My current (re)compositions all celebrate the vocalizations of the pied butcherbird.
Pied Butcherbird Suite
works for solo violin and field recordings:
Bowen at N'Dhala Gate
Brisbane Forest Park—Waterworks Road
Ormiston Gorge Coda
Song Maps: Alice Springs
Trailer Park Trash
works for six-part vocal ensemble and field recordings:
Absolute Bird for vocal ensemble, a five-movement song cycle: Racecourse: Alice Springs, Ten Hockets: Bribie Island, Roe Creek Flow, Six Antiphons: Bribie Island, and Madigan 1, 2, 3: Alice Springs, commissioned by The Song Company with a grant from the Australia Council for the Arts.
works for recorders and field recordings:
Absolute Bird for recorders. Virtuoso Genevieve Lacey commissioned a set of works supported by a grant from the Australia Council for the Arts: Green Lake, Victoria; Emily and Jessie Gaps, Alice Springs: Gosse @ Sturt, Hugh River, Georges Six, Ormiston Gorge, Alice Springs: Palm @ Ragonesi, Ross River, and Hall's Creek (soon to all be orchestrated for Genevieve and the Adelaide Symphony Orchestra.
other pied butcherbird-based works*:
Black and White Miniatures for toy piano and video
Cumberdeen Dam V & T for solo bassoon
Lamington Plateau for flute
Banana Paper for bass
Gowrie Creek for bass
The Bass of Broken Hill for bass
Ormiston Gorge: A Canonic Manipulation for bass
* This portfolio won the APRA 2009 composition prize.
My earlier works focus on issues of rhythm and bowing,
from dance forms and compound meter to how classical
players can appropriate extended techniques from
other music genres.
The beauty and structural ingenuity of the melodies unfold through the bodies of the musicians re-sounding the transcriptions—each inevitably bringing something of their own art to the project. In this re-sounding there are clearly compositional and interpretive decisions to make—a violin, vibraphone, flute, choir, bassoon or double bass are not pied butcherbirds, and in the attempt to mimic the melodies on instruments, there is transformation of the material—it enters the human realm. Hollis has become a medium—her sustained forensic listening has opened up a wormhole to another world. There are wonderful performances from the human musicians, but when Hollis fiddles the transcriptions herself, the parallel worlds collapse into one. She has allowed herself to be taught by these avian maestros, and her mimicry is full of love and understanding.--Jim Denley, Resonate Magazine, Australian Music Centre.
Infidel (2006, compositions and arrangements of American fiddle repertoire set in radical new sonic environments)
Groove Theory, Concerto for Violin, Strings, Harpsichord, and Percussion (2001, commissioned by Monica Huggett and the Portland Baroque Orchestra; funded by major grants from the American Composers Forum and Meet the Composer)
The Crawl Ball for Two Violins, Bass, and Percussion (1998, commissioned by Monica Huggett)
Box Set for Solo Violin in eight movements (1997, a re-take of the J. S. Bach Partita #1 for Solo Violin in B minor, composed while in residency at Altos de Chavon in the Dominican Republic)
Trail Mix for Solo Scordatura Violins in five movements (1997; 2000 First Prize, National League of American PEN Women Composition Contest)
Unsquare Dances for string duo, trio, and quartet (1996)