Accompanying concertos, Play full tuttis or cut? Options

[Yet another muso]

I am accompanying some diplomas this session that involve concertos. One of the teachers of the students told me that in diplomas full tuttis should be played, but I am a bit surprised by this since everywhere else it seems to be expected to make sensible cuts of the longer tuttis. Does anyone know if this teacher is correct?

We need to work this out since it will affect the timing of the programmes. In one programme, without the tuttis the programme will be under length and she will have to add another short piece. She would much rather not have to do this though - she is playing the trumpet and worried about stamina. She likes the idea of substantial parts of the time of her recital being taken up with me playing the piano alone! I want to be sure though. I would hate for us to be told once I start playing a long tutti on the day that I need to cut them, only for her to then end up under time.

I probably need to email the board about this but does anyone have the answer?

Thanks

[jod]

If you decide not to cut them this is a performance issue in and of its self. You may be giving your 'lip' rest, however that will be all you are resting. During that time you will need to actively participate in the performance, show signs of listening, be very still and generally be aware that although it is your accompanist rather than an orchestra playing, you as the soloist must mot detract from their playing.

Your decision not to cut them may be questioned in the viva, or you may want to bring it into your viva as an element of performance and stagecraft that is often ignored.

This is easier in a Fellowship exam where the recital is longer, but I thought I'd throw it in as food for thought (especially if your long-essay contains any reference to stagecraft and the Concerto).

Accompanists need to be very aware about what their soloist aims in their diploma performance is. When I took my LRSM, my accompanist read my Programme notes to make sure we were both on the same wave length.

Apart from giving the entrant reassurance about their writing, this is very beneficial to the accompanist as it informs you how they tick.