The empathy of accompanists

A soloist may get top billing, but, as all professionals know, the recital is really a team effort of equals with their piano accompanist. Henrietta Bredin talks to one of the great exponents of that art

- Henrietta Bredin

WHAT would be the collective noun for a group of accompanists? Having been fortunate enough to sing with the support of several, I would suggest 'an empathy'. Being a piano accompanist is an extraordinary skill, in which few excel and which is frequently overlooked or taken for granted. Malcolm Martineau, a renowned exponent of the art and artistic director of the annual Oxenfoord International Summer School for solo singers, was asked recently whether he had attended a 'wonderful recital' by a famous singer. 'Yes,' he replied, 'I was playing the piano.'

The term itself is often disputed, some preferring to call themselves collaborative pianists or song pianists, but the common denominator, the essential accomplishment, is to establish an empathetic connection with a singer, a shared musical understanding, and a commitment to communicate. Pianists talk of having a sixth sense, a connection to a singer's breathing that enables them to act as a musical safety net, anticipating problems before they occur, reacting seamlessly to a change in pace, in emotional intensity.

Mr Martineau is valued and admired by the many singers he has accompanied, from the world-famous-Bryn Terfel, Elina Garanca, Simon Keenlyside, Anna Netrebko-to college students, aspiring professionals and amateur enthusiasts, and takes genuine delight in working with singers of varying abilities.