor Schmerzensgewalt; and rings his hands in agony.
Mir graust es, wenn ich sein Antlitz sehe— I shudder to see his face—
Der Mond zeigt mir meine eigne Gestalt. the moonlight shows me my own figure.
Du Doppelglnger! du bleicher Geselle! O my double! Pale comrade!

Was 3ffst du nach mein Liebesleid, Why do you ape my unhappy love
Das mich gequ&lt auf dieser Stelle which tortured me upon this spot
So manche Nacht in alter Zeit? so many nights in the olden time?10
Consonants may be sung in a variety of ways depending upon style, tempo, voice
type, and performer. Be attentive to the speed and length of the consonant, and match
this with the arrival-point of the vowel. In the above example, be empathetic with the
singer while playing the accelerando. Be responsive to the crescendo, even as you
hold your dotted half-note chords. The way in which the crescendo and accelerando
are executed will be determined by the synergistic efforts of both performers.
Listening to the consonants will enable you to stay connected to the pulse so that you
may phrase and grow together. Notice in this song how Schubert has preserved the
strict metrical framework of the poem while still giving the voice part a line that
10 Philip L. Miller, selected and translated by, The Ring o f Words: An Anthropology o f Song Texts
(New York: Norton, 1973), 114-17.
77
seems free in its utterance of the text. It is this illusory freedom spotlighted against
the stark, static background of the piano part that creates an undercurrent of tension.
In the words of Charles Rosen, "The most signal triumphs of the Romantic
portrayal of memory are not those moments which recall past happiness, but
remembrances of those moments when future happiness still seemed possible, when
hopes were not yet frustrated. There is no greater pain than to remember past
happiness in a time of grief—but that is the Classical tradition of the tragedy of
memory. Romantic memories are often those of absence, of that which never was."11
Der Doppelganger leaves us with a ghostly emptiness which can be directly
attributed to the quality and voicing o f the sustained chords in the accompaniment.
There are cases where a consonant cannot be used as an aural marker. For
instance, when a phrase begins with a vowel, it will be necessary to rely upon the
singer's preparation breath. There is always some clue as to "when" a word will
sound. You just need to know what to look for. "Read" the singer by listening to their
breath. Be as telepathic as you can while watching their entire body, especially their
mouth, for an indicator of their intent When the vocal line is melismatic (many notes
per syllable), the key to good ensemble is a shared sense of rhythm and pulse.
11 Charles Rosen, Generation, 174-5.
78
Cueing
When the voice and piano begin a song together, it is customary for the singer
to set the pace by giving some sort of cue to the pianist. After both parties make eye
contact with one another, the singer has a variety of ways to show the pianist that they
are about to begin. The most straightforward way is simply, "to begin!" The singer's
preparation breath is the most reliable cue. Listen closely to the speed and intensity of
the inhalation. It is helpful to breathe with the singer to be sure that you are in sync
with them. From the instant of the singer's opening breath, you can anticipate the
dynamic, tempo, and the placement of the first note.
Cues from the singer might be either visual, aural, or a combination of both.
The aural cue is the most reliable one since visual signals can be deceptive, and any
delay in the pianist's response may compromise ensemble. The singer naturally emits
the aural sign in the course of creating sound. Assess and respond to the singer's
subtlest movements. The singer should be free to produce their sound as if they were
singing alone, without a pianist. Except in rare instances, no added movement should
be necessary.
Winterlied by Mendelssohn begins with the piano and voice parts beginning at
the same time. Listen to the singer’s inhalation (breathe with them if possible), and
focus in on the "m" of "Mein." Play with the following vowel sound. As your part
merges with the vocal line, you should notice whether or not you are both feeling the
phrase in the same manner.
79
Com a d o ■oderato.
Mew Soka,«o w illftd i kia ■oip£t?grli aicfatiam^aldhin -«us,
M m k rlU it h i i m n i k »to Meiltbeimir im Hans. Da drmMeaistsso
Example 15
Meadebsohn, WbtierUed
When the piano begins alone, you have an enormous responsibility in setting
the correct tempo and mood. Tempo is a tricky "business” for many reasons. A tempo
that is too slow can result in the singer prematurely running out o f breath. A tempo
that is too fast can result in the singer not having enough time to enunciate the text,
and bring out the nuances in their line. Adrenaline can play havoc with a singer's
breathing apparatus, so you must be mindful that a live performance may elicit new
and unrehearsed tempi. Adapt to the singer’s needs by altering the pace of the piece
gradually; with musical grace and subtlety.
80
An example of a song where the piano begins before the voice, is Quilter's
Fear no more the heat o' the Sun, from the second set of the Shakespeare Songs.
Andante moderate (J:u)
paco ritt*. a Umpo.
Fear no more the heat o’ the sun. Nor the furious win-ter’s ra - ges;
Example 16
Qailter, Femr no more the hemt o' the Sun
There is ample time for the vocalist to enter on time, but finding the right tempo
might be an issue. Be attuned to the singer's flow of breath to discern if your tempo
needs to move ahead, or pull back. Whatever the case may be, adjustments should be
made while undetected by the listener. The accompaniments in Quilter's songs are
very fluid and flexible, leaving plenty of room for adjusting the tempo "on the fly."
81
A more challenging scenario is in Ich hab in Penna einen Liebsten (1 have a
lover true) from Wolfs Italienisches Liederbuch III. The piano begins alone, and the
singer must join in as if "jumping onto a moving train." Give a little signal of some
sort on the downbeat so that the singer can catch your intended tempo. Your signal
can be a rhythmic nod, a little sniff, or both. It takes the singer time to prepare and
engage their instrument, so they will be grateful for your cue.
Sehr admen ami nnmter(J

(Vrrg f uickif and Uotlf) .
ich im t a - H *i -
VP VP
Example 17
Wolf, Ich hmb bt Pauia due* Liebsten
The tempo is very fast, and the voice entrance is notoriously tricky. Spend plenty of
time rehearsing the beginnings of songs. These "launchings” can be the thorniest part
of a performance.
When the voice part begins alone, engage your attention from the singer’s very
first note, or better yet, from their preparation breath. In Schumann's Lieb ’ Liebchen,
leg's Htindchen, try to "get inside the skin” of the singer as they begin.
82
Example 18
Schumaan, LUb' Liebcken, leg's HAndcken
It takes just two rhythmic events to establish a tempo. The placement of the off-beats
in the piano part is pre-determined by the first two quarter notes presented by the
singer. If you refer to the text, you will see that the piano part represents the
unrelenting hammering of the heart
One of the most difficult types of cues to receive may be seen in Schubert's
Die Stadt (The City) from Schnvanengesang (Swan Song).
Ab far.
Example 19
Schabert, Die Sledt
83
After pausing on the fermata, remain poised over the next chord with all of your
energy focused on the singer. Although the inceptive sound of "Am" can be sung
without the singer showing any movement, the smallest visual cue is required so that
you know when to play your chord. If in rehearsal, the singer enters without giving
you some sort of signal, be courageous in requesting one. This visual cue might
appear as a subtle movement of the singer's head, or as a miniscule movement of the
lips. At any rate, the cue does not have to break the mood of the moment.
Schubert's setting of Die Stadt by Heine is the epitome of how Art Song can
create an atmosphere that enhances the text. In the first two stanzas, Heine's poem
depicts the landscape of a city across the water. Everything seems serene in the
twilight vision painted before our eyes. Only in the last two lines of the third verse
does the heart-felt meaning of the poem show itself in the words: "And shows me the
very place where I lost what I loved most" The rumbling thirty-second notes in the
piano part act as punctuation in the telling of the story. By periodically breaking the
flow of the narrative with tremolos and dim inished arpeggios, Schubert reveals an
undercurrent of foreboding angst. In affect, the music is bringing the listener into an
inner circle of knowing before the poem actually takes us there.
Cut-offs
Clean cut-offs between the pianist and the singer create a polished and
professional performance. There are many varieties of cut-offs that you will
84
encounter depending on the situation. The type of release you will need depends upon
many things: tempo, dynamics, lyrics, the final sound in the voice part (vowel or
consonant), and of course, the spirit of the moment. Practice both fast and slow
releases. Releasing with the hands, and not with the pedal, creates a clean sound that
matches the quality of a vocal release. A perfectly synchronized release between two
musicians can be extremely gratifying.
Phrasing and Breathing Together as an Ensemble
The need for singers to breathe presents a constant challenge for the pianist.
This challenge will be met with varying degrees of success depending on how the
pianist incorporates breaths into a musical phrase. Allowing for breathing can unify
the ensemble between the pianist and the singer. Use the singer’s breath as a chance to
enliven phrases, and to enhance rubato. After all, one of the strongest sources of
expression for a singer is their breath. You might as well reap the rewards of this
natural asset by giving room in your own playing for breath.
To delve further into this topic of breathing, let's take a look at Le Colibri
(The Hummingbird) by Chausson. In general, you can assume that singers will
breathe at rests, and at most of the editor’s suggested breath marks. In Le Colibri,
there are four places where the singer might breathe, and they all have different
implications for the pianist.
85
Pa* vlte
Le v e rt c o lib r i le ro i dee c o lli, n e s, V o jr.a n t la rooee e t le eo Je il
-Wh M ss ■ff-ff } T FTfT 1

clair, ________Luiredana aon aid tia . eedliertoea fl
Comme un fraia rayon t'echappedana 1'air
Example 20
Chanson, Le Coiibri
86
The first breath in measure S will most likely be incorporated into the phrase, and will
be of no consequence to the timing. The singer might not even breathe in this spot,
but rather, they might quietly imply the eighth-note rest. During the breath in measure
6, you can ease off the energy a bit to show the phrase shape, but avoid slowing
down. Instead, follow the singer's intention as they continue on with "Voyant." The
next breath in measure 8 gives you the opportunity to lead the line a bit. Remain
attentive to the singer's timing here, but you are basically in charge for the moment.
The end of measure 10 is the most crucial spot. Feel the shape of the phrase with the
singer. The singer will gently release "fines" and then draw the next breath. All the
while, focus on their air flow, and ritard with them. Use the singer's breath to
enhance the rubato. Be sure to play the downbeat of measure 11 precisely "as one."
Vocal phrases can sometimes be too long to be sung convincingly in one
breath, so the singer might decide to add a "catch breath." Allow for a slightly elastic
quality in these spots.
In Beau Soir (Beautiful Evening) by Debussy, a "catch breath" can be taken
between the words "jeune" and "et." (Debussy wrote this song when he was fifteen or
sixteen.) Because the accompanying figure has a flowing two-against-three rhythm,
the breath will fit into the piano part quite naturally. An extra breath enables the
singer to muster enough air to support the sustained high note on "beau" in the next
measure. In your efforts to be accommodating, however, be careful not to give too
much time for a "catch breath." We are speaking about minutia. Give a thimbleful of
87
time, not a bucketful. The more you can get "into the skin," so to speak, of each
singer with whom you work, the more empathetic your playing will become.
antmato poeo a poeo e erese^t )
C e .p e n d a n t q u ’on e s t je u n e e t quo le sol r e s t
b ea u
E unp le 21
Debussy, Beau Soir
Great collaborations find their mooring in a shared sense of rhythm. In his
book, Am I too Loud? Gerald Moore writes about his renowned partnership with
Dietrich Fischer-Dieskau:
What is the essence that illuminates [Fischer-Dieskau's] art? What is the

magic formula that enables him to reveal to us with clearest understanding
everything he touches? It is not enough to say that his voice is wonderful, that
he has an incredible technique which enables him to do what he will; it is not
enough that his enunciation is flawless with perfect marriage of word and
88
tone. Temperament? Abundance of it. Passionate love for music? Of course.

But there are other great singers with these virtues. If I had to put my finger
on the key to Fischer-Dieskau's supremacy, setting him apart from every other
singer, I would say, in one word, Rhythm. This is the lifeblood of music.12
Accuracy in rhythm will unify your musical presentation. As an example, look
at Schumann's Nun hast du mir den ersten Schmerz gethan (Now you have hurt me
for the first time), from Frauenliebe und -Leben.
ritard.
■MV-
Example 22
Schumann, Nun Must du mir ten ersten Schmerz gethen
The timing on the words "verlomes Glflck" is linked with the imagery in the text (lost
happiness). Both pianist and singer must have the same inner pulse continuing
through the dotted eighth in order to execute the sixteenth "as one." Be aware of the
inner rhythm as it slows for the ritard. Subdividing the beat into sixteenths can be
12 Gerald Moore, Am I Too Loud? (New York: Macmillan, 1962), 170.
89
very helpful in a situation like this. In addition, allow the sixteenth-note on the
syllable "-nes," to have a slight lengthening; a tenuto of sorts.
Another facet of rhythm's unifying force, can be seen in Chausson's Les
Papillons (The Butterflies). I've included two excerpts from this song, the first phrase,
and a section with a poeo ritard and a tempo. The flittering sixteenth-notes continue
throughout the piece.
Laa pa . pil -
trii ligar
1 fe = . * * » * , i t t t h i
paeani*. « ttm p *
Ilf* ' r t 1 — ri— ' r 1 1 J) » l ■ -
l'air. .........
9«e« T i t . if e n a
t 1 t
jL-2.-------- - _______________ _________
T5T3MS- PP
Eiaaple 23
Chaasson, L a PapUhms
90
The sixteenth-notes are the underpinning upon which the vocal line floats. By
following the tres leger marking indicated by Chausson, you can emulate the fleeting
movements of the butterflies. The poeo ritard and a tempo are best executed by being
lead by the piano. It is up to the singer to listen to your part, and to fit "de l'air" into
your sixteenths. Allow the easing of the tempo to be delicate, in keeping with the
sonority of the moment. In other words, imagine the ritard in miniature. The most
important place to keep a good sense of rhythm is when the tempo fluctuates. This
will help to create a unified front between the two performers.
In the melodie Le Tombeau des Naiades (The Tomb of the Naiads) from
Chansons de Bilitis by Debussy, the piano part has slow sixteenth-notes running
throughout the song. Here, the challenge is in keeping these sixteenths even and
gentle no matter what rhythmic pattern occurs in the voice part. Present your rhythm
with confidence, and the singer will be able to sing their part with ease. Keep in mind
the style and mood of the song, and be flexible. When the voice part has triplets
against your sixteenths, plan on meeting on the beats, and don't worry about the
intricacies of the three-against-four rhythm. This will keep the line supple. Playing
accompaniments such as this will deepen and broaden your range of tone. "The
primary impulse to melodic inspiration comes from the sonority and rhythm of the
literary phrase, its inflections, its stresses, its own and proper music.”13
13 Bemac, interpretation, 3.
91
Trfca lent p domx et la$
Trea lent Le long d u b oiacouvert de
n ife t i
vre, je mar . chaim; mem che .
■m,in Cvri rrn p ffl,

ft1, r j r Jj Vj ' j r*i
m i l ft ~~ ft. ..
i--^7 — ■■■
-r-
P--------------------- *-----------
jW Ji Ji 3F3TJ> I J> J' pT
.v e u x d e .v a n t ma bou.che m fla u ria .a a ie n td a petitmffUgonm c t mem m a n .
U tjo u r tp p
9 9
Example 24
Debassy, Le Tombemu its Nmimds
92
Schumann's Ich hab' im Traum geweinet (I cried in my dream), the thirteenth
song from Dichterliebe, is written with numerous rests in both the piano and vocal
parts. Waiting (and counting!) through these rests may seem like an eternity has
passed since the last utterance of sound was made.
Softly.
L eite.
dreams I wept, be
Uk kmb' in f r e m ar
PP
Me - (bought tbou wert laid in the And atUi the

IcA wcA-te
PP
Example 25
Schamaaa, Ich kmb’im Trmmmgeweimet
93
While listening to the silences, think about Heine's text. Imagine that the protagonist
is only able to utter these words o f deep sadness through their tearful sobbing.
1 cried in my dream: I cried in my dream:

I dreamed that you lay in your grave. I dreamed that you had forsaken me.
I woke up, and the tears I woke up. and 1 cried
were still streaming down my cheeks. still long and bitterly.
I cried in my dream:
I dreamed that you still loved me.
I woke up, and still
the flood of my tears is streaming.14
For the protagonist, the past and the present blend as one. Poets exploit this technique
in order to precipitate a feeling of emotional confusion. The silences between the
vocal phrases are as significant as the words themselves.
There are a number of ways that singers breathe. Listen for the flow o f breath,
and for the articulation of the consonants. These will serve as indicators of rubato.
You can hear the speed of the intake of a breath, and the flow of the air through the
words.
As an example, when playing Die Mainacht by Brahms, listening to the air
speed on the word "Mond" will enable you to attain a symbiotic relationship with the
singer. Also listen to the consonants that connect "Mond" to "durch." Watching the
singer's mouth will help with ensemble, especially in slower songs. The melody is
foreshadowed in the piano part in the upper notes of the right hand. Foreshadowing is
a device that Brahms uses in many o f his songs.
14 Miller, Ring,, 108-11.
94
So h r la n g sa m mid au sd ru c k sv o ll
Largo e/i esprvsatco
W dnn der sil - b e r - n e

When in ver the
Mond duroh die Ge - strttu - che blinlct, and sein schlum m ern-des
moon shines thro' the lap - ping leaves, When her pale, d row -sy
Eiample 26
Brafeas, Die Mminmckt
A characteristic of Schumann's songs is to double the voice part in the upper
line of the piano, shadowing the melody at every turn. This doubled melody can be
unified into one smooth rendering of the line, by blending the timbre of the piano
with the tone of the vocalist. Listen for good balance, as it is very easy to cover the
voice when you are playing the same pitches that they are singing.
An essential element of phrasing and breathing together is tempo. A song
performed in a soprano's voice might necessitate an entirely different tempo then
95
when a baritone sings the same song. Acoustics will also play a large part in
determining at what tempo a song should be performed. A singer’s health might be
another factor, or nerves. A nervous singer tends to be short on breath, so they might
need to get through phrases more quickly, or to take extra breaths. The emotional and
dramatic elements of the music also play a role in determining tempo. In
performance, there will always be an unexpected change in breathing or tempo, so
expect the unexpected. Make flexibility part of your modus operandi. If there is a
momentary lapse in ensemble, just concentrate on the next phrase. Keep your hands
close to the keys at all times so that you can stay connected to the piano while you
project your mind onto the singer’s part. The freer you can be with your musicality
and your technique, the more at ease the singer will be.
Playing for Auditions
This topic is included in the "Developing your Skills" chapter because it is
truly a separate category o f accompanying.
Accompanists are often called upon to play for singers' auditions. This is an
opportunity to be heard by conductors, teachers, managers, and other individuals who
can potentially be very helpful not only to the singer, but also to you. Prepare for
auditions as if they were your own. (On one occasion, I was accompanying a string
bass player for an orchestral audition. After the audition, the conductor approached
me and asked if I’d be interested in playing a concerto with the orchestra!)
96
There are some musical changes to be made when playing for auditions. It is
usually preferable to shorten long introductions by cutting some musical material. In
the cut, be sure to include some of the opening theme, and the music that appears
right before the entrance of the voice. Do your best to make a cut that still maintains a
smooth harmonic transition. A cut may also be taken at the end of a piece. Interludes
should be left intact unless they are extremely lengthy.
Harpsichord
You can broaden your field of expertise (and add "a watt to your musical
halo") by learning to play the harpsichord. Occasionally, a singer will choose a set of
early music pieces that should be accompanied on the harpsichord. This usually
means that the singer will hire a harpsichordist, or, that they will "make do" with the
piano as the accompanying instrument.
A common mistake that accompanists often make is to assume that any pianist
can play the harpsichord well enough to manage the mandated situation. In reality,
the touch and technique utilized to play the harpsichord is entirely different from that
of the piano. If you feel at all inclined, treat yourself to some lessons. Aside from
being a lot of fun, it is sure to benefit you at some point in your career.
It is especially valuable to be able to realize figured bass. This is a skill that is
not widely practiced anymore, but is highly valued by those who seek a practitioner
of this lost art
97
Chapter 7
PERFORMING WITH THE SINGER
Pacing
During a performance, both the pianist and the singer can help to control the
momentum of the recital. In order to govern the pacing of a concert, there are things
that the singer might do to create a moment of quiet between songs in a set. For
instance, after a song is finished, they might decide to lower their head slightly, or to
turn towards the pianist. These slight gestures signal the audience that there will be a
short pause before the next piece. This also gives the singer a little time to deal with
any physical dryness in their mouth, and to mentally prepare for the next song.
During these moments, remain alert and be ready to continue at any moment. The
singer might be nervous, and decide to continue on without much warning.
Immediately after a song is finished, concentrate on the next piece. You have
the means to hold off applause by keeping your energy up between songs. For
instance, after a song is finished, you can gently turn the page of your music. This
implies to the audience that there is more to come. Another effective way to keep the
audience in check, is to keep your hands over the keys after a song has ended. Focus
on the singer while keeping your energy high. By doing one or two of these things,
you will insure that the audience will remain quiet until the set is over.
Between sets, the musicians usually leave the stage for a brief time. Aside
from the physical re-centering that the singer and pianist need, these breaks are
important musically, and act as a "cleansing of the palate between wine-tastings."1 If
a partnership is long-lived, pacing the flow of a recital evolves into a comfortable
dance that is mutually understood.
1Sara K. Schneider, Concert Song as Seen: Kinesthetic Aspects o fMusical Interpretation (New York:
Pendragon, 1994), 7.
98
The performance of song cycles requires a broader view of pacing. Often, a

cycle might last for half of a program, or even for the entire program, with or without
intermission. In this case, keep in mind the lengthy discourse that you are presenting
to the audience, and pace yourself accordingly. The breaks between songs take on a
special meaning within the context of the larger superstructure of a song cycle.
"These transitions are often the most mesmerizing parts of the recital, since they
provide the opportunity to observe a singer’s slow relinquishing of one mood and
gradual adoption of the next. Indeed, one of the most engrossing aspects of this
transition is its timing, the span the singer deems necessary to let go of the mood of
one song and to enter into the mood of the second."2
Stage Deportment and Page-tumers
Let me say a few words about the logistics of how to move about on stage.
Always follow the singer on and off the stage. When first walking onto the stage, try
to provide the singer with ample room by waiting off-stage several paces before you
enter. Take a bow together, and then assume your position at the keyboard.
If a page-tumer is used, he or she should follow you onto the stage, leaving
plenty of room. They should go straight to the chair provided for them, which should
to be placed to the left of the bench, and a little back, so as to leave you enough
elbowroom (I suggest finding an armless chair that doesn't creak!). Make sure that
your page-tumer knows to stand during a page turn, returning to their chair after the
turn is completed. The left hand should be used for turning the page from the upper
right-hand comer. Turning from the upper right-hand comer will allow you to see the
notes on the next page during the turn. To insure good pacing, it might be best for the
pianist to turn pages between songs. During the applause, while the pianist and
vocalist are bowing, the page-tumer should remain seated until the performers begin
to exit. Then he or she can gather up the music and follow the duo off. When in
1 Schneider, Concert Song. 8.
99
doubt, use a page-tumer. There is enough to concentrate on without worrying about

pages blowing shut in an unexpected breeze. I have seen accompanists go through
unfortunate experiences trying to play without a page-tumer. Music can fall
completely off the rack, over the pianist's hands, and onto the floor. Or, an old and
tattered score can decide to fall out of its binding during a performance. A page-
tumer can save embarrassing mishaps like these from happening. A good page-tumer
is "good as gold."
"Pianist to the Rescue"
Part of the joy of accompanying comes from responding without hesitation to

the singer's needs if they are experiencing temporary trouble during a performance.
To handle problems that arise unexpectedly, try to relax your mental grip on the
printed page. You may need to skip to a different place in the score in order to follow
a singer's memory slip. Or, it is possible that you may need to supply a forgotten lyric
or two while continuing to play. No one plans on having memory slips, so these
things often occur without warning to either performer. Stay on your toes. You can
often sense impending problems if you are honed in on the singer.
One complication that can arise has to do with how adrenaline can affect a
singer's breathing technique. If they are having to take more breaths than usual, allow
more time for them to breathe. If they are running out of breath, move the tempo
forward a b it This will allow them to get to the end of phrases quicker in the breath
that they do have. If you find that you need to alter the timing of a song this way,
remember to maintain the mood of the piece. Most breathing difficulties can be
smoothed over.
The famous accompanist Gerald Moore, was accompanying a vocal recital
when, in his own words, one of the songs strayed "charmingly through a succession
of keys and, to my surprise, I heard the singer in an unaccompanied phrase sing this
100
whole phrase one tone lower than it should have been. I jumped with him and
transposed the rest of the song. We started in the key of E flat and finished in D flat."3
Several years ago, I was accompanying a flautist for an audition when without
warning of any kind, she jumped from the end of the exposition to the end of the
recapitulation. I quietly flipped my pages and jumped to the new spot in the score,
having missing only one measure of music! The "new” version cut out about eight
minutes of music. Though to the listener, the total effect of the movement must have
been somewhat short, the overall effect was harmonically and rhythmically smooth
which rendered a cosmetically clean performance.
Should an unplanned circumstance arise, one of the best ways to be readily
responsive is to remain physically quiet as you play. Stay close to the keys and try to
limit any extraneous movements that may hinder your reflexes (or might be
distracting to the listener!).
J Gerald Moore, Am I Too Loud? (New York: Macmillan, 1962), 204.
101
CHAPTER 8
POSTLUDE
Taking a cue from the style o f Schumann, I will ease gently into the
"postlude" while still allowing you to assimilate the "flavors" of the preceding
chapters.
In the field of accompanying, it is especially true that experience is the best
teacher, and that the insights which you glean from your collaborators are invaluable.
Unless you have an accompanying teacher, you might not have the opportunity to
acquire much helpful advice or encouragement. Often, accompanists need to rely
upon themselves to monitor and assess their own progress and growth. Listening to
recordings of your performances will enable you to see how you are "making your
way” by the development of skills that contribute to ensemble, balance, rhythmic
clarity, cut-offs, and tonal variety. Hopefully, you will hear that your performances
are energetic, involved, and inspirational.
Now that we have analyzed and thought about the music. I hope that your
emotions and are stimulated because it is time to start listening to your own instincts,
and to develop your individual accompanying style. In the words of Stravinski,
"Work brings inspiration, if inspiration is not discernible at the beginning."1 Practice
your skills in a thoughtful and imaginative manner, for in the process o f desiring to be
1Igor Stravinski, Chroniques de ma vie (New York: Steuer, 1958).
a skilled collaborator, you will derive much gratification. Fortuitously, as in all fields
of music, accompanying provides a lifetime of learning; an unending process that
offers gifts that are available to us if we develop the sight (and hearing) to see them.
In Henry James’ letter to H. G. Wells in 1915, he said, "It is art that makes life, makes
interest, makes importance . . . and I know of no substitute whatever for the force and
beauty of its process."2
2 Leon Edel and Gordon N. Ray, ed ., Henry James and H. G. Weils: A Record o ftheir Friendship,
their Debate on the Art o f Fiction, and their Quarrel (IJibaaa: University of Illinois Press, 1958), 267.
103
SELECTED BIBLIOGRAPHY
Adler, Kurt. The Art ofAccompanying and Coaching. Minneapolis: University of

Minnesota Press, 1965.
Baraque, Jean. Debussy. Paris: Seuil, 1962.
Bemac, Pierre. The Interpretation o f French Song. New York: Norton, 1976.
Blacking, John. The Anthropology o f the Body. London: Academic Press, 1977.
Botstein, Leon, ed. The Compleat Brahms: A Guide to the Musical Works o f
Johannes Brahms. New York: Norton, 1999.
Carman, Judith E., William K. Gaeddert, Rita M. Resch, and Gordon Myers. Art Song
in the United States, 1759-1999: An Annotated Bibliography. London:
Scarecrow Press, 2001.
Castel, Nico. A Singer's Manual o f Spanish Lyric Diction. New York: Excalibur,
1994.
Chissell, Joan. Schumann. London: Dent, 1948. Revised, 1967.
Cone, Edward T. The Composer's Voice. Berkeley: University of California Press,

1974.
Cooper, Martin. French Music: From the Death o f Berlioz to the Death o f Faure.
London: Oxford University Press, 1951.
Daverio, John. "9 Lieder und Gesdng, Opus 32” from The Compleat Brahms: A Guide
to the Musical Works o f Johannes Brahms, edited by Leon Botstein. New
York: Norton, 1999.
Donat, Misha. ”4 GesSng, Opus 43” from The Compleat Brahms: A Guide to the
Musical Works o f Johannes Brtthms, edited by Leon Botstein. New York:
Norton, 1999.
Dorcy, Jean, editor. The Mime. New York: Robert Speller and Sons, 1961.
Durand, Jacques, pub. "Claude Debussy," critical edition, vol. 2. Musica Gallica,
1998.
104
Edel, Leon, and Gordon N. Ray, ed. Henry James and H. G. Wells: A Record o f their
Friendship, their Debate on the Art o f Fiction, and their Quarrel. Urbana:
University of Illinois Press, 1958.
Gibbs, Christopher H. "Romances from L. Tieck's Magelone, Opus 33" from The
Compleat Brahms: A Guide to the Musical Works o f Johannes Brahms, edited
by Leon Botstein. New York: Norton, 1999.
Hall, James Husst. The Art Song. Norman: University of Oklahoma Press, 1953.
Ives, Charles. 114 Songs by Charles E. Ives. The National Institute of Arts and
Letters, 1975.
Jackson, Timothy L. "9 Lieder und GesSng, Opus 63" from The Compleat Brahms: A
Guide to the Musical Works o f Johannes Brahms, edited by Leon Botstein.
New York: Norton, 1999.
Jefferson, Alan. The Lieder o f Richard Strauss. London: Cassell, 1971.
Jones, Archie N., M. Irving Smith, and Robert B. Walls. Forward to the "Pronouncing
Guide to French, German, Italian, and Spanish." New York: Carl Fischer,
1945.
Lesure, Francois and Roger Nichols, editors. Debussy Letters. Translated by Roger
Nichols. London: Faber and Faber, 1987.
Marshall, Madeleine. The Singer’s Manual o f English Diction. New York: Schirmer,
1953.
Meister, Barbara. Nineteenth-Century French Song: Faure, Chausson, Duparc, and

Debussy. Bloomington: Indiana University Press, 1980.
Miller, Philip L., selected and translated by. The Ring o f Words: An Anthropology o f
Song Texts. New York: Norton, 1973.
Moore, Gerald. Am / too Loud? New York: Macmillan, 1962.
________. Poet’s Love: The Songs and Cycles o f Schumann. New York: Taplinger,
1981.
_______ . The Schubert Song Cycles: With thoughts on performance. London:

Hamish Hamilton, 1975.
105
_______ . Singer and Accompanist: The Performance o f Fifty Songs. London:

Methuen, 1954.
Newman, Ernest. Hugo W olf London: Methuen, 1907.
Niemann, Walter. Brahms. Translated by Catherine Alison Phillips. New York:

Tudor, 1937.
Noske, Frits. French Songfrom Berlioz to Duparc: The Origin and Development o f
the Melodie. Translated by Rita Benton. New York: Dover, 1970.
Platt, Heather. "8 Lieder und GesSng, Opus 59” and ”9 Lieder und GesSng, Opus 63"
from The Compleat Brahms: A Guide to the Musical Works o f Johannes
Brahms edited by Leon Botstein. New York: Norton, 1999.
Reich, Nancy, B. Clara Schumann: The Artist and the Woman. Ithica: Cornell
University Press, 1985.
Rich, Martin. Art Songs and their Interpretation. Bryn Mawr: Theodore Presser,
1960.
Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven, expanded edition.
New York: Norton, 1997.
_______ . The Romantic Generation. Cambridge: Harvard University Press,

1995. Reprint, 1998.
Schmitz, Robert. The Piano Works o f Claude Debussy. New York: Duell, Sloan and
Pearce, 1950.
Schneider, Sara K. Concert Song as Seen: Kinesthetic Aspects o f Musical

Interpretation. New York: Pendragon, 1994.
Schonberg, Harold C. Review of The Concert at Hunter College, Victoria de los

Angeles and Alicia de Larrocha. New York Times (November 1971).
Stravinski, Igor. Chroniques de ma vie. New York: Steuer, 1958.
Walsh, Stephen. The Lieder o f Schumann. New York: Praeger, 1971.
Youens, Susan. Schubert, Midler, and Die schdne Mullerin. Cambridge: Cambridge
University Press, 1997.
106
APPENDIX
THE POETS
German-speaking Poets
Bierbaum, Otto Julius (1865-1910): his support of the cabaret movement in Berlin
influenced Berthold Brecht His poems have been set by Berg, Reger, and
Strauss.
Chamisso, Adalbert von (1781-1838): originally from France, German was his second
language. Aside from being one of the most famous German Romantic poets,
he also served as a botanist on an expedition to the Arctic. His poems have
been set by Grieg and Schumann.
Daumer, Georg Friedrich (1800-1875): outspoken in his beliefs on religion. His

poems have been set by Brahms.
Dehmel, Richard (1863-1920): helped to lead German poetry through the transition
from Naturalism to Neo-classicism. His poems have been set by Strauss.
Eichendorff, Joseph von (1788-1857): one of the great Late German Romantics
whose poetry often depicts the mysteries found in nature. His poems have
been set by Brahms, Ives, Mendelssohn, Schumann, Strauss, and Wolf.
Gilm zu Rosenegg, Hermann von (1812-1864): known for his love and nature themes.
His poems have been set by Strauss.
Goethe, Johann Wolfgang von (1749-1832): studied painting and science. His
influence on German lied is unsurpassed. His poems have been set by
Beethoven, Brahms, Foss, Griffes, Howe, Ives, Liszt, MacDowell,
Mendelssohn, Mozart, Schubert, Schumann, Tchaikowsky, and Wolf.
Gruppe, Otto Friedrich (1806-1876): influenced by the German philosopher Georg

Wilhelm Friedrich Hegel. Gruppe's poems have been set by Brahms.
Hart, Heinrich (1855-1906): one of the leaders of the German Naturalist school
(literature that includes the understanding of science and avoids
Romanticism). His poems have been set by Strauss.
107
Hart, Julius (1859-1930): brother of Heinrich Hart. Julius was the author of very
lyrical poetry who also wrote tragedies and short stories. His poems have been
set by Strauss.
Heine, Heinrich (1797-1856): one of the strongest influences on German lied. He

once said "Out o f my deep sorrows I make little songs.”1 Tragically, at the end
of his life he became a complete invalid. His poems have been set by Brahms,
Grieg, Griffes, Ives, Liszt, MacDowell, Mendelssohn, Schubert, Schumann,
Strauss, Wagner, and Wolf.
Henckell, Karl (1864-1929): his poetry spans a variety of topics from love to socialist
thought His poems have been set by Strauss.
Hesse, Hermann (1877-1962): his stories and novels, which are both analytical and
psychological, deal with the problems afflicting humankind in the twentieth
century. He won the Nobel Prize for Literature. His words have been set by
Strauss.
Heyse, Paul Johann Ludwig (1830-1914): won the Nobel Prize for Literature. He
became an outspoken opponent of the German Naturalist and Impressionist
schools. Heyse's poems have been set by Brahms and Wolf.
Hdlty, Ludwig Heinrich Christoph (1748-1776): member of the Gottinger

Dichterbund, a brotherhood of Symbolist poets. His entire output was
published posthumously. His poems have been set by Brahms, Mendelssohn,
and Schubert.
Kemer, Justinius Andreas Christian (1786-1862): follower of the German poets

Uhland and Schwab. The "Schwabian" school promoted lyrical poetry that
was particularly suited for music. Kemer was a practitioner of the occult
sciences, and his poems are often colored with morbidity. His poems have
been set by Schumann, Strauss, and Wolf.
Kugler, Franz (1808-1858): professor of art history at the University of Berlin. His
poems have been set by Brahms.
Mackay, John Henry (1864-1933): Scottish-German bom. He was an Anarchist and a

political rebel. This side of his nature is not reflected in his writing however.
His poems have been set by Strauss.
Mdrike, Eduard Friedrich (1804-1875): "Schwabian" poet (see note under Kemer).
His poems have been set by Brahms, Reger, Schumann, and Wolf.
1Pierre Bemac, The Interpretation o f French Song (New York: Norton, 1976), 34.
108
Miiller, Wilhelm (1794-1827): lived in Vienna at the same time as Schubert, yet they
never met. The collaboration of Schubert and Muller has resulted in some of
the best-loved lieder in history. His poems have been set by Brahms and
Schubert.
Rellstab, Ludwig (1799-1860): music critic, dramatist, and poet. His poems have
been set by Schubert
Rilke, Rainer Maria (187S-1926): Austrian poet and writer who based his
philosophies on a form of mysticism that concentrates on achieving a state of
ecstasy in the course of one's daily existence. His poems have been set by
Barber, Bernstein, Diamond, Hoiby, and Martino.
RQckert, Friedrich (1788-1866): professor of Oriental Literature. His poems show the
influence of his interest in the Orient. He is best known as the poet of Mahler's
Kindertotenlieder. These heart-rending poems were written as a result of
RQckert losing his only two children to an epidemic. His poems have been set
by Schubert, Schumann, and Strauss.
Schack, Adolf Friedrich Graf von (1815-1894): theater and art critic, collector, and
linguist. His words reflect "the melancholy and self-reflective resignation
regarding many matters of life, especially those surrounding intimacy and
attachment"2 Schack and Brahms shared an interest in modem art. His poems
have been set by Brahms and Strauss.
Schmidt, Hans (1854-1923): composer and poet. His poems have been set by Brahms.
Schober, Franz von (1798-1883): close friend of Schubert and for a short time, Franz
Liszt's personal secretary. His poems have been set by Schubert.
Schuban, Christian Friedrich Daniel (1739-1791): court organist. He was quite

outspoken politically which cost him ten years in prison. While serving his
time, he wrote much poetry including Die Forelle. His poems have been set
by Schubert and Strauss.
Seidl, Johann Gabriel (1804-1875): wrote with a strong sense of patriotism. His
poems have been set by Schubert and Schumann.
2 Leon Botstein, ed., The Compleat Brahms: A Guide to the Musical Works o fJohannes Brahms (New
109
Uhland, Johann Ludwig (1787-1862): had a great influence over the poets of his time.
He was a Professor of German Literature, and a scholar of medieval
manuscripts, folklore, and mythology. His poems have been set by Brahms,
Mendelssohn, Reger, Schubert, Schumann, and Strauss.
Wenzig, Josef (1807-1876): Bohemian Nationalist and translator of Slavik folk songs.
His poems have been set by Brahms.
French-speaking Poets
Banville, Theodore-faullain de (1823-1891): Classicist poet. His poems have been set
by Debussy.
Baudedlaire, Pierre Charles (1821-1867): lead an "uninhibited and eccentric life and
[had a] predilection for mystic and ritualistic religion."3 His poems have been
set by Debussy, and Duparc.
Bonnieres, Robert de (1850-1905): diplomat, and writer of political articles. His

poems have been set by Dlndy and Duparc.
Bourget, Paul-Charles-Joseph (1852-1935): writer and critic. His poems have been set
by Debussy.
Bussine, Romain (1830-1899): singer and teacher. His poems have been set by Faure.
Cazalis, Henri (Jean Labor) (1840-1909): Symbolist poet who had an interest in
Orientalism. His poems have been set by Chausson and Duparc.
Grandmougin, Charles-Jean (1850-1930): studied literature with Sully-Prudhomme.

His poems have been set by Faure.
Hdlty, Ludwig: see HOlty in the German Poets section. His poems have been set by
Duparc.
Hugo, Victor-Marie (1802-1885): the most influential Romantic poet of his time. His
poems have been set by Beach, Faure, Hahn, Liszt, and Saint-Saens.
Lahor, Jean: see Henri Cazalis.
3 Philip L. Miller, compiled and translated by, The Ring o f Words: An Anthology o fSong Texts (New
110
Leconte de Lisle, Charles-Marie-Rene (1818-1894): interested in the union of science

and beauty. His poems have been set by Chausson. Duparc and Faure.
Mallarme, Stephane (1842-1898): leader among the Symbolists. "Each of his poems
is built around an idea, or symbol, with secondary images to help develop the
idea."4 His poems have been set by Ravel.
Silvestre, Paul Armand (1837-1901): wrote in a style easily transcribed into a

musical medium. His poems have been set by Beach, Chausson, Faure, and
Massenet.
Sully-Prudhomme, Rene Francois (1839-1907): awarded the first Nobel Prize for
Literature. His poems have been set by Duparc and Faure.
Verlaine, Paul (1844-1896): forerunner of the French Symbolists. "He wrote verses of
the utmost delicacy, grace, and musicality, among the purest gems of lyric
poetry in any language."5 He was once in prison for the attempted murder of
Rimbaud, a friend and poet. Verlaine's poems have been set by Chausson,
Debussy, Faure, Hahn, and Stravinsky.
English-speaking Poets
Agee, James (1909-1955): US writer who won the Pulitzer Prize posthumously. His
writing has been set by Barber and Pasatieri.
Arnold, Matthew (1822-1888): English poet and critic. His poems tend to use
pastoral themes and moods. His poems have been set by Ives.
Auden, W. H. (1907-1973): English bom, US poet. His poems or translations have

been used by Barber and Pinkham.
Blake, William (1757-1827): English poet, visionary, illustrator, and engraver. His
lyrics contain spiritual wisdom and symbolism. He illustrated the entire Bible,
and works by Shakespeare and Dante. His poems have been set by Cowell,
Duke, Flagello, Griffes, and Thomson.
Bronte, Emily (1818-1848): English poet and novelist. Her poems have been set by
Duke and Faith.
4 Miller, Ring. 377.

3 Miller, Ring. 349.
Ill
Brooke, Rupert (1887-1915): English poet who suffered a nervous breakdown, but
later won a fellowship at King's College, Cambridge. His poems have been set
by Ives.
Browning, Robert (1812-1889): English poet, married to Elizabeth Barrett Browning.

His poems have been set by Beach, Dello Joio, Ives, and Rorem.
Bums, Robert (1759-1796): Scottish poet. Burns wrote or transcribed some 300
songs. His poems have been set by Beach, Britten, and Schumann.
Byron, George Gordon (1788-1824): English poet who is remembered as the

figurehead for Romantic Liberalism. His poems have been set by
Diamond, Duke, Ives, Mendelssohn, and Schumann.
Cooper, James Fenimore (1789-1851): US writer. Most of his fifty adventure novels
deal with social and moral issues concerning the settling of the American
frontier. His work has been set by Ives.
Cowper, William (1731-1800): English poet who suffered a mental breakdown and
spent some time in an asylum. His poems have been set by Ives.
cummings. e. e. (1894-1962): US poet His work has idiosyncratic punctuation and

typography, cummings spent some time interned in a French concentration
camp during WWI. His poetry has been set by Cage, Copland, Diamond,
Duke, Hoiby, Hundley, Rorem, and G. Walker.
Davies, William Henry (1871-1940): Welsh poet who spent most of his life in the US.
He lost his right foot while stowing away under a freight train. His poems
have been set by Barber.
Dickinson, Emily (1830-1886): US poet. Most of her poetry was written during the
Civil War. She led a reclusive life, and most of her work was published
posthumously. She experimented with poetic form and syntax. Her poems
have been set by Copland, Duke, Hoiby, Pasatieri, Persichetti, and Rorem.
Emerson, Ralph Waldo (1803-1882): US philosopher and poet He was a

transcendentalist (the belief in the godlike nature of the human soul). His
poems have been set by Ives.
Elliot, T. S. (1888-1965): US poet, playwright, and critic. He won the Nobel Prize for
Literature. Elliot used his writing to serve as a mouthpiece for the generation
impacted by the aftermath o f WWI. He experimented with new poetic forms
and rhythms. His Old Possum's Book o f Practical Cats became the libretto for
Andrew Lloyd Webber's Cats. His poems have been set by Diamond and Ives.
112
Frost, Robert (1874-1963): US poet who favored themes and speech patterns of New'
England. He was the winner of four Pulitzer Prizes. His poems have been set
by Cowell, Duke, and Hoiby.
Holmes, Oliver Wendell (1809-1894): US writer and physician. Co-founded the

Atlantic Monthly with J. R. Lowell. His work has been set by Beach and Ives.
Hunt, Leigh (1784-1859): English poet and essayist. He was imprisoned for a time
because of his political essays. Hunt's poems have been set by Ives.
Joyce, Jam£s (1882-1941): Irish writer who became known for writing with a "stream
of consciousness" technique. His writing has been set by Barber, Cage,
Diamond, Duke, Hundley, Martino, Persichetti, and Sessions.
Keats, John (1795-1821): English Romantic poet. Keats died of tuberculosis at the
age of twenty-five. His themes often draw on classical mythology and
medieval lore. His poems have been set by Diamond and Ives.
Kipling, Rudyard (1865-1936): English poet bom in India. Wrote with an empathy
for the common experience, and had a sense of morality that showed itself in
his writing. Many o f his works were for children. He won the Nobel Prize. His
poems have been set by Ives.
Longfellow, Henry Wadsworth (1807-1882): most popular US poet and translator of

the nineteenth century. His poems have been set by Britten, Ives, and
Liebermann.
Meredith, George (1828-1909): English poet and writer. His poems have been set by
Copland and Ives.
Millay, Edna St Vincent (1892-1950): US poet who wc e Pulitzer Prize. Her

poems have been set by Duke and Schuman.
Milton, John (1608-1674): English poet and writer of prose. Milton was an advocate
for freedom of the press. His epics Paradise Lost and Paradise Regained were
written later in his life after he bad become totally blind. His work has been
set by Ives.
Moore, Thomas (1779-1852): Irish poet and composer. His poetry has been set by
Duke, Duparc, Ives, Mendelssohn, Pasatieri, and Schumann.
Roethke, Theodore (1908-1963): US poet whose work was extremely personal. He

won the Pulitzer Prize. His poems have been set by Diamond, Hoiby, and
Rorem.
113
Shakespeare, William (1564-1616): England’s unrivalled dramatist of all time. His

verse has been set by composers of many genres. In Art Song, his work has
been set by Beach, Diamond, Duke, Faith, Foss, Howe, Ives, Quilter.
Pasatieri, Schuman, Schumann, and Thomson.
Shelley, Percy Bysshe (1792-1822): English poet who was a leading character in
promoting the Romantic movement. He was expelled from Oxford for his
self-acknowledged atheism. His writing encompasses his stand against
religion, and for political freedom. He died of drowning. Ironically, his first
wife, who was sixteen when he married her, committed suicide by drowning
herself. Shelley's poems have been set by Diamond, Duke, Faith, Hovhaness,
Ives, and Rorem.
Stein, Gertrude (1874-1946): US writer whose prose style utilized repetition and
simple variation. Her work has been set by Diamond, Hundley, Rorem,
Schuller, and Thomson.
Stevens, Wallace (1879-1955): US poet whose work went unrecognized until late in
life. His Collected Poems won the Pulitzer Prize, one year before his death.
His poems have been set by Hoiby, Persichetd, and Rorem.
Tennyson, Alfred Lord (1809-1892): English poet whose writing lent itself naturally
to music. His poems have been set by Beach, Howe, and Ives.
Thomas, Dylan (1914-1953): Welsh poet and journalist. His words are considered to
be naturally musical. His poems have been set by Corigiiano and Diamond.
Whitman, Walt (1819-1892): US poet who held to the American vision of an

individual's right to freedom, and brotherhood. He served as an army nurse
during the Civil War. His poems have been set by Creston, Diamond, Hoiby,
Ives, Pasatieri, and Rorem.
Whittier, John Greenleaf (1807-1892) US poet who strongly opposed slavery. His
work has been set by Ives.
Wilde, Oscar (1854-1900): Irish writer who studied at Oxford. He was known for his
flamboyant writing style, and was imprisoned for two years for his
homosexual lifestyle. His words have been set by Griffes.
Woolf, Virginia (1882-1941): English writer who wrote using a "stream of

consciousness" technique. Her writing incorporated themes of economic
independence for women, and other feminist principles. She committed
suicide after suffering from bouts of depression. Her writing has been set by
Argento.
114
Wordsworth, William (1770-1850): English Romantic poet. His poems have been set
by Britten, Faith, and Ives.
Yeats, William Butler (1865-1939): Irish poet who won the Nobel Prize for
Literature. His second wife was a spiritual medium, which complemented his
interest in mystic symbolism. His poems have been set by Barber, Duke,
Hoiby, and Rorem.
115
Vitae
Carol Rich was bom in Queens, New York. After earning a Bachelor of Music degree
form The Hartt School, she went on to earn a Master of Music degree from The
Juilliard School in 1981. As a PEO scholar, in 2002 she earned a Doctor of Musical
Arts degree in piano performance at the University of Washington. Currently, Ms.
Rich resides in Portland, Oregon.

A Manual For The Vocal Accompanist

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INFORMATION TO USERS

The quality of this reproduction is dependent upon the quality of th e

Oversize materials (e.g., maps, drawings, charts) are reproduced by

Photographs included in the original manuscript have been reproduced

ProQuest Information and Learning

THE VOCAL ACCOMPANIST

IN PARTIAL FULFILLMENT OF THE

REQUIREMENTS FOR THE DEGREE OF

DOCTOR OF MUSICAL ARTS

All rights reserved.

ProQuest Information and Learning Company

prescribed in the U. S. Copyright Law. Requests for copying or reproduction of this

of the manuscript made from microform."

This is to certify that I have examined this copy of a doctoral dissertation by

and have found that it is complete and satisfactory in all respects,

and that any and all revisions required by the final

examining committee have been made.

Chair of Supervisory Committee

A Manual for the Vocal Accompanist

Chair of the Supervisory Committee:

Professor Robin McCabe

Vocal accompanying is a specialized discipline that is often overlooked in the arena

of higher education. By studying the specific skills required of an accompanist, the

quality of musical presentation can improve significantly. This manual of vocal

accompanying studies in depth, the nature of a good collaborative relationship

and deals with technical, practical, and inspirational elements of accompanying

LIST OF EXAMPLES................................................................................. iii

Chapter 2: ARTISTRY AND ACCOMPANYING...................................... 3

Artistry and Accompanying.................................................. 5

The Vocal Coach.................................................................. 10

Chapter 3: TEXT AND STYLE................................................................... 12

Chapter 4: CONSONANTS AND LIAISONS.............................................. 29

Chapter 5: MUSICAL REPRESENTATION OF POETIC IDEAS............... 41

Chapter 6: DEVELOPING YOUR SKILLS.................................................. 51

Steps to Learning a New Piece.............................................. 51

Keeping Your Eye on the Vocal Line................................... 66

Playing with the Vowel......................................................... 74

Playing for Auditions........................................................... 95

Chapter 7: PERFORMING WITH THE SINGER....................................... 97

Stage Deportment and Page-tumers...................................... 98

"Pianist to the Rescue”......................................................... 99

Chapter 8: POSTLUDE..................................................................................... 101

SELECTED BIBLIOGRAPHY................................................................... 103

APPENDIX: THE POETS.......................................................................... 106

Example Number Page

1. Strauss, Traum durch die Dammerung............................................................. 14

3. Debussy, L 'Ombre des Arbres........................................................................... 18

4. Strauss, Ruhe, meine Seele............................................................................... 20

1. Schubert, Gretchen am Spinnrad......................................................................42

2. Debussy, Chevaux de Bois............................................................................... 44

3. Ravel, Chanson a Boire.................................................................................... 45

4. Brahms, Der Schmied...................................................................................... 46

6. Brahms, O Wust' ich dock den Weg zuruck...................................................... 49

1. Schumann., Und wufiten's die Blumen, die kleinen.................................................... 55

2. Schumann, Das ist ein Floten und Geigen........................................................ 57

3. Schumann, Stille Trdnen...................................................................................58

4. Schumann, Ich grolle nicht............................................................................... 59

5. Schumann, Er, der Herrlichste von alien .....................................................................61

7. Brahms, Meine Liebe ist griin............................................................................63

8. Poulenc, Airs Champetre...................................................................................64

9. Debussy, C'est VExtase......................................................................................67

10. Strauss, Breit' iiber mein Haupt......................................................................... 68

11. Schumann, Aus meinen Trdnen spriefien........................................................... 70