Airbender (2018)

for bassoon and string quartet

Duration: 12’

Commissioned by the Canberra Symphony Orchestra and first performed by Matthew Kneale and Omega Ensemble

Program Note

As the title suggests, Airbender is loosely inspired by the fictional art of ‘airbending’, as explored in the animated series, Avatar: The Last Airbender. An extension of martial arts, airbenders possess an extraordinary ability to manipulate air and control the surrounding environment. In this way, my work imagines the bassoon as a type of sonic airbender, conjuring up an array of sounds driven by air! The piece explores the agility of the bassoon and extremes of register, and seeks to highlight the solo capabilities of the instrument. Airbender is further inspired by slap bass solos, prog-rock guitar ‘shredding’, and bluegrass sonorities, which trickle down into the string quartet.

Archival recording available at request

Performances

4 November 2019, Matthew Kneale, St John’s In the Village, New York, NY

1 April 2019, Marissa Takaki and string quartet, Chapel of the Venerable Bede, Coral Gables, Florida - US Premiere

25 October 2018, Matthew Kneale and Omega Ensemble, Canberra Symphony Orchestra: Triple Concerto, National Portrait Gallery, Canberra

Sample Preview

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Reviews & Words

With the instrument in the mind of young Australian composer, Holly Harrison, and in the hands of brilliant bassoonist, Matthew Kneale (described by Matthew Hindson as the “rock-god of the bassoon”), its future is rock-solid safe…Giving the work its world premiere performance, Kneale rose to the challenge fearlessly, delivering all the work’s in-built qualities.  He built boundless energy through its driving rhythms, raced along the keys with seemingly effortless virtuosity, and showcased his instrument’s amazing agility and incredible range.  The quartet’s part, played here by the Omega Ensemble, is quite understated, giving the bassoon free rein, but pouring a solid foundation, maintaining the rhythms for Kneale’s musical gymnastics. Full article here.

(Clinton White, Limelight)

This composer has repeatedly proved wrong the old cliché that there is no humour in music with her mischievous, quirky experiments and the musical conversation turned to what sounded like a dialogue of ships horns sounding in a fog, before returning to the energetic, driving rhythms which characterised the composition. Full article here.

(Helen Musa, Canberra CityNews)