for two violins. Available from Promethean Editions (NZ), including score preview.
Also available in a version for violin and viola (1998). Available from Faber Music, including score preview.
duration: 10 minutes
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.
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.
The score is also available from Promethean Editions Direct
CD Recording Available?
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.
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.
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.
“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.”The Times (Hilary Finch), 1 September 2003