2023 In Review

Well, this is embarrassing! Another year flies by without a blog post. . . for more up to the minute information, feel free to follow me on social media (didn’t I say that last year!).  I’m a month late to report, but here I go.

2023 was a truly wonderful year, and I consider myself extremely lucky to have worked and collaborated with a myriad of brilliant musicians.

From Sydney to Perth, Texas to Florida, Hamburg to Copenhagen, and Manchester to Birmingham, my music was heard in Australia, USA, Germany, Spain, Denmark, UK, Sweden, and Norway. I’ll attempt to be bit different to my previous review posts and be a bit list-y and number focussed this time. Think of it as TL;DR style.

Snapshot Stats

By my count (and please, feel free to correct me!), there were:

81 performances of my works

23 different works performed

7 world premieres

2 premieres of new arrangements of existing works

2 UK premieres

2 EU premieres

2 US premieres

2 Australian premieres

New Works Premiered

POUNCE (12’) for wind ensemble, University of Kansas Wind Ensemble, Lucas Petersen. This is almost out of consortium exclusivity in April 2024, and will then be available from Murphy Music Press.

Fluro Electric (7’) for string quartet, Goldmund Quartet

Riffs & Revs (8’) for flute, bass clarinet, cello, and keyboard, Ensemble Offspring

Phasmid Funk (10’) for horn and bassoon, Rachel Shaw and Matt Kneale

Daredevil (20’) for clarinet, string quartet, and piano, Omega Ensemble

Centrifuge (18’) for orchestra, Tasmanian Symphony Orchestra, Eivind Aadland

Ice Giant (9’) for solo violin, Veronique Serret/Ensemble Offspring

I also wrote a short little piece in November for my excellent composer friend Tristan Coelho and his milestone birthday. Written for a surprise bash, Secret Surprise is for guitar, harp, and marimba (yep, all the hard ones!). There’s also a short bass solo, Mango Fizz, still waiting for its premiere too!  

For score and parts for the above, please feel free to contact me and ask questions. They’re still very fresh, so I’m in the process of finalising scores for beyond-premiere- consumption!  

New Arrangements of Existing Works of Mine

And Whether Pigs Have Wings for soprano and large ensemble, new arrangement for Victorian College of the Arts Secondary School. This is my third (!) arrangement of Pigs – this version includes new parts for saxophones, extra keys, and harp, as well as new sections for improvising players.

Slipstream, a new arrangement for Syzygy Ensemble. This 2.0 version reimagines the original sextet into a quintet version (bye bye, viola) for a more compact ensemble.

2023 Highlights at a Glance

Thank Yous

Thank you to the following for performing my music in 2023!  

University of Texas El Paso Wind Symphony, Florida All-State Symphonic Band, Sydney Symphony Orchestra, Tasmanian Symphony Orchestra, University of Georgia Wind Ensemble, University of North Florida Wind Symphony, Virginia Tech Wind Ensemble, Greensboro Symphony Orchestra, Duo Blockstix, Ball State University Wind Symphony, Beecroft Orchestra, University of Kansas Wind Ensemble, Nurnberger Symphoniker, Michigan State University Musique 21, University of Oregon Wind Ensemble, Goldmund Quartet, Yale Concert Band,  Equinox Chamber Music Festival, Manchester Camerata, Adelaide Symphony Orchestra, West Australian Symphony Orchestra, Ensemble Offspring, Emma-Shay Gallenti-Guifoyle, Victorian College of the Arts Secondary School, Partridge Quartet, Australian Chamber Orchestra Collective, Queensland Symphony Orchestra, Spokane Symphony, Uppsala Chamber Orchestra, Eliot Quartett, Mercer University Wind Ensemble, Utah Valley University Wind Ensemble, City of Birmingham Symphony Orchestra, Kristiansand Symphony Orchestra, Triangle Wind Ensemble, Arcadia Winds, Syzygy Ensemble, Omega Ensemble, Grand Valley State University Wind Ensemble, Veronique Serret, and MSO Academy/Melbourne Symphony Orchestra.  

A Taste of the Future

Boy, am I pumped for this year too! After a few weeks rest, I’m ready to go. Here’s a little taster:

For now, over and out.

Posted
AuthorHolly Harrison

2022 In Review

It’s been an embarrassingly long time since I last posted here, so this is my attempt to rectify that! The Works and Performance tabs are updated regularly, but this news/blog component is often left neglected. Feel free to follow me on Instagram for more consistent news and announcements, and perhaps the occasional cat image! 

I plan to break with convention and indulge in a bit of time travel, skipping past my ‘2021 So Far…’ straight into a ‘2022 In Review’ kind of deal, before diving into an extraordinarily short 2023 Sneak Peek.

2022 Highlights

2022 was my final year as composer in residence with the Tasmanian Symphony Orchestra. What was intended to be a one-year residency expanded into a three-year residency (2020-2022) because of the pandemic. I can’t express enough how grateful I am for this extended time with the TSO – the security of the residency gave me the freedom to experiment creatively and workshop new ideas without fear of judgment or failure. In addition to being stellar musicians, I find the orchestra very open and welcoming – important ingredients for a successful collaboration! I also just love visiting Hobart!  

I’d like to thank all the players and the artistic and administrative team for their immense support over three years, especially Eivind Aadland, Jenny Compton, Simon Rogers, Meriel Owen, Alethea Coombes, David Harvey and Matt McGrath. And an enormous thanks to Eivind Aadland (again!), Fabian Russell, Greg Stephens, and Gary Wain for conducting the works!

I finished writing my fifth work of the residency in early 2022 (Centrifuge will be premiered in Dec 2023) and the TSO gave the premiere of three of my new works in 2022:

·       Hi-Vis for Orchestra

·       Triple Threat for brass and percussion

·       Power Up for body percussion and orchestra

The ABC recorded the above works in March 2022, along with my viola concertino Hotwire featuring stellar soloist Stef Farrands, and my currently (and embarrassingly!) untitled string orchestra work. Fingers crossed this will be available to hear and share in 2024. Loads of thanks to producer Toby Frost and engineer Veronika Vincze for their sonic wizardry.   

In other exciting TSO-related news, all these works (and select others from my catalogue) are now available for sale and hire through TSO House, run by the wonderful David Harvey. Spread the word!

There were other premieres in 2022 too, and these were:

·       Black Ice, Australian Chamber Orchestra

·       Sylvan for bass recorder and percussion, Alicia Crossley and Josh Hill

·       Splinter, San Jose State University Wind Ensemble, David Vickerman

·       And Whether Pigs Have Wings for soprano & wind band, Brittany Fouche & University of North Florida Wind Symphony, Erin Bodnar

·       Swoop, Australian String Quartet

·      March of the Moorhen for violin and marimba, Courtney Hamilton & David Lockeridge (Caroline Chisholm College HSC commission)

·       Slipstream for mixed sextet, Australia Ensemble

·       Royal Jelly for solo guitar, Emma-Shay Gallenti-Guilfoyle

·       Burnout, Sydney Symphony Orchestra Brass, Eduardo Strausser

·       Ode to Joy (Joyous Punk), Golder String Quartet

Phew. Reading this now, it’s little wonder I needed a break in December! Of course, some of this writing was undertaken in 2021 and 2020, and it’s a nice reminder that all that beavering away amounts to something, especially after cancellations.

Highlights-wise, I was chuffed to see Splinter for wind ensemble finally receive its official world premiere by San Jose State University Wind Ensemble and David Vickerman after two cancellations (2020 and 2021) at the 2022 CBDNA Western/Northwestern Division Conference. It was also fab to see performances by The College of New Jersey Wind Ensemble (Eric Laprade) at CBDNA Eastern Division Conference and Douglas Anderson School of Arts Wind Symphony (Ted Shistle) at CBDNA Southern Division Conference.

Still on my Splinter spiel, it was exciting to see the work played around the US in Illinois, New Jersey, New York, Michigan, South Carolina, Washington, Texas, Louisiana, Connecticut, Maryland, and Minnesota, as well as here in Australia in Sydney and Melbourne. For what began as an orchestral piece, written for the Tasmanian Symphony Orchestra, I’m extremely grateful to David Vickerman for suggesting it’d be a great fit for wind band! It’s worth mentioning that I’ve only seen one of these performances live in concert – Sydney Conservatorium of Music Wind Symphony – and I’m super grateful for the livestreaming capabilities now available around the world!!!

It was a bumper year for my string quartet Balderdash, with performances by the Partridge String Quartet, Eliot Quartet, Queensland Symphony Orchestra string quartet, Australian Youth Orchestra String Quartet, and Chroma Quartet, playing the work across Melbourne, Brisbane, Sydney, and Germany. This also marks the first time my work has been heard in a carnival setting as well as on a cruise ship on the Danube River! (Not simultaneously).

Releases

Release-wise, it’s wonderful to have Sylvan, And Whether Pigs Have Wings (band version), and Swoop now committed to tape. You can check ‘em out here through Spotify and all the usual streaming services.

Of course, it’s hard to write a year in review without acknowledging the thrill of the Sydney Symphony Orchestra brass premiering Burnout at the Sydney Opera House three times! This formed part of their Fifty Fanfares series which features Australian composers.

Another highlight was being a tutor for the 2022 Australian Composers’ School with the Tasmanian Symphony Orchestra. This was significant to me as I was part of the 2018-2019 ACS cohort - it was a delight to return in a different capacity alongside director Matthew Hindson and fellow tutor Maria Grenfell. It goes without saying that this is a tremendous program and I hope the fact that I’ve returned as a tutor is proof of that. There is no other orchestral program like it in Australia.  I learned an extraordinary amount and I continue to build on this with every piece I write.  The 2022 participants were Georgia Scott, Angus Davison, Tom Mission, and Sam Wu. A top bunch of people and creatively there’s lots of great stuff brewing!

In the same vein, I was a mentor for Omega Ensemble’s CoLab program too, another much-needed initiative for pre-professional composers. Focussing on chamber music, the program runs for a generous nine months with multiple workshops spread throughout, culminating with a concert at the Opera House and a studio recording.  The 2022 participants were Mark Holdsworth, Chris Healey, Julia Potter, Sophie Van Dijk, and John Rotar – a highly creative group! I’m especially interested in supporting programs like these as I know only too well the artistic impact they can have, and how pivotal they are in forging personal and professional relationships.

On a more personal note, I was beyond thrilled (and humbled) to receive the 2022 Chancellor’s Alumni of the Year from Western Sydney University. I consider this a great privilege and an important acknowledgement of all artists living and working in Western Sydney. The list of nominees included CEOs, lawyers, doctors, entrepreneurs, and an environmental advisor to the UN, so you can imagine my surprise when I discovered I, a composer, was the recipient!  I hope this award signals a shift in how we think about artists and what we contribute to society. Being born and bred in Western Sydney comprises a significant part of my identity and so I consider it a real honour to be recognised in this way.  

The following day, we celebrated by adopting a kitten! Never fear, -this was not a snap decision but just happened to coincide with this extremely exciting weekend. Meet Margo!

2023 Sneak Peek

On that note, here’s a brief look at what to expect in 2023. There will be premieres in Australia, USA, and Germany with:

·       Ensemble Offspring

·       Omega Ensemble

·       Goldmund Quartet

·       The University of Kansas Wind Ensemble and consortium

·       Arcadia Winds (bassoon and horn duo!)

·       James Crabb and the Goldner String Quartet

·       Tasmanian Symphony Orchestra

Other highlights include performances with Sydney Symphony Orchestra, West Australian Symphony Orchestra, Nurnberger Symphoniker, Greensboro Symphony Orchestra, a regional tour with Australian Chamber Orchestra, and University of Georgia Wind Ensemble at the CBDNA National Conference.

So much to look forward to and more to be revealed as the year goes on!  I can’t wait to get stuck in!

Over and out.  

Posted
AuthorHolly Harrison

2021 So Far!

It’s been an exciting start to the year - let me tell you about what’s been happening and what’s coming up in the next couple of weeks! It’s such a treat to be back in the concert halls experiencing live music again.

  • The year began over in Perth with my arrangement of Tim Minchin’s ‘Airport Piano’ for the West Australian Symphony Orchestra, as part of Perth Festival (20th and 21st of February in Kings’ Park). Then, down in Tassie, Monique Brumby and the Tasmanian Symphony Orchestra’s performed a couple of my arrangements for their Ten Days on the Island shows. First at Stanley Town Hall (TAS), 5th of March, and then the Odeon Theatre, Hobart, 19th of March. This forms part of a larger collaboration between Brumby and the TSO, with an album coming out later in the year - stay tuned! Over the last few months, I’ve dipped my toes into the world of arranging and it’s been loads of fun.

Photo ny

Photo by Corey James

  •  On the 18th and 19th of March, the Melbourne Symphony Orchestra, conducted by Vanessa Scammell, gave Frumious a couple of spins, alongside works by Deborah Cheetham, Anna Clyne, Missy Mazzoli, and Ella Macens.

  • Ensemble Offspring launched their album En Masse on the 24th of March and this features my sextet Bend/Boogie/Break. You can buy the digital release here or watch the video below, perhaps even both! The record also features works by Aussie composers Alex Pozniak and Thomas Meadowcroft, available as both audio and video releases.

Watch the new video for Holly Harrison's 'bend/boogie/break', performed by Ensemble Offspring and visualised by Juan Withington and Andrew Morgan.Offspring B...

I’m also thrilled to be taking on two mentoring roles this year. The first is with Omega Ensemble’s 2021 CoLab program, and the second with the Tasmanian Symphony Orchestra’s 2022 Australian Composers School. I was a participant in the program for 2018-2019, so it’s hugely exciting to return in a different role.

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AuthorHolly Harrison

The Five Elements Out Now!

I’m delighted that The Five Elements, the latest release from Riley Lee and Enigma Quartet, is now available to stream, download, and purchase on Spotify and iTunes. The album features my Flashpoint (in three short movements) as well as works by Lachlan Skipworth, Ross Edwards, Anne Boyd, Stuart Greenbaum, and Katy Abbott. Each piece is inspired by one of the five elements - earth, air, water, fire, and ether.

Here’s a taster of what to expect from Flashpoint:

Provided to YouTube by Universal Music Group Harrison: Flash Point - I. Free, Driving · Riley Lee · Enigma Quartet The Five Elements ℗ 2020 Riley Lee & Enigm...

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AuthorHolly Harrison

Premiere of Viola Concertino, Hotwire

Such a thrill to have my viola concertino Hotwire premiered by Stefanie Farrands and the Tasmanian Symphony Orchestra, under the baton of Elena Schwarz. It was an absolute joy to collaborate with Stef throughout the process and see her rock out on stage (photographic evidence below). Much thanks to Matthew Hindson and Paul Stanhope for their support and mentoring across the week.

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.

All photos by Brad Harris Photography. Hand actions by me.

In the second half of the week, I worked on orchestral arrangements for electronic producer Jerome Blazé and singer Ivy-Jane Browne, as well as singer-songwriter Naomi Jones. Who knew I had a ballad in me! Special thanks to Jessica Wells for her insight.

A quick shout out to my composer friends also involved in the program, Harry Sdraulig, Mark Holdsworth, and Ella Macens. Go check out their music!

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AuthorHolly Harrison

Interviews with Cut Common and the Guardian

Over the last week, I’ve been involved in two very different interviews. One with Clarissa Sebag-Montefiore of the Guardian, about women composers, and another with my school friend, Chantal Nguyen, from Cut Common about some topics closer to home.

Read the Guardian piece here

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And the Cut Common here

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AuthorHolly Harrison