Chapter 5:

How can I generate, promote and contribute to the repertoire of the viola and the status of the instrument now and into the future?

Alongside the generation of new repertoire which results from collaboratrion with living composers, I believe it is our responsibility as violists to promote our repertoire through performance and high quality recordings, to contribute to the rising status of the instrument now and into the future. 

In this final chapter of my Master research, I will outline a concept for future concert programmes and recordings in the hopes of promoting the new repertoire generated as part of this research project. 

PERFORMANCE CONCEPT:

I have curated three programmes for inclusion in a lecture/recital style concert series (or to be played separately at various festivals where suitable). This concert series blends new works (the outcome of my collaborations) with lesser-known works and standard, better-known repertoire. 

Why lesser-known works?

The viola repertoire is limited when compared to that of its cousin the violin, and this has inspired me to delve into what I believe is undeservedly lesser-known repertoire. Much like my decision to work with the living composers included in this study, I set out to explore existing pieces that resonate with me and then perform these to disseminate this part of the repertoire. (Prior to my Master studies I put this concept into practice in my concert series in Australia, International Women’s Day concerts and my involvement with contemporary ensembles such as The Hourglass Ensemble).  

At the beginning of my Master studies, I was keen to learn some Dutch viola repertoire. I discovered Geza Frid’s ‘Sonatine’, thanks to my teacher Ásdís Valdimarsdóttir. This I performed as part of my Master 1 recital, (alongside the Arnold Bax Viola Sonata, also a lesser-known work). I also discovered Henk Badings’s Viola Sonata. This was an interesting discovery as it had not at that stage been recorded yet, and until I started to play it I did not know how it might sound or if it would be a piece that I wanted to spend time with. I purchased the music and have studied it in my lessons and with Gerard Boeters. We have performed it in group lessons, and I will be performing the piece in my final Master recital in May/June 2022. The three aforementioned works showcase the viola as a solo instrument, with artistic and technical challenges, and at times virtuosic passages. 

 As a performer, I like to connect with my audiences, not just through the music but also on a personal level by delivering verbal performance notes. In my opinion this is particularly important when performing new works and where possible, it can aid audience appreciation to invite the composer to give some background on their work. I do not use programme notes as such, except to indicate the works to be played and give some information on the performers. 

I am also aware that many forms of new music can be too much of a new experience for some audiences. In consultation with both violist Timur Yakubov and composer Christian Blaha, I discussed finding ways to deal with this issue. Yakubov’s attitude toward this problem is to find music that is more than just “sound effects”. He acknowledged that much more time is needed for preparing the complex new works. He is a part of a Chamber music Festival in Russia called “Homecoming”. For this festival they often plan at least ten months ahead. The aim of the festival is to never play the same piece of music twice. This often results in commissioning new works and discovery of lesser-known rarely performed works.  He recommended knowing a littls about what kind of music a commissioned work will be, and tying it in with a theme for a whole program.  He suggests this is far easier if you know the composer and have worked with them in the past. 

Blaha argues that contemporary music needs far more time and that it requires musicians to be open and willing to trying something new.

Recordings of these works

In order to reach a wider audience, in the longer term it is my aim to record these new and lesser-known works. I hope this will result in a wider audience reach. Orkun Agir’s ‘Preludio’ has already been broadcast on national Radio and recorded as for the television program Vrije Geluiden. 

I have had a meeting with Jakko van der Heijden, owner of Zefir Redcords and director of the Zeeuwse Concertzaal in Middelburg to discuss the best way of promoting these works.  His suggestion was to first record the new compositions (or parts of them), put together a promotional reel and send this out to festivals and concert organisers.

As discussed in previous chapters, the viola is a relative newcomer to the solo or recital scene. Below I give  a brief overview of the programmes I hope to share with the wider community. 

Programme spiel….

 There have been many champions of the viola over the past century, (such as Lionel Tertis and Brett Dean). The collective results of their skill and mastery of the instrument has seen the repertoire expand and the status of the instrument rise out of the ‘Engine room’ of the orchestra. Many composers have been inspired to write works giving it a more prominent role. 

 But how many of these works are heard? How many new works are played in concert? How many lesser-known works are treasures that deserve to be discovered by audiences and performers alike?

Programme 2

This program opens with the drones of Australian insects and birdcalls, a rich and rugged environment; the lived experience of the musician with eyesight loss; an emotionally charged Elegie by Vieuxtemps; followed by a work conceived by a woman who faced gender inequality but who promoted her chosen instrument and expanded its repertoire.  

Ross Edwards (1943- ) 

 Preludio and White Cockatoo Spirit Dance for unaccompanied viola. 9’30’’

A two movement, contrasting solo work written in 1994.

Maarten Bauer (2000-) 

‘A Second Chance’ for viola and recorded voice. 9’38’’

This new composition was written for the performer herself and takes the listener on a journey through her world as it became dimmer due to the loss of eyesight.

Vieuxtemps (1820-1881) 

Elegie for viola and piano. 7’50’’

A one movement work full of sorrow and passion. 

Rebecca Clarke (1886-1979)- 

Sonata for viola and piano. 25’30’’

A sonata in three movements which highlights the range and power of the viola.

Total Duration= 51' approximately.

Programme 3

 The Viola “Who dunnit?”

Jean-Marie Leclair (1697-1764)- Sonate in E (opus 12) for two violas 9’00’

Originally for two violins, Leclair started composing volumes of these Sonates in 1723. 

A composer who met a tragic end. 

Ynyr Pritchard (2002) 

The Dreams of Pierre Moreau: Volume 1. 11.30’’ 

This intriguing, atmospheric work for three violas is based on the concept of an aural noir film. The story is told through the soundscape of three violas. 

Richard Hughes (1996-) 

Viola Delay 10’00” (multi-media presentation)

Viola and electronics with a Celtic twist, inspired by the human environment.

York Bowen (1884- 1961)

Fantasia for Four Violas (Fantasy, Op 41.) 11’05’’

A composer whose works are returning to the spotlight, especially his works for Lionel Tertis’s beloved instrument. 

 Total Duration-  42' approximately, but there will be talks amongst the music as the composers introduce their compositions. 

As a teacher I feel I can share this artistic knowledge with my students and raise their awareness of both new and lesser-known repertoire among new generations of musicians. I hope to share this in a clarifying and meaningful way, in order to help inspire and develop the next generation of viola players technically, musically and individually and contribute to the rising status of the viola for future generations.  NEXT