ART OF PLAYING ACCOMPANIMENTS

Southland Times, Issue 25691, 28 June 1943, Page 4

ART OF PLAYING ACCOMPANIMENTS

Important Aspect Of Music The many important factors which entered into the playing of accompaniments for singers and instrumentalists were emphasized by Mr Charles Martin in an address to the music section of the University Association of Southland on Saturday night on the art of accompanying. He said parents often said that if their children could not reach the standard required for solo piano work they would be satisfied if they could learn enough to play accompaniments. Such statements were based on a false assumption that accompaniments were easy to playi An accompanist had to be a good sight reader, Mr Martin said. Adaptability, a good sense of -rhythm, good technique and a knowledge of counterpoint were also important. The playing of duets afforded excellent practice for accompanying.

It was unfortunate that examinations in accompanying were neglected in New Zealand, he said. Such examinations were very valuable and most comprehensive. The lecture was illustrated by a piano duet “The Bronze Horse” (Auber), played by Mrs V. Le Petit and Mr Martin, and the following vocal items: —Mrs E. K. Mills, “Lullaby” (Cyril Scott) and “The Birthday” (Cowen); Mrs B. W. Hewat “Love Triumphant” (Brahms) and “Sylvelin” (Sinding); Miss M. Halliday, “Rose Softly Blooming” (Spohr); Miss M. Murphy “Grechen at the Spinning Wheel” and ‘The Trout” (Schubert), Miss M. Alsweiler, “Softly Awakes My Heart” (Saint-Saens). Appreciation of Mr Martin’s address and the musical illustrations were expressed by the Rev. G. Dallard and Mr James Simpson. It was announced that Dr A. H. McLintock, lecturer in history at Otago University, would deliver an address to the section on cultural aspects of Elizabethan England on July 24 and Professor V. E. Galway, of Otago University, would give an address on modernism on October 13.