for string quartet with optional effects pedals and CD playback
or string quartet + didjeridu
duration: 25 minutes
Movements from this work may be performed separately or in different combinations: for example, the first, third and fifth movements would form a set called technologic 135.
was written in 1997 as a commission from the Elektra String Quartet, and premiered by them in October of that year.
As the title suggests, a good deal of the music was written using techniques found in techno music, including repetition, parallel triadic harmony, block-line structures and predominantly fast tempos. The structure of the piece as a whole is reminiscent of Peter Sculthorpe’s String Quartet No. 8. The outer movements contain slower yet intense material with the cello imitating the sound of the didjeridu. The 2nd and 4th movements most obviously use features of techno music as described above. The middle movement takes the form of a bizarre ballet mechanique, wherein the two violins and cello play unflinching regular single notes and motives above an ever-present viola figure.
notes by Matthew Hindson.
CD Recording Available?
Not yet. The Elektra String Quartet have recorded
technologic 135
for possible future release. A live recording of the piece performed by the Fyra Quartet and William Barton (didjeridu) is available through the
Audio excerpt from guitar + string quartet version, middle of the piece
Piano trio version, on Spotify
Programme Notes
Contemporary Australian composers have the opportunity to learn from and be influenced by a wealth of musical styles that have passed before them. Matthew Hindson’s Rush is one such piece that, while containing a mixture of these musical characteristics, in turn displays its own style unique to the composer.
Although it may not be apparent upon its first hearing, Hindson has used as a starting point for Rush the music of Felix Mendelssohn. The fast and technically challenging passages found in the final movement of the Mendelssohn String Octet influenced Hindson’s decision to compose a work that is highly virtuosic in nature. The composer remarks, “it is much more the spirit of Mendelssohn’s string writing that was influential, particularly the last movements of his string quartets and the String Octet, rather than any sort of harmony or melodic invention.”
In addition to the influence of Mendelssohn, Matthew Hindson has also found inspiration in the popular music idiom. Popular and, in particular, ‘techno’ music and culture have played a large role in the development of Hindson’s musical style (with his other works displaying such titles as SPEED and Homage to Metallica), and Rush is no exception. The playful, up-beat and repetitive rhythms found in popular music are a prominent feature of this work. The fast and mostly accelerating tempo of Rush reinforces both the title of the piece and the influence of ‘techno’ music. Rush also features a series of catchy and vibrant melodies, making the work accessible to a wide audience. The playful nature of the music can also be considered as a reflection of the hedonistic nature of modern society, where a large emphasis is placed on the pursuit of pleasure and enjoyment.
Matthew Hindson is one of a number of composers who are attempting to establish and express their place within today’s world. Hindson’s now distinctive style incorporates, and is heavily based on, the music pervading contemporary popular culture. The composer, however, is not unwilling to accept the influences of more established art-music traditions, and adopts these where he feels necessary. Combined, these influences provide the listener with a fresh, accessible and culturally up-to-date musical experience.
“Matthew Hindson’s Rush is a Musica Viva commission, and it certainly doesn’t hang about – its nine or so minutes contain a very large number of high-speed notes, mostly scored as an ensemble but with solos for everyone. The influences of popular music are clear, but Hindson is developing a very personal approach.” – Tristram Cary, The Australian, 20 August 1999.
“… And the obligatory knees-up after interval produced from Australia’s classical techno-head, Matthew Hindson, one of his most effective explorations of romantic agony and dance-floor ecstasy [, Rush].” – Peter McCallum, The Sydney Morning Herald, 23 August 1999.
“The final Rush by Matthew Hindson is a thoroughly modern piece that mirrors the Boccherini [D Major Quintet] with a compelling rhythmic drive. Its chief element is an amalgam – pop-cum-rock-cum-jazz. There is a minimum of melody, replaced by a whipped-up propulsion.” – The Age, 23 August 1999.
CD Recording Available?
See the Benaud Trio recording of the Piano Trio version.
Other Information
This piece was performed by Diana Doherty and the Goldner String Quartet at the Australian Festival of Chamber Music (July 2006) in a tremendously exciting performance. It has been toured extensively around Australia by such groups as the St. Lawrence String Quartet (2011) and the Belcea Quartet.
Matthew Hindson talking about the commissioning and ideas behind Rush
Excerpt from the two-violin version, performed Glenn Murray and Christine Myers
Full recording of the violin and piano version of LIttle Chrissietina’s Magic Fantasy.
Programme Notes
Chrissietina’s Magic Fantasy was initially conceived as a piece for solo violin, using a somewhat ‘rockabilly’ style of music. However, it then developed into virtuosic work for two violins, using elements of both techno and death-metal styles of popular music.
It was among my first experimentations with integrating aspects of popular music styles within a classical music context.
notes by Matthew Hindson.
Ordering Information
The full score and parts may be ordered from the Australian Music Centre. Please be sure to specify whether the two violins or violin + viola version is required.
This piece was first recorded on a disc entitled Greenbaum Hindson Peterson.Performers were Glenn Murray and Christine Myers.
The violin and piano version of Little Chrissietina’s Magic Fantasy is recorded by Duo Sol for their disc Infinite Heatbeat on ABC Classics.
Other information
There are a number of shorter versions of the piece that have been written especially for performers who have a time limit set on them.
Little Chrissietina’s Magic Fantasy has a duration of 5 minutes, and is available in version for two violins, or violin and piano.
The piece was premiered in November 1994 by Glenn Murray and Christine Myers, both of whom perform on this recording. This piece was selected as the Australian Young Composers entry to the 1995 Bangkok Music Festival and Asian-Composers League Conference.
It has since become an extremely popular piece with violinists, being performed many times by a large range of performers in Australia and around the world.
Chrissietina’s Magic Fantasy is one of the most popular works written by Matthew Hindson. It was featured in the Sydney Dance Company‘s production of Ellipse.
Reviews
“Young Australian composer Matthew Hindson’s curiously titled Chrissietina’s Magic Fantasy (inspired by death metal and rockabilly music) was another delight, a worthy piece to be added to the wretchedly tiny repertoire of music for two violins. Here, Zac Rowntree and Cary Koh maintained a blistering pace, with spot-on synchronisation, as they nimbly and energetically negotiated the more extrovert measures of Hindson’s musical minefield; they were no less persuasive in the work’s more introspective, soulful moments.”
Neville Cohn, The West Australian, 16 November 1999.
“…The most compelling work of the evening was an eight-minute piece for violin and viola, Chrissietina’s Magic Fantasy, in which the energies of techno and death-metal styles really did spark exciting confrontation between the two instruments.”
Programme Notes
n-trance was composed especially for the Sydney-based harpist, Marshall McGuire. As the title suggests, it uses as its basis characteristics of trance music (such as slow-moving triadic harmonies), though in a very-diluted way.
It was premiered in September 1999 at the Sydney Spring Festival.
for amplified acoustic guitar with effects pedals
duration: 10 minutes
Audio Excerpts
Excerpt from final third of piece:
Complete piece:
Programme Notes
Mace is a virtuoso work for solo guitar composed in 1992 for the outstanding Melbourne-based guitarist, Ken Murray.
The word ‘mace’ has two associations relevant to this work: firstly the medieval spiked club, and secondly, the spray used to ward off muggers. Both meanings give an idea as to the prodominantly violent and aggressive nature of the piece.
Mace has been performed a large number of times throughout the world, including the Gaudeamus Music Festival in Holland (September 1993).
CD Recording Available?
A disc entitled Between Earth and Air, recorded by Ken Murray contains this work. Contact the Australian Music Centre for more information.
Other information
The score for this work is not currently available as it requires entry into computer notation.
I hope to turn this work into a concerto for guitar and strings at some time in the future.
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