a program with undiminished attention from
beginning to end, and there is no doubt that the tastefully printed
page (and particularly if there are explanatory remarks concerning the
composer, style, meaning of the composition, _et cetera_) will usually
be followed with much keener attention than one the parts of which
have merely been thrown together. The reason for this we shall leave
for some one else to discuss--possibly some writer of the future upon
"the psychology of the printed page."

CHAPTER XV

CONDUCTOR AND ACCOMPANIST

[Sidenote: NECESSITY OF CORDIAL RELATION]

In chorus directing, it is of the utmost importance that conductor and
accompanist not only understand one another thoroughly, but that the
relationship between them be so sympathetic, so cordial, that there
may never be even a hint of non-unity in the ensemble. The unskilful
or unsympathetic accompanist may utterly ruin the effect of the most
capable conducting; and the worst of it is that if the accompanist is
lacking in cordiality toward the conductor, he can work his mischief
so subtly as to make it appear to all concerned as if the conductor
himself were to blame for the ununified attacks and ragged
rhythms.[35]

[Footnote 35: On the other hand, the conductor sometimes shifts the
responsibility for mishaps to the accompanist when the latter is in no
wise to blame, as, _e.g._, when the organ ciphers or a page does not
turn properly.]

[Sidenote: CHOOSING THE ACCOMPANIST]

In order to obviate the disadvantages that are likely to arise from
having a poor accompanist, the conductor must exercise the greatest
care in choosing his coworker. Unless he knows of some one concerning
whose ability there is no question, the best plan is probably to have
several candidates compete for the position; and in this case, the
points to be especially watched for are as follows:

1. Adequate technique.
2. Good reading ability.
3. Sympathetic response to vocal _nuance_.
4. Willingness to cooperate and to accept suggestions.

Of these four, the last two are by no means the least important; and
sometimes it is better to choose the person who has less skill in
reading or technique but who has sufficient innate musical feeling to
enable him not only to follow a soloist's voice or a conductor's beat
intelligently, but even to anticipate the dynamic and tempo changes
made by singer or conductor.

The minds of conductor and accompa