I'm delighted to announce that Eighth Blackbird are a finalist in the 2018 Art Music Awards for their performance of my work, Lobster Tales and Turtle Soup, in the Performance of the Year category. 

Congratulations to all finalists - very much looking forward to seeing you in Melbourne next month for the awards ceremony! You can find the finalists for all categories here

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Posted
AuthorHolly Harrison

I had an absolutely fabulous time in Melbourne last week for the 2018 Melbourne International Chamber Music Competition. As I've mentioned before, I was commissioned to write the required work for string quartet, while Paul Stanhope wrote the work for piano trio. The eight quartets who performed Balderdash were:

Gildas Quartet (United Kingdom)

Baum Quartett (South Korea)

Callisto Quartet (USA)

Eliot Quartett (Austria/Russia/Germany)

Goldmund Quartet (Germany)

Idomeneo Quartet (Belgium/Hungary/Spain)

Quatuor Agate (France)

Thaleia Quartet (Japan)

It was a real privilege to hear Balderdash performed eight times over three days (virtually unheard of in composer-world!), and fascinating to hear the different interpretations of the work. The cellists have been particularly inventive throughout the slap, strummed, and percussive sections, rocking out with hands, plectrums, and, in one case, even a credit card! Many thanks to Musica Viva Australia and to the Silo Collective for making the commission possible.

Congratulations to the Goldmund Quartet for receiving First Prize in the string quartet division and the Quartet Commission Prize for the best performance of my work! And, of course, congratulations to Trio Marvin on receiving the Grand Prize.

Balderdash Program Note

Balderdash begins and ends with amplifier feedback: a sound that quickly makes us bring our fingers to our ears! The piece imagines an alternate world in which music is heard between the feedback – a sort of sub/hyper-snic sound world which takes place in mere seconds.

With this in mind, the string quartet explores musical ideas inspired by electric guitar, including distortion, white noise, whammy bars, power-chords, dive-bombs, wah-wah, phaser effects, slap bass, and of course, speaker feedback. Balderdash makes high use of punk rock rhythms, dissonance, and percussive-based jams, which morph in and out of bluegrass, grunge, prog-rock, metal, and . . . disco.

Given the piece was commissioned for a competition, I felt it might be fun to experiment with a battle-of-the-bands theme within the string quartet itself. Throughout Balderdash, players go rogue (especially the cello!), engage in one-upmanship, jam, duel, challenge, compete, interrupt, surrender, work together in teams, and cooperate as one. The piece is intended to be theatrical and encourages the quartet to perform with abandon.

I have called the piece Balderdash as it is a term used to refer to nonsense – of which I am quite a fan! The ‘dash’ part also resonates with the high intensity nature of the work, and the sense of moving somewhere quickly.


Posted
AuthorHolly Harrison

My Vibe Rant receives another performance by Ensemble Offspring in Richard Gill’s upcoming ‘A Voyage of Music Discovery’ series:

'Richard Gill Presents - A Voyage of Musical Discovery is a unique concert series at the City Recital Hall in Sydney exploring Western art music. Across three concerts, Richard Gill AO and the world-class musicians of the Australian Romantic & Classical Orchestra seamlessly weave their passion for historical context into musical performance. Beloved works of the musical canon are revitalised through the sounds of period instruments and stylistically appropriate performance practice. Our vibrant journey is complemented by our guest ensembles, who perform music from Medieval through Jazz to Contemporary.'

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Posted
AuthorHolly Harrison

I'm back after an exciting world premiere of my children's work, A Mad Hatter's Tea-Party at the 2018 Canberra International Music Festival. Given the content of my last post (and the piece's title!), it might seem like I'm a little obsessed with all things tea-party! Theatrics and costume are getting a good workout too. 

The piece is written for narrator, flute/piccolo (Alice), clarinet/bass clarinet (Mad Hatter), violin (March Hare), cello (Dormouse), and percussion (Time), performed by Paul English, Ned McGowan, Oliver Shermacher, Anna Da Silva Chen, Miles Mullin-Chivers, and Claire Edwardes. Special mention to Ned for rocking the Alice wig, and bringing a glam rock vibe to the gig!

Official photographer, Peter Hislop, captured the concert below:


Posted
AuthorHolly Harrison

I enjoyed a fantastic time at the 2018 Four Winds Festival, held in Bermagui, on the far south coast of NSW. Check out the beach view below! It was inspiring to spend the week in such a beautiful area, hear wonderful new music (including two world premieres from Damian Barbeler and Tim Gellar!), and experience the generosity of the locals and festival volunteers. I even saw a pod of dolphins from my bedroom window!

Lloyd Van't Hoff performed my piece A Mad Tea-Party, for solo clarinet and electronics, in the 'Sideshow Alley' concert, produced by Sam Thomas. I originally wrote the piece in 2009 for Jason Noble, during my honours year. It's been insightful revisiting the work and redesigning the electronic component (Ableton Live). It's been great to collaborate with Lloyd. The show was an extravaganza of theatrics, humour, costume and lighting, as the Windsong Pavilion was transformed into an old-school sideshow alley. It was a whole heap of fun and lots of mad sounds were made!


Posted
AuthorHolly Harrison