When pianist Simon Lepper appears on stage, often to play for singers such as Karen Cargill, Mark Padmore and Gweneth-Ann Rand, he knows every word of the song text. The realisation that in order to accompany singers, he himself should be able to speak the text of the song, while playing, was one of Lepper's ‘lightbulb moments’.
‘Too often musicians believe that the role of the accompanist is a passive role, but it is quite the opposite,’ he says. ‘When teaching how to collaborate, I try to show students that they can influence the musical narrative through a complete involvement in their piano part, as well as that of the collaborator. Breathing with other musicians, instigating not “following” – this is essential,’ he explains. When Lepper performs, he speaks each word of the song simultaneously with the singer – ‘…but in my head!’ he adds. His method denotes the idea that instead of accompanying, you are responding to your own interpretation of the text, learning how your part also paints the words of the song.
Keys to success
Since 2003, Lepper has been an official accompanist for the BBC Cardiff Singer of the World Competition, and his performance highlights include an invitation from Wigmore Hall to present a project on the songs of Joseph Marx; recital tours with Stéphane Degout, which have included the Ravinia and Edinburgh Festivals and the opera houses of Bordeaux, Dijon, La Monnaie, Lausanne and Lyon; recitals at Carnegie Hall with Cargill and Sally Matthews and at the Frick Collection with Christopher Purves; performances of the Schubert song cycles with Gerald Finley as well as Mark Padmore; and recitals with Christiane Karg at Frankfurt Opera and the Rheingau Musik Festival.
Lepper owes much of his success to his mother and grandfather who encouraged his music making from the age of four. ‘We had an old iron-framed upright sat in the corner of our living room. My mum, who herself had ventured to Grade 7 on the piano, got me started with the John Thompson Course and its minims, crotchets and “gnomes”. I enjoyed trying to sight read any music I could get my hands on, and would play community and war songs with my grandpa, who would be strumming a ukulele. Without realising it, my very first experiences of the piano had been collaborative,’ he says.
After graduating from Cambridge University, he went on to specialise in piano accompaniment at the Royal Academy of Music. There he became particularly drawn to song, where he had the opportunity to study its poetry. He admits there were still many hours spent alone at the instrument: ‘We all know that piano parts take a lot of practice, and that this can be a lonely task. For me, however, there is nothing better than to be able to share your musical ideas with another musician, and that is certainly the case with collaborative piano’.
All together now
Collaborative piano is an umbrella term that Lepper has used to describe the postgraduate course which he coordinates at the Royal College of Music (RCM). It is an expression used to describe all the various types of music making that involve a pianist, but not as a soloist. A ‘collaborator’ might be a song pianist, chamber musician, orchestral pianist, repetiteur, ballet pianist, vocal coach, or musical theatre pianist. ‘I changed the name of the course from “accompaniment” to “collaborative piano” to reflect its breadth of experience. The students have regular group classes with Roger Vignoles as well as sessions in orchestral piano, ballet piano, conducting, continuo playing, vocal coaching, musical theatre keyboard and direction, and repetiteur skills,’ he explains.
At the beginning of the year, students on the course are provided with the opportunity to mix with other schools of study, enabling them to meet potential duo partners at the college. Once paired up, it is fair to say that collaborative piano students are encouraged in the art of providing an ‘informed nudge’ when it comes to the challenges of working together. This was advice that Simon himself received as an accompanist – ‘perhaps this sense of diplomacy is why we have so many international British accompanists!’ he says. ‘When it comes to communication, I encourage students to realise that they can transmit a lot of musical information non-verbally, through having a strong musical intention, which is transmitted through their playing, their physicality and their breathing.’
Lepper notes the importance of making young pianists aware of the many different avenues that they can pursue in order to maintain a fulfilled career. Being a soloist isn't for everyone, despite the fact that many players focus on the huge body of solo piano repertoire. According to Lepper, focusing on a solo career is not what it means to be a pianist: ‘Even high-flying soloists often combine concerto and recital work with chamber music and song accompaniment, as well as teaching. I think it is maybe too easy to feel that you have failed in some way as a pianist when you don't have a “solo career”.’
He continues: ‘But there are many ways in which these “solo” piano skills can become useful in other types of music, wherein your role as a musician is completely different. To my mind, all that intense study on solo repertoire and technique is a useful stepping stone, after which it becomes possible to have a more diverse career as a pianist.’ Indeed, many former students of RCM have gone on to collaborate at the highest level, such as Robert Clarke who has since become head of music staff at the Royal Ballet, no doubt an inspiration to current students who aim to build a career around collaborative repertoire and contexts.
Driving force
If a piano course can exist for accompaniment or piano chamber music, should there be the same for other instruments too? Will we be seeing an ‘orchestral player’ postgraduate course for string players, or an option for flautists to focus purely on chamber music or musical theatre scores? ‘I think the piano is unique, as it is really one of the only instruments that has an enormous “solo” repertoire. It is almost impossible to learn a string, woodwind or brass instrument without encountering a lot of chamber music and orchestral playing. In a collaborative setting, a piano part is often completely integral, particularly as a duo. It not only provides melody and rhythm, but also the essential driving force and grammar of so much music, which is harmony.’
Lepper giving a masterclass © ELISENDA CANALS
As one would expect, teachers at RCM had to adapt very quickly to the challenges of working online over the course of national lockdowns; nonetheless, during this process, college staff developed new techniques for online teaching, which will continue to be integrated into teaching practices in future. In an ever evolving and (at times) unpredictable industry such as music, teachers can never become too set in their ways, according to Lepper. Staff and students were prepared to take the seismic changes of 2020 in their stride: ‘The professional musical landscape is constantly changing, and as teachers we have to continue to identify these changes, and to adapt accordingly. A musical education, at its best, mirrors the working life of a musician…a life in which you can never afford to rest on your laurels. Musicians have to be constantly evolving to answer the questions posed by both the music you are playing, and the business in which you are earning a living.’
Aside from online teaching techniques, there have been additional changes within UK conservatoires over the past few years, which Lepper has witnessed first-hand. He explains that the focus on diverse programming in the broader arts industry has meant that students, too, are considering the diversity of their recital programmes, and that there is now a greater integration between the public and the music making that happens at conservatoire institutions. There are, however, some things which he would like to see more of in future as he continues his work in higher education; for example, a focus on preparedness to enter the music business – how to transition from music college or university to earning a living.
‘I'd also like to see the definition of a “successful” higher education experience continue to expand,’ he says, ‘meaning that you can be aiming for excellence as a performer, but also realise that there is value in all aspects of the music profession – sound engineers, agents, concert producers. I would like us to start learning more from other disciplines – pianists can learn from singers, singers can learn from cellists…students can learn from and interact with other art forms, such as drama, musical theatre, or dance… At the end of the day, it's all artistic expression.’
