Hotwire (2019)
for viola and orchestra (1.1.2.2 4.2.2.1, tmp, 1 perc, hp, strings (8.6.5.4.3))
Duration: 11’
Written for and first performed by Stefanie Farrands and the Tasmanian Symphony Orchestra, conducted by Elena Schwarz
Archival recording available on request
Program Note
Hotwire is inspired by the act of hotwiring: starting an engine without the key, usually associated with vehicle theft. In this analogy, the orchestra is a luxury car and the viola, the thief. The viola hijacks the orchestra, taking it for an off-road spin across rugged terrain and cruise-control motorways. A wild police chase ensues! Stylistically, the work embraces bluegrass and metal guitar techniques, reimagined on viola, including a high amount of slides, scrapes, bends, power chords, and whammy-bar wails.
Reviews & Words
Fellow Australian composer Holly Harrison also garnered much attention for her contrasting pieces. “Hotwire”, for viola and orchestra from 2019, was She Speaks’ invigorating highpoint. This concerto-like work is a rhythmic rollercoaster, combining grungy rock ’n’ roll, boogie woogie and all-round frenetic fun in a sonic matrix that never lets up. Justin Julian, the ASO’s much-admired viola player, played mesmerisingly well in this as soloist. His gestural timing and technical prowess were everything the piece could have asked.
ASO principal viola Justin Julian then gave a virtuosic performance of Sydney-born Holly Harrison’s Hotwire (2019) for viola and orchestra. Harrison is famous for compositions that mimic the sounds and idioms of popular culture, from rock music to, in this case, the sound of a car which has been stolen using ‘hot-wiring’ to start it and is being taken for a spin, with the orchestra representing the car tearing along, and the viola representing the thief and sounding like heavy metal guitar. In 11 electrifying minutes, Julian produced all kinds of growling and screaming sounds from the viola and he was a sight to behold as he performed.
Importantly, Harrison’s music extends the field of art music through her unique combination of popular culture references with traditional orchestral instrumentation, and she shows how thrilling such orchestral music can be.