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 2 Continued

What are examples of collaborative roles?

Composer Sam Hayden and psychologist Luke Windsor reveal three categories of collaborations between composers and performers in “Collaboration and The Composer: Case Studies from the end of the 20^th Century.”⁶⁵These are not exclusive categories and some of their case studies fit more than one.

For my own collaborations, I found these to be a useful guide for evaluating the types of collaborations I experience.

As a performer, when we perform an existing work by a living composer we are not necessarily involved in the initial creation of that work. Our involvement starts when we play the music. Our own creativity and interpretation comes into play, firstly through our emotional and physical being, then through the instrument itself.

At this point one could say that the collaboration is directive. This can start to move towards or blend with an interactive collaboration depending on the responsibility a performer feels towards performance outcomes. This is where we can open the lines of communication, and if the composer is willing, they will be able to respond on an interactive, collaborative level. We may even be able to request a revision of the score at this point.

Here the role of the composer is to listen to input from the performer, be open to changes in interpretative ideas, and have a say in how the performer relates to the notated score and their compositional intensions.

Similarly, the performer’s role (if they are willing to be open to suggestions) is to open their mind to the composer’s suggestions with regard to finer nuances or to even transform their conceptualisation of the entire work.

Both composers and performers must be willing to collaborate in the first place. Not all performers and composers are good communicators, however the lines should be open. Of course not all collaborations are successful.

In sum, as a violist and performer today, I do not believe that the composer is untouchable, unreachable or should be viewed as the solo creator of musical works. As Kanga demonstrates, the historical divide between composer and performer today is a myth. Collaborations today involve performers in more collaborative and interactive roles.

As contemporary music becomes more diverse in its forms and notations “new language” skills are needed. Communication is a necessity, especially in a workshop setting⁶⁶.

In the next chapter, I discuss my own Case Studies based on my collaborations with composers. I will be using the categories suggested by Hayden and Windsor to help analyse and reflect on my role as violist in these collaborations.

I will describe the responsibilities of the violist/ performer when collaborating with living composers through these case studies. NEXT>>

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