The sun. [volume] (New York [N.Y.]) 1833-1916, 1899-05-14
SCHOOL OF ACCOMPANYING.
NEW FORM OF INSTRUCTION M
T1LU4BLE 10 An SINGERS.

1athar pro,ilRd thoy L , Il, ~, so,,atIi,u 80 nnob
others tomnornmont md ondowmonts thnir
genera, bont ara inoI,r,t hr, To- nortnoro, ),
Loan intn inatant oo.nnora,inn oTh,nd as a.
n.oro oil hrt Iina,a,dos =. ,,oah a,ha.,,o h.n
oo,oris,ice r,ith -, nr,,,ou. o,,uoi,toroo -.
forovor,in,e 10 ~ hi, .,d ca, ,,hio,, cit,
tons results 10 ano,bor m,t,or I, "a tbis
b,;ndfoId n,rtnorohin viii, ,nrs,o ,a. ,ha
snhoro ~ ,ctL,n thn, ,ho unr,an nri,oi,a, -.
Fiub oyon,o s,uato oim, % ,oo,I, ,,,I .lnoo
to,cb 70 n yoriod ,,n,I,ao "Sohaoi -, A.
omn,,,in ,,, 10 ,o,,oraa on Tho outor Joor A.,
tho y;eitor ouaits ontronoo oounda -, ,ho
thread ~ . thar,a hroton ir,o ahr,n,,r ~
though tho sineer ,nsnod md halted n, Tho
verv height ~ n,e,odv nr nm oria rona,rod az.
kev Tor n hnr or two ,bon rosrn,irg Tho nor.
ma, tone ooro IRON, m inror oha,nhor
.I ,o.oh mv ,n,u. nroaonoa -, u.,.
ro,uis,,a tor ,,i,,hio ,o,a,,nn,ia, " saro,h
nrincinaI ~ rho scbool n fominino poodoLor 4,
n 8e,d bitborto u,thout m,nrr o,idohoaL "I
have n,,vod .ooomn,nimonts ~ W. VII ,or
ton ve,ra and bovo INV oyn 1lnrr,s 70 90 ia,
IN ,e.cbino o,bors Ev.ry ono Inows ,h,, =,
read music readily is tho Ore, ossonti,l f,r IN
accom- n,nist bu, M m,ttor how ,hlo nr nront
a woman might be in ,bis raearI Il s,v wnm,n
hoconso noa,ly ali a,connonio,o ,ra M
sho Ala not have ooo,nass .nd ,ho ,aot w.
tho rigbt thru In emoroencvsb yyorlJ NOT M
tho nlaco Eyon tho meet oooon nlishod host.
psreod si,oor 10 Iitolv 70 b,ra .uns ,na ,,iah.n,
once In n while HE voion cots buoLv or
be sinus Of kev INST for n minute rho ~.
mort accomnnnist must Iva ali. % an In,
tbese null war dnessos nc IL voro hv irtn;tior
and she must mt in chords moi written In tha
score TO bridge over the gap, ana give other
help for the singer to right himself by. The
o,lv UNIV 10 driI , pupiI for oorroot ,oo,,,
oh' way 'ouiii II pup" 'o' eo'IecC accom-
pahyinR Is 10 INFORM nor on mistakes. ana. al
fectly practical. As far as possible when giving
J" 'l"..e"I 80 90 y" Nv sI'i's
a delineation try to forostaIl all the slips and
so"hn 5 tna, a singer ha or,1 Is h @no TO, ana ia, ahat an
a U may ~ eu.'.u uroh ~ ,ue o."L'
| course. are immune to getting ratified. as the
slang ia. and are finished in something else
than mere stereotyped accompaniment play
ing by rule and measure.
THE effective requisites for the profes.
sion are sympathy-ot course with thorough
music knowledge for a groundwork-tact
anu aoal'ao'l'y' me successful accom-
paniment player must be subservient' must be
somo TINA tba most yorsn,il, ana rosnonsiro
sahe .me ahe mUs1 Versatile ana respohslve
and a cool head. The reason that men are not
nonuIor or no a rule s,ccosefuI nccomn,riste
~ op baoa as. , uI ,ha ".toail"n,s.S
pliancy of n woman player. The man with
abi,itv ono,,b 70 Ia IN oooo,,oris. 10 M. 10
aoll'y enousn 10 DC an eSon,pahlst IS app 10
seek more prominence. and. anyhow. the mas
culine touch is too positive. Accompanying is
essentially woman nelu ana one occupation
at least that she Is not likely to be supplanted
in. II PAYS well to the proper practitioner.
THE musical directory Of New York shows
from 40 TO so professional accompanists
while the list of resident and visiting singers
companists are satisfactory by any means. so
more. and many singers and managers have
to put up with accompanies that. are either
drawbacks or lust makeslifts. Now. 20
this afternoon to pIay Tor n nron,inent
manager who is to try Il variety Of singers
for o S asv " OF l the 'H hryypd ,heseS Sf 1n musico worE
that lie has to do with. Two or three Of
these singers have accompanied before,
to me aud II should be- unsympathati or lack
tact in my accompaniment il would mean the
ager is a busy man OF affairs and naturally not
Overstocked with PATIENCE. or likely to make
ransementn Il Voice Hiic or temnc %r rrnii" "o ysh n1III
do the best / can TO provide individual aud
efficient help to the candidates who 60 though
dom noticed by The critics. is a vital feature, in
any musical function. and try to iiuuress his
sense of responsibility on my uupiIs.
The other day was called UPON To- accom-
pany Il singer at Il notahi" concert il So hap
L. the position Of the piano, II was n mistake
TO have il so but mistnkes in nrrnnp,Imamr
| occur Oitenpr than Won wOnll think had
never pla we'd for her. but knew her Nv reI,Itn-
tion. We we're getting ON smoothly when MI
Of a sudden in the very most npDenlinr aria
her voice caught and I Heard her give n rnEu'
Quicker than Thought almost / uIIt i'm n fryy
bars Of the voice score TO sustain her and
then. by some intuition. managed 10 ulay the
rlght note when she was ready to ION in 4
was NOT sure whether She would come in nj
the point / had pIayaI toll covering hrr conru.
sion. or whether sLe would start in wlcr,' She
left of. so / had to be on the watch felt,
rather than knew. what that voice would do
and we tided over things successfully or
course she thanked me aitrrwnrd md ur,isri
my presence OF mind. and Know we'll enough
flat a merely correct nncoInnnnis woulJ hny.
made a complete breakdown ~
III il i'm emergencies like these that the ac-
communist comes to the front. and il rnrSg.
nized as a vital factor in musical affairs. Ten
our Of n dozen singers viii Tell Won what
troubles they have with on.svmpatLetic a".
communists. or how much better they rouid
have done On ccrtnir occnsionS had Tho riuht
+ rpreter been at The pinno II ia intiniteIy
better. that is. il would be better, II il wers
practicable for n singer TO plny Lsr own nc.
commandment for no one person over enteis
entirclv into the shirt and temper OF nnothrr
hut the singer gives out her notes hest in
standinp posture' with nothing to think ~ mi
the SINGING. and The accom- panist cIght fn rIoy
her nnrt in the scheme so nrrfertlv thnt III
singer need never think OF her mt ali. ~
AS ia the cnse with other snboriiuote nro.
fassions - ~ :; - nor M y n y n ~,