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Larry Sitsky's Music for Violin, and Jan Sedivka

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Larry Sitsky's Music for Violin, and Jan Sedivka Larry Sitsky's music for violin, and Ian Sedivka Patricia Shaw When I began looking at the nearly 200 hundred composition and potential as a composer were recog- works to date composed by Larry Sitsky (born 1934),l nised and encouraged by those in a position to render I was somewhat surprised to notice a strong emphasis him assistance. Many of these were musicians whom on writing for the violin, in both the number and type one might have thought would not even notice the 25- of works. After all, he has spent most of his career year-old Australian. The work that Sitsky still claims as coupling composition with his life as a concert pianist his "Opus One", that is the point of departure for his and piano pedagogue, has written a significant body of mature compositional style, is the Sonata for Solo piano works in most genres, published three books on Violin (1959).5 Begun on 2 August and finished in only piano music, and cites as his most important musical 19 days, the work was written frantically and with influences composer-pianists of the late nineteenth ideas piling on ideas, so that the composer sometimes and early twentieth centuries such as Bartbk, Busoni could not sleep at night6 The result, however, was a and Anton Rubinstein. Yet works for violin, an instru- neatly if somewhat rigidly structured work of five ment he has never played, seem to mark out several movements, in which an Improvisation Quasi Ca- significant points in his compositional career. denza, March, and Theme and Five Variations are Sitsky's first mature work was a solo violin sonata, framed by an almost identical Prelude and ~ostlude.~ written in 1959while a student in the Unitedstates. The The sonata was heavily influenced by Bart6k in many Violin Concerto no. 1 (1969-72) was his first in a genre aspects but especially in Sitsky's borrowing of melody which seems to hold special appeal for him; he consid- no. 128 from The Hungarian ~olkson~~as the theme of ers his concertos to be amongst his most important and the fourth movement, and a very obvious homage in personal works. Two more violin concertos followed the third variation to the slow movement of Bart6k's in 1983 and 1987, and a fourth is planned? while no own Sonata for Solo Violin (1944);the first few bars are other instrument has rated more than one work in this virtually identical. genre. The violin's importance in Sitsky's output led The composition of the Sonata for Solo Violin was me to explore firstly the process by which the brilliant inspired by direct contact with a performer, in this case young pianist transformed himself into a composer, an English violinist befriended only weeks before dur- partly through the solo violin sonata. The second point ing the 20-day voyage across the Pacific aboard the S.S. of interest was the influence of collaborative relation- Olsova. Sidney Manikin, who played his way around ships with other performers, principally his close friend, the world in ships' bands, was a trained classical vio- the violinist Jan Sedivka, for whom the majority of his linist who was to have returned to San Francisco in violin works have been written. September 1959; partly hence, Sitsky's rush to finish Sitsky took an early but largely untrained interest the work in ~u~ust.~However, he never met Manikin in composing, arranging and then performing music again after all, and instead went for violinistic advice to for piano and chamber ensembles3 during his student a friend of Petri's, renowned Hungarian virtuoso, days at the New South Wales Conservatorium in Syd- Joseph Szigeti (1892-1973).1° Sitsky had two sessions ney between 1952 and 1958.~He began composing in with Szigeti, who seemed impressed with the work earnest only after leaving Australia on 22 May 1959 for and offered suggestions, including rewriting some of eighteen months' postgraduate study in San Francisco the chords.ll The Sonata was eventually premiered by with German-born pianist Egon Petri (1881-1962), a the concertmaster of the San Francisco Symphony Or- former pupil of Busoni. Sitsky's teacher at the NSW chestra, Ernest Michaelian, in a concert of Australian Conservatorium, Winifred Burston (1889-1976), had music on 14 June 1960 organised and performed by recommended this teacher, having herself learnt from Sitsky and other students.12 To the large and very and befriended both Petri and Busoni. interested audience, the Sonata seemed to overshadow Having gone to the USA to study piano, Sitsky the other works on the programme, including those by was quickly absorbed by the dynamic and exciting Roy Agnew, Raymond Hanson, Richard Meale and environment in which, for the first time, his interest in Nigel ~utterle~.~~ Shortly after completing the solo violin sonata, possibilities of writing for other performers as a way of Sitsky also wrote a solo flute sonata for Peter Richardson, promoting his music more widely. a friend from his student days in Sydney. This work, On his return to Australia early in 1961, Sitsky however, caused the composer much more trouble,14 soon moved to Brisbane with his new wife, Magda, to and did not attract the same tremendous level of initial take up an appointment at the recently opened Queens- interest as the violin sonata had attracted, although it is land Conservatorium as a chief study piano teacher. It now amongst Sitsky's most widely and frequently was there that they met violinist Jan Sedivka and his played pieces. The Sonata for Solo Violin therefore had pianist wife Beryl who had recently arrived from Lon- a very auspicious beginning which bode well for Sitsky's don, and the two couples quickly became close friends. future interest in violinists and their instrument. Larry Sitsky and Jan Sedivka had a grezt deal in com- Why, after his earlier experiments in writing and mon: interests in cats, literature and philosophy; a dry arranging music for piano and chamber ensembles and witty sense of humour blended with intense seri- containing piano, did Sitsky choose to begin his ousness; an Eastern European cultural background (in compositional career in earnest with works for solo Sitsky's case Russian, in Sedivka's Czech); and, of melody instruments, neither of which he played, de- course, music. In particular, they shared a Romantic spite his abiding interest in and affinity with the nine- musical aesthetic and a passionate approach to playing teenth-century composer-pianists who had written and performing, which encompassed a healthy disre- large amounts of music as vehicles for their own per- spect for the dots on the page and a formidable virtu- formance? Two reasons for this state of affairs have osity, in the face of which technical difficulties seem to emerged, and both take us to the heart of Sitsky's vanish. compositional process and its development. Although Sedivka became director of the Tasma- Importantly, at this formative stage, he was look- nian Conservatorium in Hobart in 1965 and Sitsky ing for a mode of expression which would avoid the moved to the newly founded Canberra School of Music pianistic cliches with which was so familiar and which the following year, the two men and their families have he felt it impossible to purge from any composition for maintained that early close friendship, which has in- piano at that time. He also believed, probably quite cluded supporting each other's careers over the years. rightly, that his interest in the Romantic piano reper- Sedivka reminisced in 1984, the year of his friend's 50th toire would not be seen as an acceptable or appropriate birthday: basis for a contemporary compositional style in the immediate post-World War I1 era of modernism.15 Larry is one of my closest friends.. .We share the same view and attitude to life. When you Accordingly, he investigated systematic and especially get to know Larry, he is a very serious- quasi-serial procedures in an attempt to purge those minded man. He jokes and he laughs, he Romantic tendencies.16 screams and he plays. He can also be very More particularly, though, Sitsky sought a way to quiet and very deep. There is some kind of similarity [to myself]. I first met Larry so- develop a horizontal, linear, melodic emphasis, rather cially, in Brisbane. I rather liked him. He was than the vertical, chordal, harmonic one associated an excited young man with an enormous with the piano and its traditional Classical and Roman- intellectual vivacity and my first real sur- prise came when I heard him play the piano. tic repertoire.17 In addition, he was jealous of the I said to my wife at the time, "Are we back at genuine legato possible on other instruments, espe- the Festival Hall?" I didn't expect anything cially the violin, and has even described himself as a like that in Brisbane 23 years ago. I thought he was a fantastic player-what was he doing 'frustrated string player' for that very reason.18 Hence there? And he probably felt the same: what both solo sonatas depart from the predominantly was I doing there?19 chordal writing of the juvenilia. Secondly and more importantly, in that it relates Both performers obviously felt somewhat out of more generally to the subsequent course of his career place in the Brisbane of the early 1960s; it must have as a composer, Sitsky was inspired and even goaded by been a joy and relief to both to find another like-minded the process of writing for a performer other than him- performer close to hand.
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