I am here reminded of a female vocalist who came to sing in Frankfurt, but who brought with her an accompanist whose antics and contortions were so grotesque, that the listeners wellnigh forgot all about the vocal part of the performance, so intent were they on watching the ‘monkey’ at the piano.  As a cynic remarked afterwards: ‘There can only be one reason why a singer can tolerate such an accompanist – she must be in love with him!’