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A number of classical pianists have found success as accompanists rather than soloists; arguably the best known example is Gerald Moore, well known as a Lieder accompanist. In some American schools, the term collaborative piano is used, and hence, the title "collaborative pianist" (or collaborative artist) is replacing the title accompanist ...
Guilherme Montenegro. "Besides playing, we have to teach": pedagogical dimensions in the actuation of the collaborative pianist. Scotland, Glasgow: Proceedings of the 32nd ISME World Conference, 2016. _____. "The collaborative pianist and his modes of being and acting: an interview study with professionals in a Brazilian music school".
The piano parts in art songs can be so complex that the piano part is not really a subordinate accompaniment part; the pianist in challenging art songs is more of an equal partner with the solo singer. As such, some pianists who specialize in performing art song recitals with singers refer to themselves as "collaborative pianists", rather than ...
Martin Katz (born November 27, 1945) [1] is an American pianist, educator and conductor, primarily known for his work as an accompanist.. Katz was trained as a collaborative pianist by Gwendolyn Koldofsky at the Thornton School of Music, part of the University of Southern California; where he was a member of the USC's music fraternity Phi Mu Alpha Sinfonia.
Zao – Original vocalist Eric Reeder came up with this name, meaning "alive" in Greek. [345] ZZ Top – Billy Gibbons wrote in his autobiography "Billy F Gibbons: Rock + Roll Gearhead" that he used to live in an apartment decorated with several concert posters and flyers, including Z.Z. Hill and B.B. King. After playing around with names like ...
Cosmé McMunn (February 22, 1901 – August 22, 1980), who used the name Cosmé McMoon, was an Irish-Mexican-American pianist and composer, who worked as the accompanist to tone-deaf soprano Florence Foster Jenkins. [2] [3]
Most of these pianists performed works for piano four-hands (two pianists at one piano; also known as piano duet) as well as works for two pianos, often with orchestras or chamber ensembles. Some of these teams focussed exclusively or predominantly on this repertoire, but some also appeared separately as solo pianists.
Eschewing the art-music world, Harnell sought work in pop and jazz, working as a for-hire pianist after returning to New York City in 1950. He played in Lester Lanin's band at this time and found work as an accompanist for singers such as Judy Garland, Maurice Chevalier, and Marlene Dietrich. [4]