Classic and Contemporary Poetry: Explained

In "The Accompanist," William Matthews explores the nuanced and often understated role of an accompanist in a musical performance. The poem opens with a series of directives: "Don't play too much, don't play / too loud, don't play the melody." These instructions encapsulate the delicate balance an accompanist must maintain, emphasizing the need for restraint and support rather than domination. The role requires the accompanist to "anticipate her / and to subdue yourself," highlighting the importance of attentiveness and humility in the relationship between the accompanist and the lead performer.

The speaker reflects on past experiences, recalling how the performer would give a "smoky / eye" when the accompanist became too "boisterous." This subtle warning taught the speaker to "play on tip-toe" and to hold back, "to play the better half / of what I might." This self-restraint is crucial in maintaining the harmony of the performance, ensuring that the lead's voice remains the focus. The speaker's acknowledgment of not liking to complain, yet finding themselves doing so, suggests a complex mix of pride and frustration in their role.

The poem captures the atmosphere of the jazz life, with "the blue / curlicues of smoke rubbing their / staling and wispy backs / against the ceilings," painting a vivid picture of the smoky, dimly lit venues where they performed. The mention of "flat / drinks and scarce taxis" alludes to the less glamorous aspects of the musician's life, yet the speaker notes that they "made a living and good music, / both, night after night." This duality of satisfaction and hardship is akin to the camaraderie of "Army pals / complain[ing] about the food and then / re-up," indicating a deep, enduring commitment to the craft despite its challenges.

The poem touches on the sensual aspects of musical performance, acknowledging that some people describe playing music as "partly / sexual." The speaker acknowledges this perception but emphasizes that the experience is "mostly practice / and music." The distinction between "partly sexual" and "wholly sexual" underscores the difference between the art of accompaniment and the intimate connection of a duet. The speaker's preference for the latter suggests a longing for a more direct and complete emotional connection, but recognizes that their role is to support rather than to take center stage.

The poem references a famous musical exchange between Bessie Smith and Louis Armstrong in "Restless Blues," where Armstrong's trumpet echoes Smith's call of "Daddy." This moment exemplifies the perfect synergy between lead and accompanist, where the accompanist's contribution becomes a vital part of the narrative without overshadowing the lead's story. The speaker reflects on how, as an accompanist, one becomes "part of her beautiful / troubles" and, to the extent possible, "part of her consolation." This highlights the accompanist's role in amplifying the emotional depth of the performance, where "pain and joy eat off each other's / plates."

The poem concludes with a reflection on the often uncelebrated nature of the accompanist's work. The speaker acknowledges that they mostly play "to drunks, / to the night, to the way you judge / and pardon yourself," performing for a transient audience and grappling with personal assessments of their own contributions. The phrase "to all that goes / not unsung, but unrecorded" poignantly captures the essence of the accompanist's experience: their essential role may not always be recognized or remembered, but it is nonetheless integral to the beauty of the performance.

"The Accompanist" is a thoughtful meditation on the complexities and subtleties of the role. Matthews captures the mix of artistry, discipline, and humility required to excel as an accompanist, as well as the emotional depth and satisfaction that come from supporting and enhancing another's voice. The poem highlights the beauty and challenges of this often-overlooked position, offering a tribute to the unsung heroes of musical performance who, through their quiet mastery, contribute to the creation of something greater than themselves.

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