I lost where this was being discussed a bit elsewhere so and am starting a new thread as I wished to add to the discussion. It has been said that the accompaniment vs melody rubato -- what I am calling Musical Dissociative Disorder -- is something that is best exemplified in the vocal literature, as I presume, a demonstration of melodic freedom of the singer, etc. However, I would have to say that listening to a performance where the accompanist (pianist or conductor) did not in fact accomodate the accompaniment to the singer's interpretation, thereby maintaining the vertical integrity of the composition and limiting rubato to the tempo as a whole, would be looked upon as a poor accompanist indeed. I'm sure many pianists here have good or even extensive accompanying experience (I do), and the fact that no matter how flexible the soloist or conductor (choral works) can be, that the pianist can "follow" is recognized as the achievment of art and skill -- just plain ensemble ability. This all came back to me as I was listening to a Chopin Nocturne performed by violin (melody) and piano (accompaniment) and recognized as I listened that I would be horrified to hear any dissociation of the melodic rhythm from that of the accompaniment in this two-performer version. Why should it be any different if performed just by a pianist? I maintain that such a dissociation is both unmusical and contrary to everything a musician trains by.