Posted by Kenneth Sloan on March 24, 2003 at 12:23:33:
In Reply to: Accompanist Payment Issue Advice Neede posted by Matt A on March 24, 2003 at 07:56:26:
The world revolves on word of mouth, reputation, and contracts. For one-shot deals, a written contract is the best solution - but you didn't do that and it's too late to go back and fix it. Both you and the pianist will be doing this sort of thing in the future, so reputation and recommendation should be a big part of your calculation.
If you agreed on an hourly fee, then you owe the fee for the hours you put in. Pay it. There's no reason to pay a higher hourly fee - but you do owe her for the time spent, at the fee agreed. Before you consider not paying (or paying less than agreed) consider the repercussions of becoming known as a performer who fails to pay.
If the pianist did not perform up to your standard, your first defense in this situation is to not hire her again. Perhaps you have learned that you should have inquired more closely about her qualifications (and checked references) before hand. Your second defense lies in the "recommendations" that you give in the future. I recommend that you take care here, though - how you talk about the people you work with is part of *your* reputation.
Meanwhile, as you start to prepare for your SENIOR recital, look around at the pianists used by others. Ask around and find out who is good, and why. Next time, spend a few extra $$ to hire someone with an established reputation. Someone whose work you have heard. Someone who comes with a recommendation from someone you trust. There's a reason that the same accompianists show up over and over again.
If you decide to do your part for the education of budding accompianists (who are learning the business just as you are) then be very explicit about the requirements. Perhaps a set fee for the entire project is more appropriate in this situation.
Consider this a cheap lesson in the *business* of music. Putting together a team and arranging the conditions and payment is a necessary aspect of making music in public - it you want to be the one who decides the program and takes the applause as the "soloist".