Open Writing

When we returned to Johannesburg, sadly, Alice resigned as my accompanist. Her arthritis and deteriorating eye-sight meant that she couldn’t continue accompanying me, particularly as I planned on giving professional recitals at public concert venues. It was fortunate that I had recently been introduced to a superb Russian pianist Olga.

Olga is a soloist of note, at present studying for her doctorate in performance. When we began working together, she was completing her Master’s degree, teaching full-time at a school and giving private lessons. In spite of these demands on her time, we managed to rehearse together at least twice a month. We worked together regularly for two years, giving five very successful public recitals in which she would accompany me but also play a solo or two. She performed my accompaniments brilliantly and we chose works which would show off her virtuosity as much as they were showpieces for the flute. Our time together as ‘Duo con Anima’ was one of close friendship, not only between the two of us but which included our husbands.

When Olga recently started intense work on her doctorate, she was unable to continue working with me for recitals. Sadly I lost another wonderfully talented accompanist but again gained a very special friend.

With an important recital just two months away and no regular accompanist, I became anxious. I phoned a superb accompanist I’d heard recently and Kerryn agreed to work with me for the imminent recital. Our performance was superb, as Kerryn was a delight to work with: she read the music with ease and seemed to ‘fall into’ my musical way of thinking, following me effortlessly. I was relieved that we would need far fewer rehearsals than I’d expected. She is a true professional and a wonderful accompanist. . Unfortunately for me, Kerryn is in great demand, both professionally and by her young family, due to this and logistics it was not practical to build a permanent performing relationship.

I searched for an accompanist closer to home and without a family, someone who would be able to rehearse with me regularly and frequently. A friend introduced me to Michael. Michael’s schedule includes lecturing two days a week in theory and musical history at the university, teaching another two days at a girls’ school in addition to many private students and accompanying a variety of singers and instrumentalists at recitals. From the moment we first played together, I knew that working with Michael would be pure joy. His sense of humour, his passion for and joy in music are always present. He never cancels or postpones a rehearsal, he listens to my musical suggestions and makes his own, which delight me, he plays with flare and passion or delicacy and delight as required, and follows me religiously when it comes to tempo and volume changes. We never have to work out how many finger-movements we’ll put into a trill, we simply trill together as naturally as if we’d been working together all our lives. I have again found a pianist who shares my passion and feeling for marvellous music. I’m looking forward to a long and happy partnership with Michael.

In music written with piano accompaniment, the pianist often sets the mood and the tempo, adds depth to the melody-line, answers and poses musical questions, comments on musical statements and effectively makes the music whole. In summary, the pianist plays as important a role as the singer or instrumentalist, and should receive equal recognition. Without them, the music is meaningless.

To all the wonderful accompanists I’ve worked with: thank you for being my partners. You’ve shared your knowledge with me, made my life richer and filled me with the joy of music shared.

Until next time, ‘here comes Treble!’

By Isabel Bradley © Copyright Reserved