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

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INTERVIEWS, DISCUSSIONS AND WORKSHOPS WITH:

Orkun Ağır

Maarten Bauer

Christian Blaha

Christopher Bowen

Ross Edwards

Richard Hughes

Elena Kats-Chernin

Ynyr Pritchard

Timur Yakubov

List of Collaborative Works

"A Second Chance"- Maarten Bauer (2021)

Firemusic- Christopher Bowen (2021)

Prelude and White Cockatoo Spirit Dance- Ross Edwards (1994)

Preludio di Quintetto- Orkun Agir (2019)

'Still Life'- Elena Kats-Chernin (2001)

The Dreams of Pierre Moreau (2021)

Viola Delay- Richard Hughes (2021)

Recordings namely :

Michelle Pritchard with The Art of Sound Department, The Royal Conservatoire, The Hague.

Daan van Aalst (head of department), AOS students with special mention- Simon Kalker and Vincent Nier:-

"A Second Chance"- Maarten Bauer (14th February, 2022)

Prelude and White Cockatoo Spirit Dance- Ross Edwards (December 1st, 2021)

Master 1 Recital Exam (Bax Sonata excerpts-14th May, 2021)

Preludio di Quintetto- Orkun Agir- recorded in The Doopsgezinde Kerk, Middelburg. 30th May, 2021 Michelle Pritchard, viola with the composer as sound engineer.

Ynyr Hughes- The Dreams of Pierre Moreau- an aural noir film. Recorded and played by the composer himself, received via email link 23rd December 2021.

ACKNOWLEDGEMENTS

The past two years of an enriching musical journey and personal and artistic development are largely due to the collaborative relationships forged fthrough this Research.

The Royal Conservatoire, The Hague has provided this environemnt.

I would like to thank my supervisor Emlyn Stam, who so efficently pulled me through to the finish line. I thank him for his support and no-fuss approach.

For my Master Circlle leader Anna Scott- what incredible thought processes you have taken us through. Such an inspiring musician and leader.

To the wonderful encouragement I have received from Ásdís Valdimarsdóttir who has revealed so much more in the musical experience than I ever could have imagined. This together with the positive approach of Gerard Boeters, as we have together discovered new and unique repertoire.

Thank you to Timur Yakubov and Christian Blaha for your insight into the new music world.

The focus of my Research project is about collaboration. This would not have been the case if I had not had the composers who have stepped up and run with me into it!

To Maarten Bauer, thank for your sensitive, calm and serious approach to our music and my story. There will be many Keratoconus patients and their carers moved by this partnership.

To Richard Hughes for your boundless knowlege on all things electronic and opening up my experience. I am looking forward to our multi- media performance together.

To Ynyr Pritchard, the musician with the largest capacity for the no fear experiemental approach. I cannot wait to explore our trio further.

Christopher Bowen- Our piece of Australia across the great divide of the seas has somehow lessened the home-sickness. Your music is moving and such a great addition to our viola repertoire.

To Orkun Ağır, your music is a conversation with my soul. Thank you for the countless opportunities.

Elena Kats-Chernin- such wisdom you have shared.

Finally, Ross Edwards, your sincerity not only runs through the notes on the score, but also in who you are as a person.

To Daan van Aalst and The Art of Sound Department for the efforts, support and enthusiasm to be involved with recording these special works.

This project would not have happened at all without the incredible support and patience of Marco van Pagee. Words are not enough!

To my family back in Australia, for encouraging me to pursue my dream.

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