The question of what is the role of the piano “accompanist” is not new to the world of music. Should they be in the background or are they as much of a performer as the “soloist”? Indeed some of the earlier violin sonatas by composers such as Muzio Clementi and even Beethoven, were originally called “Sonatas for Piano with Violin Accompaniment”. Part of the reason for the current change of focus may be simply that in such sonatas the violinist would need to stand in front of the piano to avoid being obscured. In this way they would be viewed more in the foreground, and thus begin to look like more of a “soloist”.

However, sonatas by composers such as Alan Rawsthorne or Arthur Bliss must not be viewed as sonatas for viola – the piano parts are fiendishly difficult and they are without doubt sonatas for viola and piano. A lot of instrumentalists look for “pianists” to work with, and this implies an equal collaboration of two instruments. However, one still studies “piano accompaniment” at various music conservatoires. Why?

Let us momentarily consider the word “accompany”. If you are asked to accompany someone somewhere, it implies that they have something they want to do, and they want you to go with them. It does not mean that either person is inferior or superior to the other, but rather that one of the people has got a need, taken the initiative, or got a certain incentive to do something, and they want or perhaps need someone to accompany them. The problem with calling someone a piano accompanist is that it implies a hierarchy: there is the soloist and then there is the accompanist. If we view the title of “accompanist” in a similar vein to the word “accompany”, then it is easy to see that this is not the case. There is one person that wants to play a certain sonata, and they need a pianist to go with them in order to achieve this. The pianist is “accompanying” them so that they can fulfill their desire.

So why do we call pieces a Viola Sonata, or Violin Sonata? Quite simply, if everything has got a piano with it, then this is the shortest way of differentiating between them. The work is definitely a sonata, and so it is described in terms of the instrument(s) other than the piano that is playing. If there is not a piano playing then it is always called a Sonata for Violin and Viola, or a Sonata for Solo Viola.

We talk about someone accompanying us simply because we are that other instrument, and we need a pianist to come with us on our journey of exploration into the piece. A pianist says they are accompanying someone simply because it is the other person that has made the suggestion, and they are joining them in the performing and discovery of the piece in question. When both parties have decided to play a piece, and there is no leading objective then, in my experience, it is nearly always referred to as someone playing with someone else. Accompanying is not describing the hierarchy of the musical parts, but rather referring to the job of the person who is helping the idea-initiator complete his idea.