About Starting on a Concert Career
I am twenty-four, have had four years' rigorous work in a conservatory and a partial college training. My technique is adequate for Brahms's Rhapsody in G minor and McDowell's Sonatas. I have good health and am determined not to grow self-satisfied. Is there a place on the concert stage—even if only as an accompanist—for a woman thus equipped?
Any public career must begin by earning the good opinion of others. One's own opinion, however just, is never a criterion. My advice is that you speak to some of the prominent concert agents, whose names and addresses you find in every well-accredited music paper. Play for them. They are usually not connoisseurs by actual knowledge, but they have developed a fine instinct for that which is of use to them, and you are, of course, aware that we must be of use to others before we can be of use to ourselves. If the right "stuff" is in you you will make your way. People of ability always do. That there is room for women on the concert stage is proved by the great array of meritorious women pianists. Especially for accompanying women are in demand—that is, for good accompanying. But I would not start out with the idea of accompanying. It seems like going to a commercial school to study be to an "assistant" bookkeeper. Become a fine, all-round musician, a fine pianist, and see what the tide of affairs will bring you. The proper level for your ability is bound to disclose itself to you.
Accompanist Usually Precedes Soloist at Entering
Should an accompanist precede or follow the soloist on the stage in a concert or recital, and should sex be considered in the matter?
If the soloist be a man the accompanist should precede him on the stage in order to arrange his music, the height of his seat or whatever may be necessary, during which time the soloist salutes the audience. For these reasons it should be the same when the soloist is a woman, but as women are of the feminine persuasion it will, perhaps, look better if the accompanist yields precedence to her.
ALPHABETICAL INDEX OF
QUESTIONS
| PAGE | |
| About Starting On a Concert Career | [162] |
| Accenting a Mordent in a Sonata | [70] |
| Accompanist Usually Precedes Soloist at Entering | [164] |
| Action of a Beginner's Piano, The | [87] |
| Action of the Little Finger, The | [17] |
| Advantage of Legato over Staccato, The | [22] |
| Affected Movements at the Piano | [126] |
| "Afraid to Play Before People" | [121] |
| Age of the Student is Immaterial | [139] |
| Always Keep in Touch With Bach | [81] |
| Art of Accompanying a Soloist, The | [118] |
| Art of Playing With Feeling, The | [124] |
| As to one Composer—Excluding All Others | [160] |
| As to Playing Rubato | [100] |
| As to the Bach Fugues | [88] |
| Bach's Music Necessary to Good Technique | [80] |
| Bach's Preludes and Fugues | [82] |
| Beethoven Sonata with a Pastoral Character, The | [84] |
| Beginner in Bach Music, The | [80] |
| Best Physical Exercise for the Pianist, The | [131] |
| Best Way to Improve Sight-Reading, The | [117] |
| Best Way to Work Up a Quick Tempo, The | [54] |
| Better Not Give the Child "Modified Classics" | [148] |