Vocal piano accompaniment: A constant research towards emancipation (1)

Abstract

This article represents the first one in a series of two that investigate the evolution of vocal piano accompaniment through history and the role of the piano in its relationship with the voice. The research method used is musical analysis focused on the piano part, both in itself and its link with the text and the vocal part. The research method used is musical analysis centred on the piano part, both in itself and its link with the text and the vocal part. Initially, some preliminary questions necessary to establish a starting point around the piano accompaniment are addressed. Then, by means of musical examples of different composers following a chronological order, the article investigates all those aspects that provide evidence of the change in the role of the piano in the correspondence between the piano and the voice. In this way we will observe the trajectory of piano accompaniment to the voice and we will see how Schubert conceived the piano in vocal works with piano accompaniment. This new conception will influence both contemporary and later composers. The treatment of this influence will be dealt with in the second article. In the present article we will establish the basis of the functioning of piano accompaniment in compositions prior to Schubert, starting from the Ancient Italian aria (the beginnings of piano accompaniment) to his first lieder. We will observe the different dialogue between voice and piano that starts from the dependence of the piano in the beginnings towards its participation in the final result of the work with a decisive role. Schubert will articulate this drift, as will be seen. However, the results and conclusions, taking into account the whole evolutionary perspective of piano accompaniment, will be presented in the second article.