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 3: Ynyr Pritchard

The Dreams of Pierre Moreau: Volume 1

1. Initial Contact

Ynyr Pritchard was a first year Bachelor student studying viola with Asdis Valdimarsdottir and composition at The Royal Conservatoire, The Hague, when I commenced my Master studies. We became friends through our weekly viola group lessons and he offered to compose a viola work for me.

2. Background of composer

Pritchard, is a Welsh-Maltese composer who was raised in Caenarfon. He studied viola with Margaret Scourse, Gerdd William Mathias and with Mary Hofman. He also studied at the Junior Royal Northern College of Music in Manchester with Lucy Nolan.⁷⁷

He started composing for his school music classes. It was not however until he saw an advert on television for IPads and receiving an IPad as a Christmas present, that he started to search for music writing apps. The true inspiration for him was a series of Esa-Pekka Salonen adverts⁷⁸ for an app called Notion.

As a composer, Ynyr is interested in the “theatricality of sound and the physicality of performance.⁷⁹

Pritchard’s website can be viewed on the following link.

3. Timeframe

March 2021- ongoing.

4. Initial Concept- New work

Originally, when Pritchard offered to compose a piece for me we discussed the concept of a viola duo or trio work, tango based on the style of Bach. A work for three violas was decided upon.

Early demonstrations of sound effects by Pritchard.

Pritchard demonstrating right and left hand pizzicato.

5. My Roles

5.1 My role as initiator

This work was jointly initiated with the composer..

5.2 My role as violist

For this composition, I will be performing the 1^st viola part of the trio. (Ynyr Pritchard viola 2; Ásdís Valdímarsdottír- viola 3)

5.3 My role as communicator

Pritchard and I have communicated regularly in person, over social media and he has used his viola to demonstrate ideas to me, mostly through Whatsapp videos.

5.4 My role as interpreter

Pritchard’s style of composing is different to that of any other composer’s work I have studied. Interpreting his notation on a standard score is like learning a new language. As this collaboration is in its initial stages at this point in my Research, I need to gain a deeper understanding and have more time studying the score on my own and explore it with Pritchard and Valdímarsdottír as a trio.

5.5 My role as promoter

This is a composition I am aiming to perform for my final Master Recital, 2022. In my opinion this work will provide contrast in recital programs and may provide audiences with a different listening experience as they listen to the contrasting soundscapes and the atmosphere that this music conjures up.

The demonstration recording of Pritchard playing all three parts.

6. Responsibilities

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

When we first became acquainted, Pritchard shared with me two scores of his solo viola compositions. These intrigued me due to their complexity. It was as a result of this that I had a desire to delve deeper into his compositions.

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 themself.

As previously mentioned, we had become friends through our time in our viola lessons at The Royal Conservatoire.

6.3 Give Clear guidelines for time

Timelines were discussed in relation to the duration of my Master Research project deadlines and final recital where we hoped perform Pritchard’s work. This has however become an issue due to Pritchard returning to Wales in July 2021, as he is seeking to change direction in his studies. He has not returned to the Netherlands. The Covid-19 pandemic caused many complications and restrictions for travel and as a result the collaboration has been unable to progress further than receiving a complete score and discussing some initial questions that were raised by examining the score with Ásdís Valdímarsdottír.

6.4 Discuss ideas with the composer

After our initial discussions on the composition concept, and the use of extended techniques, I received a message from Pritchard saying that he had written a lot of work lately based on other music. He found this was giving him a “writer’s block”. He was inspired however to write a work based on film noir. This was an interesting idea to me as I did not know what he meant by it and was intrigued.

6.5 Understand the concept behind the music

‘film noir, (French: “dark film”) style of filmmaking characterized by such elements as cynical heroes, stark lighting effects, frequent use of flashbacks, intricate plots, and an underlying existentialist philosophy. The genre was prevalent mostly in American crime dramas of the post-World War II era.’⁸⁰

6.6 Alteration of the score

I am unable to comment this at this stage of the collaboration

6.7 Take the composition and collaborative process seriously.

(include a brief synopsis of the work)

In addition to understanding the music from a theoretical point of view, it is then crucial for the performer to express this music in performance with their own unique approach.

As we have not been able to study this composition fully as yet, I am taking the information as provided by the performance notes and score, not from my experience in performing this work.

It will not be included in any performance until it is prepared properly.

Identifiying with the work

At this stage of the collaboration, I have not had the opportunity to explore this composition fully. The sharing of sound files from Pritchard has contributed to a basic level of understanding of this composition. I especially enjoy listening to the wind-like qualities of the bowing on the tailpiece. It is atmospheric and almost hypnotic.

I like to take on new challenges as an artist and like to explore how far I can go with new sounds and effects. This is the first work in this collaborative project that really pushes the boundaries of my capabilities in this direction. I also have to experiment with the blu-tac to hear what this does to the timbre of the instrument; to then put these sounds together in the configuration of a viola trio is an aspect of the work I am most intrigued about.

Artistic Challenges and development

As a result of this collaborative project, I will be benefitting developing skills in new techniques/effects on my viola as well as practising whistling and humming while I play which is not easy for me.

Working on a composition of this nature, predominately creating an atmospheric soundscape as a viola trio with a spectrum of new techniques will challenge my bow control, left hand micro-tonal training and ensemble skills. Working alongside Pritchard as both composer and performer adds another interesting element, especially since he is a violist of considerable skill. Working with our teacher Valdímarsdottíras a collaborator has been valuable given her open-minded approach to new music. This has resulted in extending my skills as a performer.

Feedback Loop

As this is a trio composition, I can foresee there will be an additional element to this artistic and intellectual exchange. The communication and exchanges both with and without the instrument calls for some interesting experimentation between all three performers in the ensemble. We will also need considerable rehearsal time.

This process has already started as some aspects of Pritchard’s writing needed clarifying- for example to articulate through the notated beaming in the music? In the example below there are stems marked through the horizontal line.

How accurate do our microtones need to be? ( Refer to video below)

Performance notes and Score samples

Score samples and programme notes shared with permission.

Tip

Tip