I’m not one to jump onto the bandwagon of politically correct terms, and I don’t always think that change is good. As such, I’ve rebelled a little against a hip new term that has taken the classical singing world by storm in the last few years. No longer is it kosher to refer to that person behind the keys as your “accompanist,” but rather your “collaborative pianist.”
In preparing our annual coach’s edition, I’ve been reminded of the German philosopher Martin Buber’s ideas about relationships. In his respected 1923 book Ich und Du (I and Thou), Buber asserts that human beings view the world in one of two ways: “I-Thou” or “I-It.” The I-Thou viewpoint is subject to subject, while the I-It viewpoint is subject to object. In I-It relationships, a person sees others as objects with isolated, specific qualities. In I-Thou relationships, a person is aware of others as having a unity of being and engages in dialogue with them as a whole being. The I-Thou mentality breeds reciprocity and mutuality, while the I-It mentality fosters detachment and separation.
A singer’s career revolves around a myriad of relationships and constant dialogues with others. The student-teacher relationship is developed in weekly voice lessons and coachings. The singer-musician relationship is found in so many settings—the Rodolfo to your Mimi, the clarinetist and pianist joining you on Schubert’s “Der Hirt auf dem Felsen,” or the 100-plus chorus and orchestra members complementing your solo in Handel’s Messiah. And the singer-audience relationship is forged during that magical dialogue between performer and listener.
I was first introduced to Buber’s theories by a stage director prior to beginning rehearsals for a production of Le nozze di Figaro. In a pre-production meeting with the entire cast assembled, the stage director brought in a cake pan full of pristine, fluffy, fresh snow. Holding the pan for all to see, he took his hand and made a perfect imprint of a palm and five outstretched fingers in the center of the pan. He explained that as he pushed on the snow, the snow responded to his action, revealing his handprint. He and the snow worked together in a reciprocal way. He encouraged us to foster and develop I-Thou relationships with everyone involved in the production.
Within these pages, you will find many examples of such relationships. Valéry Ryvkin, featured on this month’s cover story, has spent his career encouraging mutually beneficial relationships between singers, musicians, donors, board members, and audiences—first as a coach, then as a conductor, and now as artistic director of two successful opera companies. Cliff Jackson, Classical Singer’s newly named Coach of the Year, views himself and the singer as much more than simply pianist and vocalist. He sees the “whole being” in himself and others, cultivating reciprocity on and off the stage.
Perhaps it is time for this writer to concede that there is wisdom in the focus on “collaborating” rather than “accompanying” when using the term “collaborative pianist.” Collaboration holds a deeply significant place in a singer’s career. Next time you team up with a vocal coach, a fellow musician, or an audience member, consider how well you foster a mutually beneficial, I-Thou relationship.
