EARTHRISE

Commissioning a New Viola Concerto: A Journey with Composer Liam Bates

Over the past decade, I've had the privilege of collaborating with composer Liam Bates on numerous projects. His intricate rhythmic structures and sweeping, cinematic melodies have always captivated me. Several years ago, I began joking about having him write a viola concerto for me. What started as a lighthearted jest soon transformed into a serious artistic endeavor, culminating in the commissioning of a new viola concerto.

Commissioning a concerto is not just about requesting a new piece of music; it is about creating something that pushes the boundaries of the instrument while staying true to its unique voice. When I approached Liam about this project, my vision was clear: I wanted a concerto that would showcase the viola's full expressive range—from the rich, sonorous depths of its low strings to the luminous, resonant tones of its high A string.

The Vision: A Concerto for Viola and Chamber Ensemble

From the outset, I knew I wanted this concerto to be written for viola and chamber ensemble. There were several key reasons behind this choice. As the director of a multi-instrumental chamber group, I was keen to commission a piece that could be programmed regularly. Many contemporary viola concertos demand large orchestral forces and unusual instrumentation, making them challenging to perform frequently. For example, the marvelous Schnittke viola concerto requires an extensive ensemble, including two clarinets (one doubling on E♭), three bassoons (one doubling on contrabassoon), four horns, four trumpets, four trombones, tuba, timpani, percussion (for two players), harp, celesta, harpsichord, piano, and an expanded string section with eight violas, cellos, and double basses each. While such a setup offers a rich palette of sounds, it also limits the concerto’s accessibility for many ensembles.

By commissioning a concerto for viola and a more modest chamber ensemble—consisting of harp, clarinet, flute, horn, and five string players—I aimed to create a piece that would be more practical and versatile, allowing it to be performed more frequently and by a wider range of musicians.

Understanding the Viola: Beyond the Violin's Shadow

One of my primary goals in commissioning this work was to have Liam fully explore the viola as its own distinct instrument, rather than treating it as a larger violin. The viola’s wider body and deeper pitch present unique challenges and opportunities. For instance, playing in high positions on the viola for extended periods can be physically demanding, particularly when trying to sustain vibrato, due to the instrument’s broader shape. Similarly, executing fast passages on the C string requires more effort from the bow arm because of the string's thickness. These are not just technical details; they are integral to how the viola is played and perceived.

Moreover, the viola does not naturally project through an ensemble as the violin does. This means that orchestration must be carefully considered to ensure the viola’s voice is neither overshadowed nor strained. Liam approached these challenges with a deep understanding of the instrument, ensuring that the concerto highlights the viola’s unique characteristics rather than forcing it into the mold of a violin.

Collaboration: The Composer and Performer Relationship

The collaboration between composer and performer is crucial in the development of a new concerto. Throughout this process, I have been fortunate to work with Liam, who is not only open to suggestions but also actively seeks feedback. This openness has allowed us to refine the piece in ways that ensure it is not only technically feasible but also musically compelling.

For instance, we encountered several sections where the music was demanding continuous play without breaks. As a string player, it’s essential to have moments to breathe and mentally prepare for the next section, especially when transitioning from a fast-paced passage to a more lyrical, quiet one. These small adjustments, like inserting brief pauses or simplifying complex phrases, can make a significant difference in performance.

Preparing for the Premiere

With the first ensemble rehearsal just days away, I am immersing myself in the score, ensuring that I am fully aware of how my part integrates with the other instruments. The piece is rhythmically complex, with sections that challenge the performer to maintain a steady pulse without clear downbeats—a daunting task that requires both confidence and trust in one’s internal sense of rhythm.

Despite the challenges, I am incredibly excited to hear the concerto come to life with Musici Ireland. This premiere will be the culmination of years of collaboration, careful planning, and a shared passion for pushing the boundaries of what the viola can express. I look forward to sharing the experience of this new work and will report back on how it all unfolds.

In the meantime, you can buy tickets to the world premiere performance here

Composer Liam Bates and myself working on EARTHRISE