Out of the

Michelle Pritchard

The late Nineteenth Century saw the emergence of the viola from the ‘engine room’ of the orchestra to a solo instrument in its own right, due to champions such as English violist Lionel Tertis. The viola’s rising status paved the way for collaborations between violists and composers, resulting in an expansion of a relatively limited repertoire and placing higher demands on the performer. Through theoretical and practical based research, I identify the roles and responsibilities of the classical violist when collaborating with living composers. At the centre of my practical investigations were collaborations with four composers in the realisation of new works and exploration of pre-existing works by three composers, as part of a cross-departmental/cross-cultural collaboration. These collaborations highlight the importance of a high level of musicianship and an ability to communicate with and without the instrument. Artistic and intellectual exchange through open communication results in mutually beneficial outcomes and a deeper connection with the music. Additionally, these collaborations reveal that the viola is still emerging as a solo instrument, needing further experimentation and exploration. The final aspect of my research is the curation of a lecture-recital series showcasing these new compositions, anchored with works from the standard and lesser-known repertoire. The future aim is to perform and record these new works in order to reach a wider audience. Successful collaborations contribute to the generation, promotion, and contribution to the classical viola repertoire and the status of the instrument itself now and into the future. Bio Michelle Pritchard is an Australian violist, violinist and pedagogue, studying her Master in Classical Music (Viola) with Ásdís Valdímarsdottír at The Royal Conservatoire, The Hague. In Australia, Michelle studied with Alex Todicescu, Sydney Conservatorium. Later with Jeremy Williams, obtaining an Associate of Music Diploma with Distinction, and a Graduate Diploma of Professional Music Performance Practice through the University of Tasmania. Specialising in chamber music, Michelle established a concert series in Sydney. She has toured Europe as recitalist and as a member of the Hourglass Ensemble. Additionally, she founded ‘Eisteddfod on the Mountain’ in the regional area north of Sydney

CASE STUDY 5: Collaboration with Composer Orkun Ağır (1990- )

Preludio di Quintetto per viola solo, 2019

1. Initial Contact

Orkun Ağır is a Dutch Composer whose work I encountered for the first time in early 2021. I contacted him to request the music for his unpublished composition Preludio di Quintetto.

After several weeks, I contacted Ağir and informed him I was ready to workshop the piece as he had suggested.

2. Background of the composer

 Preludio di Quintetto (2019) Orkun Ağır (1990- )

per viola solo

Orkun Ağır (*1990, Zwolle) is a Dutch composer of contemporary classical music based in Eindhoven. He is a partially self-taught composer, musician, music theorician and teacher and studied bağlama at the Codarts Conservatory in Rotterdam with Kernal Dinc whom he asserts was very inspiring as a musician.

His original musical influences stemmed from his Georgian background- the intersection of Eastern Europe with Western Asia.

As a composer and musician he is known for his chamber and solo works, he is often applauded by contemporary pioneers and criticised by conservatives for the controversial changes he made to the bağlama; “to make the instrument more concert-worthy to be able to use it in a Western classical/contemporary context”.

3. Timeframe

27^th February, 2021- ongoing.

4. Composition Concept- Pre-existing, unpublished work.

Ağır’s unaccompanied solo work for viola, Preludio di Quintetto, is a piece written in 2019 for the Polish violist Magdalena Chmielowiec-Kozioł, following his own tradition of writing preludes to be played prior to his chamber works. Other works in this line are Preludio di Sestetto per clarinetto solo, Preludio di Ottetto per sassofono contralto and Preludio di Septetto per arpa. These compositions can also be performed separately

A fragment of the Workshop process, discussing possibiliites "Flautando"- poco piu mosso

Example of practice video. April 3rd, 2021

PRACTICE "PERFORMANCE"

recorded in Middelburg at Home.

12th May 2021

5. My Roles

5.1 Initiator of Collaboration

As previously mentioned, I initiated the collaboration, although without Ağir’s response to workshop it, I would not have gained the many experiences through this collaboration.

5.2 Role as Violist

Throughout my collaboration with Ağır, I have been the violist and performer as well as recording artist.

5.3. Role as Communicator

The communication has been ongoing since our initial meeting for the workshop which took place on the 26^th April, 2021. I have recorded and sent these recordings for feedback as well as talked on the phone. Communicating through the instrument, verbally and in person, through workshops and official recordings. Emails asking permission for performances, questions about certain aspects of the music. Whatsapp correspondence has been extensive.

Both Ağır and I share a common goal and passion for the music.

5.4.Role as interpreter

Prior to the first workshop, I spent several weeks working through the music, forming an initial understanding of it. This was further clarified after the first workshop and can be seen in the first annotated score.

The whole workshop can be viewed on this page. And part of the workshop as an example as marked.

5.6. Role as promoter

I have had considerable experience in a relatively short period of time with this piece. This collaboration, I believe has had a positive contribution to both Ağır’s reputation and mine as a performer, resulting in performance and recording opportunities. In my opinion the Preludio is well suited to the viola. The melodic line draws on the rather earthy vocal range of the viola. It contrasts the depths of the lower register with the more extreme high pitch stratospheres.

I included Preludio di Quintetto as part of my Master 1 recital at The Royal Conservatoire, The Hague. Performed it as part of The Stichting Kerk Biedt Podium in Middelburg. It has been broadcast on National radio (NPO 4 in the Netherlands, 12.12.2021) and recorded for television- Vrije Geluiden (February 2022)

See Bandcamp link and NPO 4 link

https://orkunagir.bandcamp.com/album/a-r-preludio-di-quintetto-per-viola-solo ⁸²

The single has also been released on Bandcamp, YouTube and Spotify.

Orkun Ağır in Vrije Geluiden Sessies | NPO Radio 4https://www.nporadio4.nl › sessies ⁸³

The fascinating part of the recording process was having Ağır to record me and master the recording as well. He also designed the cover of the Single and asked for my feedback through the whole process. This feedback was not just for the artwork but also the editing process of the recording and the different versions. Although in the end he had the final say, I trusted his opinion and did not have any issues with this process.

6. My Responsibilities

6.1 Before making initial contact, ensure that I resonate with the composers’s style of writing.

As the Preludio di Quintetto was a pre-existing work, and I was immediately able to emotionally connect with Magdalena Chmielowiec-Kozioł’s performance of it on YouTube, this was the reason for the initial contact with Ağır in the first place.

6.2 Organise an initial meeting to make sure you are able to not only resonate with the composer’s music but also the composer himself.

The workshop was our first meeting face to face, but I was already fairly certain throughout our initial correspondance that I would resonate with the composer himself.

6.3 Give clear guidelines for time.

Ağır’s piece was pre-existing as stated previously. It was not a matter of clarifying a timeframe for the writing of the composition. It was however important that we had clear goals and timeframes discussed with relation to workshops, performances and recordings. These were then dates that we could practically work towards.

Ağır decided that he would record me playing the Preludio (his first official recording with mastering done by the composer himself), and I organised the venue. The recording took place at the end of May 2021, two weeks after I had given the first performance of it at the Master 1 recital at The Royal Conservatoire, The Hague.

6.4 Discuss ideas with composer.

Preludio di Quintetto is pre-composed, therefore I was not involved in the original creation or inspiration of the work.

6.5 Understand the concept behind the music

The Preludio di Quintetto is a one movement composition. The influence of the Ottoman tradition (Turkish Classical music) comes through in Agir’s writing. In Turkish traditional- music it is common to have a melodic improvisation in several modes played prior to traditional Turkish music. This improvisation is called a “Taksim”.

This work explores the tonal colours of the viola and its range to such an extent that at times it comes through as a wind instrument (flautando on the viola). The work captures the intensity of soundscapes that the viola can express. The pulse is not apparent as the work is notated without bar lines. Contrasting sections include a rhythmic left hand pizzicato coupled with legato syncopated rhythm.

For the violist, there are challenges for the technique by way of dissonance in the use of double-stops, left hand pizzicato and improvisational skills.

6.6.Alteration of the Score

This is an important aspect of collaboration for both performer and composer and highlights one of the benefits of composer and performer working together.

As a result of the first workshop, 26^th April 2021, Ağır added some phrasing and bowing suggestions and corrected wrong notes in the score. See example Figure 1a and 1b

26th April 2021- FULL Workshop with Orkun Ağır on Preludio di Quintetto

6.7 Take the composition and collaborative process seriously

(inc synopsis of work table).

	Orkun Ağır
Instrumentation	Unaccompanied Viola
Structure	A one movement work in three main sections. Lento; Poco piu mosso del primo tempo Tempo primo
Melody	Long lines, lyrical, possible to sing the melodic line although there are some aspects of the melodic line with large intervals.
Articulation	Accents, legatos, tenutos, accented chords, slurs
Meter/pulse	Exclusion of bar lines. Improvisational- much use of rubato. The left hand pizzicato effectively gives a sense of a strong pulse (towards beginning of piece and middle of the last section).
Rhythm	Note lengths are indicated in the score, however given the improvisational feel, these are flexible as long as the phrases themselves make sense.
Bowing	Scant use of bowing markings in the score, mostly up to performer
Phrasing	Becomes clearer the more time you spend with it. Some are marked with a ` a breath mark.
Dynamics	Range from ppp-ff. Should be followed and exaggerated especially exaggerate softer dynamics.
Harmony	Dissonances causing tension in this passionate music, triple stops, double stops and octaves.
Notation	Written using ordinary notation except for the faster notes which indicate a rubato.
Timbre	Utilises the full range of the instrument especially the lower register for the base of the harmony throughout with triple stops.
Technical difficulties	Left hand pizz whilst sustaining the bow through crescendos and diminuendos. Double stops and leaps between intervals for pitch.
Vibrato	Vibrato- mostly tasteful use of vibrato. Left hand colouring reflects the more passionate sections of the workOccasionally senza vib as indicated.
Special techniques/effects	L.H. Pizzicato, flautando (sul tasto)
Viola as a solo instrument	As an unaccompanied work for the viola this work extends the performer. With focused practise on details such as double and triple stops, articulation, larger intervals in the left hand, it is then a matter of shaping the phrases to make the music flow, this is especially important in performance to have constructed your phrasing concepts securely prior to the performance stage. It is therefore in my opinion a good example of the viola as a solo instrument in its own right.

The use of practise recordings and written practise notes has been enlightening and useful. I had a lesson with my teacher Ásdís Valdimarsdóttir on April 1^st, 2021. Here we discussed fingering and how this was effective for contrasting tone colour. For example the shifting on the second note- to shift or not to shift?

7. Artistic challenges

Intonation, especially in the accuracy of shifts to larger intervals; exaggerate the dynamics effectively, especially in the softer dynamics, Making sense of the phrasing in order to communicate the melodic line successfully- especially giving enough space to the shorter phrases. Organic use of rubato without losing a sense of the whole phrase. (Slowing down and speeding up through the bars as indicated with the beams- example page 1, line 3).

Double stops.

Octaves in higher position and extension in left hand towards the end of the piece, second last line.

8.Feedback loop

I feel that I have gained much through this collaboration with Ağır. Working closely with him, especially leading up to recordings and performances has meant that I have felt very committed to performing this piece to the best of my ability.

The alteration of the score is a good indication that there was respect and a healthy communication without any fuss.

I have been able to express the desire to use certain tone colours throughout different parts of the piece, for example Flautando and Sul tasto.

Ağır has a strong view of how his piece should be played. As a result it is helpful through workshops to gain further insight into his intentions. Most of his advice to me was to exaggerate the dynamic range. Mainly by making more of the piano sections especially at the beginning and the return of the initial melodic line towards the end of the work. The tempo fluctuations needed to flow more, especially the lines where these are marked with the increase or decrease in the beaming as in example below.

9. What is needed for practicalities of performance.

I have performed the Preludio in several venues from small conference rooms to churches to moderately sized concert halls. It is a performance piece that will travel with me into my future as a performer.

After sending the link of my Master 1 recital at Conservatoire in The Hague, I had the following feedback from two composers.

“By the way I really am taken with Orkun Agir’s music – it is emotionally authentic.”

Thought I’d share Australian composer and conductor Christopher Bowen OAM.

Australian composer David hush also responded-

“Agir’s Prelude is alonely workimbued with passion. I hear echoes of Bartok, Ligeti and Penderecki.”

Both annotated scores from before and after the Workshop.

Orkun Ağır- Zoom Interview 30th April 2021 NEXT

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