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

CHAPTER 4

CASE STUDY 4- CHRISTOPHER BOWEN

1. Initial Contact

Christopher Bowen is an Australian conductor and composer. For many years I was the principal violist with the orchestra for the Sydney University Graduate Choir, and the Central Coast Chorale’s chamber orchestra. Both orchestras are under the directorship of Christopher Bowen.

In 2014, I was fortunate to perform in the premiere performance of Bowen’s Australian War Requiem and again in 2018, in The Sydney Town Hall. ⁸¹

In addition I was asked by him to be viola soloist in his composition ‘Sunt Lacrimae’ with the Central Coast Chorale and Chamber orchestra. From this successful collaboration, Christopher went on to say that one day he would like to write a viola sonata.

With a view to working with him on a composition for my Master studies, I contacted him via email on the 15^thJanuary, 2021 and proposed we work together on the creation of a new work for viola and piano (or another instrument of his choice).

2. Background of the composer

Christopher Bowen, OAM, (1956-) is an Australian conductor and composer. He studied music at Melbourne University, Australia and later at the Konservatorium der Stadt, in Vienna.

Following his studies in Austria, Bowen took up the role of conductor in a provincial theatre and then found himself back in Australia where he worked with the Australian Opera. Following this position, he gravitated to freelancing and composing.

He specialises in orchestral and choral conducting including opera. As a composer, his focus is often on choral and orchestral works.

In 2009, Bowen was awarded an Order of Australia Medal for his services to music.

One of his favourite composers is Olivier Messiaen, (1908-1992).

Website: http://www.christopherbowen.com.au/

3. Timeframe

This collaboration for my Master project started in January 2021. This is an on- ongoing collaboration as I am performing this work in my Master Recital. I envisage it will be a regular part of my repertoire after that and I will include it as a part of my Professional Integration Activity.

4. Composition Concept- This is a New work

In May 2021, I received an email with Bowen’s idea for a title of the work. “Fire music,” “Feuermusik” or “Vuur muziek”(as it would be performed in The Netherlands). He also wanted to know what I wanted with regards to special techniques as I had mentioned this in my initial correspondence.

Regarding his idea on the title he commented “that it would allow our imagination to be quite wild, dramatic and offer a wide sound palette.”^{Bowen, via email, 6th May.}

In terms of extended or special techniques, I told him about Garth Knox.

I warned Bowen mentioning in my email that,

“We can be as creative as we like but I’m not overly fond of the ones that involving hitting or striking the instrument!!

Really just an idea for a different tone colours/ rhythmic effects. Don’t have to use them at all! ^{Personal response, email, 6th May}.

Bowen then started working on “Firemusic”

Workshop two with Bowen. Audio only.

November 2021- first rehearsal with piano Firemusic

Michelle Pritchard and Gerard Boeters

Royal Consertvatoire, The Hague.

Workshop examples.

MY ROLES

5.1 Initiator of Collaboration

5.2 Role as Violist

My role is as violist and performer

5.3 Role as Communicator

Communication is the key element in the collaboration. With the distances between Australia and The Netherlands, we have communicated through email mostly and used online platforms such as Zoom for workshops and discussions. Face to face has not been possible as I have been unable to travel back to Australia throughout my studies. Our different time zones have also had to be taken into account. I am able to freely communicate with Bowen, as we have had a working relationship for many years.

5.4 Role as Interpreter

Bowen’s style of writing is well- known to me. I have played under his conductorship for many years. I am also aware that he appreciates the way I approach music and perform on the viola. I have had further insight into the way he interprets his own music as I have played his works under his conductorship.

5.5 Role as Promoter

Already planning performances in Middelburg in April 2022 and have played for the group class at The Royal Conservatoire, The Hague the first and last section of the piece as the middle section at that stage was not yet completed.

6. My Responsibilities

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

The performance of his War Requiem is one of the most moving performances I have ever taken part in. ‘Sunt Lacrimae’ resonated deeply with me. As the soloist, the viola was able to carry across the choir and orchestra in the high register with a mournful melody. I was particularly touched by the emotional response from our audience.

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.

This was not necessary as I already have already worked with him in the past. However it was important to communicate at the early stages to make sure that it was going to be practical to work together due to the geographical distances.

6.3 Give clear guidelines for time

Due to Bowen’s professional schedule, time was an important factor. I informed him that the deadline for my research was February, however my master recital would not be until May/June.

6.4 Discuss ideas with composer.

These discussions on ideas for the work flowed through our workshops as well as through email correspondence. I suggested that he might write for viola and piano as I had the luxury of rehearsing with piano coach Gerard Boeters every week at the Royal Conservatoire.

“With regards to the viola work, your sonata idea was always a great idea! This is I know is a big ask (cheeky) however in case that’s a bit too presumptuous a 7-8 minute work would be truly magnificent. Your writing style is close to my heart. Perhaps we could explore Including some extended string techniques. At present a viola and piano work would be preferable. We are given the luxury of having a session with piano Every week! He is fabulous! Very keen on getting the music to speak and we work well together.

He is not afraid of new repertoire which is helpful for my Master project!”^{Pritchard, personal correspondence, March 3rd 2021}

Bowen’s response was to agree to the idea of the viola and piano work and then sent through emails with the initial concept of “Firemusic” - a plastic idea with the essence of fire.

In these initial idea exchanges he also makes it clear that he does not like what he terms “yesterday’s avant-garde”. In addition he assured me there would be “no striking or hitting of instruments” ^{Bowen, personal correspondence, July 5th 2021.}

Bowen also reminded me that he likes writing for the higher stratospheres of the viola much the way he did in ‘Sunt Lacrimae’ for Solo viola, choir and string orchestra.

6.5 Understand the concept behind the music

Bowen shared with me Australian newspaper pictures that had been taken through the devastating bushfires in 2019-2020.

“Regarding “Firemusic” , I think I have just had an inspired idea but please give me an honest opinion if it is worth pursuing.

Considering what is happening all over the world with the climate and especially reflecting on the immense tragedy of the 2019-2020 NSW bushfires I thought that after all the violent energy in the Firemusic, I could finish with a meditation on the destruction of both human and native animal life. I think it would be a great contrast and juxtaposition of ideas."

My response,

“In response to your inspired idea I believe the contrast of having a meditation at the end of Firemusic would be very fitting. An effective reflection and contrasting atmosphere.”^{6th July.}

Shared media pictures and we discussed as the work was being created. Animal screaming- gliss, portamento, articulation.

6.6 Alteration of the Score

The draft scores were updated in between each workshop. I would annotate them with the elements we had discussed referencing recordings of our workshops- either audio or visual with my phone or via Zoom recording. These scores were returned to Bowen via email.

New ideas such as additional glissandos, bowings, tenutos, some fingerings would be added to the score. Below are just a few examples,

BRIEF SYNOPSIS Instrumentation	Viola and piano
Structure	In three sections- 1. Lamenting (bar 1-64 2.Furiously (bar 65-118) 3. Lugubrious (bar 119-end)
Melody	Mournful melody introduced by the solo viola. This line continues until the piano introduces fragments of sixteenth notes. Thee symbolise the spark of the fire.
Articulation	Through collaboration process this was established more clearly especially given these places- see examples. This caused quite some discussions.
Meter/Pulse	Improvisational as far as it has a lot of rubato in order to be truly effective. In workshops we had extensive discussions and spoke of “elasticity”
Rhythm	Not dense or complex, just fluid.
Bowing	Altered during collaboration process.
Phrasing	Traditional phrasing- question and response, balanced.
Dynamics	Range of pp-ff. fp’s Frequent use of cresc. and descresc.’s over 2 bar phrases.
Harmony	Minimalist writing, with open “C’ giving a drone like quality through parts of it.
Notation	Normal notation in consultation with me throughout the process of the collaboration.
Timbre	The composer enjoys the full range of the instrument. Especially utilised the higher stratospheric notes on the A string (after the harmonic A around the seventh position).
Technical difficulties	To feel the breadth of the tempo fluctuations and the rhythmic relationship between the semi-quaver upbeats and the first beat of the following bar at the beginning of the piece.
Vibrato	Yes, this expressive piece calls for vibrato. Especially through the phrase as it builds.
Special techniques/effects	No new extended techniques. Use of glissando (animals screaming) and portamento.
Viola as a solo instrument	This is a piece that encapsulates the timbre of the instrument and therefore I think highlights the special quality it has as it is close to the register of the human voice. It has certain virtuosic elements such as the “fiery “ middle section.

My responsibility was very much to focus on personal practice to be prepared for each workshop as much as possible. Some more than others depending on when the new draft copy was sent to me.

I had an intensive session with Gerard Boeters as the first exploration of the work with piano with a rather rough recording of the non- polished piece. This is especially important, because although Bowen is a pianist, we could not practice together in workshops due to the lag over Zoom.

Performance preparation

After the session with Boeters, we went on to perform it in the group lesson that day. ~Group lessons at The Royal Conservatoire occur every week for my viola class, and ths is where we are able to get experience being in the moment of performance, and receive feedback from our peers. It was valuable hearing the class reacting to the piece. Words such as “moving and emotional” indicated to me that they were able to grasp the intention of the piece.

Rehearsing with pianist- organise trial rehearsal so can give feed back. I have included a first run through with Gerard Boeters.Novemeber 24^th rehearsal at The Royal Conservatoire. The third section of the work.

My lesson with Ásdís Valdimarsdóttir on the 24th November was helpful for bowing advice once the newer rendition of the score had come from Christopher for the Chords at the beginning. I sounded out my two options with her and it was decided that the best for this is to hook the 16th notes into the up bow. .

6.8 Identifying with the work

At the end of 2019, I was due to travel to the Netherlands to have some trial lessons with my prospective teacher Asdis Valdimarsdottir in the view to coming here for my Masters. This was the same time as we were evacuated from our home due to the bushfires screaming wildly towards us. The closest the fire came was 2 km’s away from my home. I had to leave earlier than later as my asthma was aggravated by the smoke, and the property had 5 acres of Bush on it which was a tinderbox. The anxiety surrounding that time, the loss of animal and human life was devastating. It was so far beyond human control. Thankfully the wind had changed direction by the end of the following day and my property was saved. I was fortunate, many were not so fortunate.

Bowen’s ability to express the depth of emotion and capture the human experience of this moment in his piece moves me as a performer. I feel that the viola, being close to the human voice, expresses the concept and captures the essence of these tragic events. It cries through the rubato, languid passages and screams with the animals in anguish.

Example of my Annotated Score after the first workshop.

Final score as of February 2022.

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