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 6

Collaboration with Elena Kats-Chernin.

‘Still Life’- pre-composed work for viola and piano.

1. Initial contact:

Elena Kats-Chernin is an Australian composer. I performed her pre-written work ‘Still Life’ prior to my Master studies. For this collaboration on ‘Still Life’ I contacted her in 2021. She agreed to an interview and workshop.

I met Kats-Chernin around 2019, when asked to participate in a ‘read-through’ of her string quartet arrangements in Australia.

2. Background of the composer

Elena Kats-Chernin (1957-) is a Soviet -born, Australian composer. Kats-Chernin emigrated with her family as part of the special agreement in Australia for families of Russian-Jewish origin. She studied piano and composition at Sydney Conservatorium. She performed her own piano concerto as a part of her final recital. She told me she never faced any obstacles to being a woman composer given the strong support for gender equality in the Soviet Union.

Kats-Chernin furthered her studies in composition in Germany with Helmut Lachenmann. In 1994 she returned to Australia and has become one of Australia’s most well-known living composers. Her works are often performed and broadcast on radio and television. Kats-Chernin’s style of composing was shaped by working with dance theatre companies. She has written works that range from film music, ballet scores to film music.

Elena Kats-Chernin was awarded “Officer of the Order of Australia” in 2019 for her contribution to the Performing Arts.

3. Timeframe

3^rd October, 2021 ongoing.

COMPLETE ZOOM interview can be seen here- 9th November 2021.

4. My Roles

4.1 Initiator of collaboration

I initiated this collaboration with Kats-Chernin.

4.2 Role as Violist

I am both violist and performer.

4.3 Role as Communicator

I have communicated with Kats-Chernin via email and Zoom.

4.4 Role as interpreter

I first started studying ‘Still-Life in 2014.

4.5 Role as Promoter

I have performed this work in professional concerts in Australia and The Netherlands; group lessons at the The Royal Conservatoire, The Hague. It will be included in my final Master Recital in May/June 2022.

5. My Responsibilities

5.1 Before making initial contact, make sure that you resonate with the composer’s style of writing.

This was already the case as I had already studied the piece prior to my Master research.

5.2 Organise an initial meeting to make sure you are able to not only resonate with the composer’s music but also the composer themselves.

As mentioned I had already met Elena Kats-Chernin.

5.3 Give clear guidelines for time

I informed Kats-Chernin of my intention to perform ‘Still-Life’ at the end of my Master course and requested that I conduct an interview with her and workshop the work prior to my Master Recital which was to be in May/June 2022.

5.4 Discuss ideas with the composer

This was a pre-existing work, as a result I was not involved in the creation stage of the writing of this work. It was written for Patricia Pollock, who has the reputation in Australia for promoting the viola and collaborating with Australian composers. ‘Still life’ was written in 2001. This is the only composition she has written for viola and piano.

5.5 Understand the concept behind the music

I have been unable to Workshop this piece with Kats-Chernin before the completion of my research period, but will aim to do so prior to performing this for my Final Recital.

Brief Synopsis of the work and how I have interpreted this piece to date. Important here is to note that this may change once I have had a workshop with Kats-Chernin prior to my Final Master Recital.

Take the compositional and the collaborative process seriously

Instrumentation	Viola and Piano
Structure	Still Life is a work that consists of 6 short movements with expression markings included below: Still Life 1- (Tenderly. Fragile, almost trembling sound). Still life 2- (Forceful and Energetic). Still Life 3- (Tenuto, non-jazzy,straight, but not a thin sound) Still Life 4- no expression markings Still Life 5- (“Fat” Sound) Still Life 6- (long notes, non expressive)
Melody	Still Life 1- Two melodic ideas interplay between the viola and the piano. Still life 2- The piano dominates here with a more dominant descending melodic idea. The viola is more rhythmic than melodic. Still Life 3- Counter melodies in both viola and piano. Non expressive. Still Life 4- Viola has the leading voice in the pizzicato lines over sustained chords in the piano until it joins the same melodic and rhythmic idea as the viola. Still Life 5- The viola has a sustained melodic line over the tango- like accompaniment. Still Life 6- Both instruments converse in opposed melodic ideas. The piano more pedantic, as is emphasised by the use of accents.
Articulation	Still Life 1- Legato Still life 2- Accents to bring out the syncopation Still Life 3- Tenuto Still Life 4- Pizzicato Still Life 5- Legato with accents to bring out the tango-like rhythms. Still Life 6 Accents, staccatos, longer slurred passages
Tempo	Still Life 1- = 120 Still life 2-= 168 Still Life 3- = 92 Still Life 4- = 168-176 Still Life 5- = 176-184 Still Life 6- = 160
Meter/pulse	Still Life 1- Slower tempo with syncopation between viola and piano. A slight accelerando from bar 28 – 39. Still life 2- extremely rhythmic, syncopation between piano and viola. Still Life 3- 3+3+2 meter. Still Life 4- Written with no variation in pulse, however in my opinion it is more effective with a small amount of rubato Still Life 5- A steady pulse. Still Life 6- regular pulse.
Rhythm	Still Life 1- Some syncopation between viola and piano voices. Still life 2- Dominant driving syncopation in viola verses tango-like rhythm in the piano. Still Life 3- Changing time signatures throw off the feeling of a constant pulse in this movement however Kats-Chernin instructs the performer to avoid making it jazzy in feel. Still Life 4- Straight rhythmic writing Still Life 5- The tango-like rhythm in the piano forms the basis of this movement. Still Life 6- Slow, interjecting rhythms between both voices.
Bowing	Bowings marked in the score
Phrasing	Still Life 1- A general pattern of two shorter balanced phrases followed by a longer phrase. Still life 2- Four bar phrases. Still Life 3- Six bar phrases. Still Life 4- Balanced phrases. Still Life 5- Eight bar phrases Still Life 6- Four bar phrases.
Dynamics	Still Life 1- pp-f. Still life 2- pp- ff with sub. Pp-sub ff markings. Still Life 3- pp-mf. Still Life 4- p-mf Still Life 5- p-ff (fortes dominate) Still Life 6- ppp- f (at the end of the piece, bar 66- it is indicated hypnotic and remote)
Harmony	Each movement is centred around the key of D minor.
Notation	Standard notation
Timbre	Still Life 1- The use of ponticello and the higher range of both viola and piano contrasts with bar 43, where Kats-Chernin incorporates the lower C string Still life 2- The upper registers (A and D string) are used throughout this movement with the rare exception the C and G. Strident sound, effectively incorporates the use of double stops higher on the A and D strings and harmonics. Still Life 3- Upper to middle range of the viola. Kats-Chernin instructs the performer not to have a ‘thin sound’. Still Life 4- Mostly pizzicato in the viola. Contributes to a more percussive and rhythmic effect. Still Life 5- The composer instructs the performer to have a “Fat” sound. This indicates a good connection of the bow to string and arm weight engagement. Still Life 6- Non expressive, indicates a minimal use of vibrato until bar 32 where it is marked “molto vib”. Sul ponticello provides contrast towards the end of the movement and then the ‘hypnotic and remote coda at the end of the movement which is a return of the first section of number one. Here the harmonics effectively capture the “remoteness” of the character of the piece.
Technical difficulties	Still Life 1- Obtaining the fragile sound on the A string. Pitching of higher notes on the A string from bar 51. Still life 2- Fast tempo and accuracy in high position notes on the A string. The most virtuosic movement. Still Life 3- intonation in double stops and rhythmic accuracy. Still Life 4- bar 47, arco and sul pont. With portamento- to keep this in time. Still Life 5- Awkward high register, bar 33. Still Life 6- Maintaining the non expressive character through the left hand and obtaining Perfect 4ths
Special techniques/effects	No new extended techniques. Effects used are fingered harmonics, ponticello, pizzicato, sul tasto and glissando
Viola as a solo instrument	‘Still life’ promotes the viola as a solo instrument. The work as a whole, in my experience extends the performer through the use of dynamic, stratospheric position work on the ‘A string, driving rhythms, double stops and some fast tempos. In my opinion the virtuosity aspect of this piece is encapsulated in Movement 2. The challenge for the performer is to capture the different characters of the different movements to hold the audience’s attention. It is for this very same reason that in my opinion it showcased the viola by exploring the timbres and capabilities of the performer themselves in six contrasting and versatile movements. As a work that I have performed several times, I have received positive feedback from the audience after each performance. This composition is Kats-Chernin’s only composition for viola and piano. “Every time I regret not putting the viola more in front.”

5.6 Identifying with the work

Throughout the process of preparing ‘Still Life’ for several performances, I gained a more in- depth understanding of the work as a whole. As a performer, I think it is important to re-visit pieces as we develop our skills as musicians. This is also the intention behind returning to ‘Still Life’. The music resonates with me as a performer because it provides interesting contrasts from movement to movement. Each movement demands a different story be told. The first is mournful and calm; the second a rather energetic tango; the challenge in the third, is to avoid the temptation of playing it in a jazzy style due to the imbalanced phrases as a result of the time signature changes. I enjoy shaping the pizzicato phrases in the fourth, the fifth is intense due to the driving rhythm in the piano and the finale is a reflective, mournful reflection of the first movement.

In September 2021, I rehearsed with pianist Gerard Boeters at The Royal Conservatoire, and performed it in our group lesson. Boeters was unfamiliar with the work. Ásdís Valdimarsdóttir that it is a suitable piece to add to my Master recital program.

This is a link to a concert from 2019 in Sydney Australia with Julia Brimo pianist. it is an unlisted link on You Tube.

Preview YouTube video "Still life" for viola and piano: Elena Kats Chernin"Still life" for viola and piano: Elena Kats Chernin

5.7 Feedback loop

One of the main reasons behind why I selected this composition for my research project was to gain a further understanding on the background of the work. It has been difficult to find more information on it and it is not often performed. Through my interview, conducted via Zoom on the 9th November 2021, I was able to gain further insight from Kats-Chernin. “Still life’ was written for Patricia Pollett in 2001. It has also been transcribed for violin. Kats-Chernin described the initial concept of the composition as a set of miniatures. Pollet commissioned the work to be included in a chamber music concert with her ensemble- Perihelion.

(See interview snippet).

I also wanted to ask about the tempo markings in the music. Some of these markings are quite fast and I have found that these tempi can be problematic for the performer. Kats-Chernin’s response to this question was that she still struggles with writing tempo markings but she revised the score around fifteen years ago and thinks she revised the tempo markings with the performer.

(See interview snippet below).

Kats-Chernin asked about which edition I had (one from Australian Music Centre, or Boosey and Hawkes).

After working with Kats-Chernin previously, I know that the workshop will be very helpful. I am hoping that this will take place in April 2022.

Program notes shared with me by the composer as referred to in interview.

(below)

Answer to my question about metronome markings.

How Still life came into the viola repertoire.

Elena Kats-Chernin shared with me these programme notes. (10th Novemeber 2021)

Used for a performance by Patricia Pollett for whom the work was commissioned.

Revision of works.

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