Ideal Collaboration Analysis

In an ideal collaboration, singer and pianist inspire each other with their colours and dynamic and articulatory nuances. On occasions when the singer is less nuanced, however, the pianist should still try to bring out the various shades that convey the richness of text and music, but without disturbing the impression of accord between the two partners. Closely related to tone colour, dynamics and the blending of voices are the issues of balance and support. Gerald Moore claims that balance is the responsibility of the pianist alone. Although I think that in good collaborations balance is at least partly a shared responsibility, it is true that the pianist has the power to drown the singer. Therefore, the ability to judge the balance of the
Occasionally, however, if the performance shall work, yet the singer is not able to enter where she is supposed to despite repeated practice and explanation, the pianist might be required to slow down to “invite” the singer’s entrance. An example would be the transition to the final stanza of Berg’s “Die Nachtigall” that is marked accelerando into Tempo I. The two phrases of the small piano interlude start on off-beats, are supported by off-beats in the left hand and have different lengths and seem thus to confuse the singer easily. In an ideal collaboration, both partners know each other’s voices well enough to surmount such difficulties. Ideally, the singer should also support the pianist, so that a constant give and take
The ability to judge a singer’s breath is useful for successful synchronisation. Tempo is rarely metronomic even when no tempo changes are indicated in the score. Anticipating what the singer does and shaping the music together in all aspects reminds me of playing polyphonic music on the piano, where one simultaneously creates and follows several voices. They have to fit together, yet each voice has its individuality. The obvious difference, which makes it at the same time easier and harder, is that this voice originates outside of me. I find it helpful to sing or speak the singer’s part when I practice on my own. In the encounter with the singer, I still make myself believe that I sing the singer’s voice in addition to playing my own part while simultaneously listening to the actual sound and adjusting the voice in my mind. Breathing with the singer and thinking the words seems to be the key. Merely following or reacting to each other is not enough as the result would be coincidental. Instead, both partners should perform with confidence and conviction, with real feeling, but not emotional. To achieve perfect ensemble, both partners have to be and react in the moment while at the same time thinking and “feeling” ahead. To me, this seems especially necessary in