The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1899-05-28

cvur.- nj IN e theno aecoupanises axo
0tn1ns1n3 ~ suy nO1A - u 3p&eo
have ~ - WORK they can do an 0oeA
ana unnv singers and Managers hAxe -
put - Win 0cco0panists tAA4 are dtder
orawAncAn o. ~ nnkeshifes. NcW. I -
tAls afternoon to play for prom1nens
manager who - 10 try q variety q an8>
lions for any Of the branches of mnstc-
work int ~ has to % with. Two o. three
a theoo singers have accompanied be-
fore, but eli the others win b utter stran-
gers to ma and II should b unsymOa-
thetic a. lack tact In my accompaniment
Il would mean the making q marEtng Of
their chances. Tho manager n busy
man of aRairs and naturally nos over.
stocked with pattencA o. likely 10 make
derangsmens Of voice Or tempsrAmAnt 80
shall do the best can to provide indi-
vtdual and efficient help to the candidates
who 20 through tho ordeal Tho aoccm-
panlsf. although seldom noticed by the
critics. - = viea1 feature In any musical
function. and Try to tmpress this sense OF
responsibility on my pupils.
The other day was called upon 10 ac-
company Q singer IT . notable concert. II
back, owing to the position OF the piano.
It was . mistake to have It 30. but mis-
takes In arrangement occur oftener than
you would think l had never played for
her. but knew her by reputation. We
were getting on smoothly when all OF a
sudden. In the very most appealing aria.
her voice caught. and heard her give =
gasp. Quicker than thought. almost, put
In few bars Of the voice score to sustain
her. and then. by some intuition. managed
to play the right note when she was ready
10 1OSy In I hAs n8SA
would come In at tho point had played TO
In covering her confusion. or whether she
would start in where she left or 90 had
to be on the watch. felt, rather than
knew. what that voice would do. and we
tided over things successfully. OF course
she thanked me afterward and praised my
presence Of mind. and know well enough
that . merely correct accompanies would
have made q complete breakdown.
1T II In emergencies like these that the
accompanist comes to the front. and 10 rec
ognised a Z vital factor In musical at
fairs. Ten out Of . dozen singers will tell
you what troubles they have with nom
sympathetic accompanies. or how much
better they could have done on certain &C.
casions had the right interpreter been at
the piano. It ID Infinitely better-that Is.
II would be better. II 1t were practicable
tor . singer to play her own accompani-
ment for no one person ever enters en-
tirely into the spirit and temper Of an
other. but the singer gives out her notes
best In standing posture. with nothing to
think Of but the singing. and the accom-
PIANIST ought TO play her part In the scheme
90 perfectly that the singer need never
think Of her at all.
AS n the case With other subordinate
professions, 1t il more an accompanies
shortcomings than her projections that
elicit notice. When she il never conssd-
cred or noticed at all she IL most success
ful. and vice versa: not that accompanying
II q thankless or unapprecaated task by
any means. One makes warm friends and
gets quiet plaudits once In q while. Then
peculiar talent becomes recognised took
up the business because music was my one
gift. and had need OF resource for my
lisinx. knew better than any one could
tell me that / had not the requisites for
success as an individual piano player. but
had the interpretive touch needed In ac-
companying, 20 I started at that and
learned proficiency by experience"
1t Is not only as accompanies for pub
lie singers that pupils apply to this school.
Young girls come to learn to play suitable
Accomplishments for their older sisters. for
their fathers and brothers who have q
gift for singing and like 1t as a source of
nave
need Of suitable accompanies in their pri-
vate studios. and candidates having this
field In view come to acquire proficiency.
A number OF young women gain liveli-
hood AZ private accompanists, living In
the families Of their patrons just n Z Sec
rotary or trained nurse or other household
factQtum would do. In fact, when made
acquainted with all the different inches
and dependencies that an accompanist can
MI. the wonder Is that somebody In all the
musical world did not think of having z
school for Accompanies before and Of pro-
viding some way OF preparation for and
entrance into the profession other than
the mere stumbling into II. The young
woman who has had the enterprise to start
such school II getting much encourage
mont. From all parts OF the Union come
letters inQuiring into her methods and
showing the evident desire on the part Of
tho provincial accompanied to brush up her
repsrtory in this direction.
Il shall be In New York during the sum-
mer. Could you put me on to any points
In musical proficiency likely to benefit q
beginner in accompanying Ii tho general
burden Of this oalt-of-town correspondence.
Some write to know what chance there ID
to enter metropolitan accompanying after
correct training At the school, and what
the profession pays.
Women, conservatory students or ANA
teurs. comprise the constituency. with an
occasional query from q man Instructor
here and there anxious 70 know what this
young New York music woman has in
mind with her novel school A for the
musical critics. the managers and the snx-
ers themselves. they vote the school good
thing. a happy thought that will work
them much advantage eventually. and
save many enbarrassments and strained
relations between the would.be accompan-
is; who misses the mark and the singer
who cannot do without her services but
Is often on thorns and tenterhooks OF anx-
iety as TO how she viii acquit herself at
critical times when much hangs In the
balance.
The Career OF . Famous MaAstone.
An unpresentious looking brown stone
which was once traded or exchanged for