Category Archives: Catalogue of Works

Basement Art Guru and other pieces (2004)

for solo violin

four movements:

  • i. The Big 5-0 (2 minutes)
  • ii. Basement Art Guru (3 minutes)
  • iii. 2+5 <> 6 (4 minutes)
  • iv. Repetepetition (2.5 minutes)

Each movement may be performed individually.

Faber Music publishing details, viola version of 2+5<>6 can be found here.

Audio Excerpts

The Big 5-0 (live performance by Alex Wood (2011):

Excerpt from 2+5<> 6:

Excerpt from Repetepetition:

Programme NotesBasement Art Guru and other pieces

      is a series of short compositional etudes, each one exploring a particular facet of compositional techniques.

The Big 5-0

      was written in honour of the 50th birthday of Fr. Arthur Ernest Bridge, and uses only the note-names FAEB (i.e. from his name).

Basement Art Guru

      takes as a starting point a theme by Australian composer

Stuart Greenbaum

      and rearranges it in different ways, much like an anagram rearranges letters in a word to form new words.

2+5<> 6

      is certainly a strange title for a composition. In this composition the intervals between simultaneous or consecutive note are limited to a minor second, a perfect fifth or a major sixth.


      takes as a starting point the process of repeating a section of material and either adding material to it or taking some away.

notes by Matthew Hindson.

CD Recording Available?

    Not at present.

Other Information

Balkan Connection (2004/5)

string orchestra

duration: 15 minutes

each movement may be performed on its own

Faber Music publishing details

Audio Excerpt

(the first movement played by the string orchestra of MLC School – ca. 4’30”)

Programme Notes

      i. Makedonsko Oro

ii. Nissyros

iii. Ciaciak

I have long been interested in popular music influences in my own music, and some people have made the observation that since popular music is the folk music of our time, I am in fact carrying on a long tradition of folk music influences in an art-music context. This work, Balkan Connection, takes as its starting point various influences from the Balkan region, specifically Macedonia and Greece.

The first movement, “Makedonsko Oro”, takes as its starting point a Macedonian tune of the same name, which is apparently very popular at weddings and similar functions in its original country. Many of the typical characteristics of Macedonian music, such as additive rhythms, modal harmony, accompaniment patterns and melodic harmonizations have been deliberately employed in this movement. However, there are also many interjections which are more free.

In contrast to the very vigorous opening movement, the second movement “Nissyros” takes a more subdued approach. The initial inspiration for this movement was that of an imagined old man, sitting on a verandah in Nissyros (Greece), singing a folk tune vaguely remembered from his childhood. Each repetition of the tune throughout the orchestra slowly builds to a large climax accompanied by strumming strings, before dying away once more.

The ciaciak is a traditional Macedonian dance, typically in 6/8, and very energetic in character. As the title suggests, the last movement of Balkan Connection takes the ciaciak as its starting point, though it in fact only appears very briefly in the middle of the movement. It is surrounded by other musical material characteristic of the Balkan region as a whole, including a section alluding to the Middle-Eastern occupation of these countries many years previously.

The first movement of Balkan Connection was premiered by the MLC School Chamber Orchestra in the Sydney Opera House Concert Hall, May 2003. The entire piece was premiered by the Steel City Strings in Wollongong and Bowral, NSW, in May 2004. It has since been performed by The Queensland Orchestra, cond. Brett Kelly.

notes by Matthew Hindson.


None as yet.

CD Recording Available?

      Not yet. A live recording of the piece is available through the

Australian Music Centre library


Other Information

      This piece may be ordered through

Faber Music

      . The parts may be hired for performance in Australia through

Hal Leonard Australia


Velvet Dreams

for massed SATB choir and orchestra (2222 – 4221 – timp – perc(4): tam-t/3 susp.cym/hi-hat/drum kit (BD/SD/cym/4 or 5 tom-t)/shaker/tamb/ c. bell/2 wdbl/whip/vib or mar – pno – strings)

also available in a version for SATB choir and piano.

duration: 6 minutes

Faber Music publishing details


Programme Notes

      During a period of correspondence with the reclusive Australian violist-turned-truck-driver Jock Reby, my attention was directed towards a notepad of graffiti that Reby had transcribed from the toilet walls of an English Language School in Bangkok. It seems that the students of the school had used the practice of writing on toilet walls as a means of experimenting with their English.

Consequently it contained some quite bizarre interpretations of the English Language. One piece of writing referred incessantly to “velvet dreams”, and their relationship to the writer’s missing (romantic) partner. Despite the often-unclear nature much of the text (what exactly is a “velvet dream”?), it was evident that the author felt very strongly about the subject.

This work for choir and orchestra has therefore utilised fragments of the so-called “Velvet Dreams” text, together with some extra texts written in a similar style by myself and the contemporary poet Sarah Hindson.

Programme note by Matthew Hindson

CD Recording Available?

      Not at this time. The

Australian Music Centre

    has a copy of one the live concert performances in their library.

Other Information

      Also available: also available: an educational kit based on this work has been created by Felicia Chadwick, comprising analysis and further general classroom-based activities – contact Matthew Hindson for more information on this. A copy of this kit can also be found in the

Australian Music Centre