The composer

MATTHEW HINDSON

Matthew Hindson AM (b. 1968, Wollongong) is one of the most-performed and most-commissioned composers in the world, and a leading Australian composer of his generation. As well as being performed by every Australian orchestra, the London Philharmonic, the Los Angeles Philharmonic and the Royal Philharmonic among many others, Matthew’s music has been set by dance companies such as the Birmingham Royal Ballet, San Francisco Ballet, National Ballet of Japan and the Sydney Dance Company.

Matthew is the Deputy Dean and Associate Dean (Education) at the Sydney Conservatorium of Music. From 2004-2010 he was the artistic director of the Aurora Festival which is dedicated to the work of living composers. In 2006 Matthew was made a member of the Order of Australia (AM) for his contributions to music education and composition. From 2009-2013 Matthew was the Chair of the Music Board of the Australia Council for the Arts, and from 2013-2015, a board member of the same organisation.

AESTHETIC & INFLUENCES

Hindson's soundworld is invigorating, virtuosic, and energetic, with musical elements such as driving repeated rhythms and loud dynamic levels. These features stem from the influence of popular music styles, such a techno music, rock, and dance music. The titles of his compositions - Speed (1997), Rave-Elation (2002), Headbanger (2003), RPM (2003), Rush (1999) and Homage to Metallica - give an obvious nod to this influence.

His slower compositions similarly draw on harmonies and lyricism derived from popular culture. 'Spirit Song' from A Symphony of Modern Objects offers a take on New Age music that, whilst tongue-in-cheek, remains a haunting and evocative experience and one that pays homage to Hindson’s teacher, Peter Sculthorpe through its use of bird song.

ABOUT RUSH

COMPOSITIONAL TECHNIQUES

Through analysis of the score and musicological study, the following compositional techniques have been observed in Hindson's works:

Limited Pitch Sets
Augmentation and Diminution of melody and rhythmic motifs
Pitch Indeterminacy
Isomelos

Development of rhythmic cells
Cross rhythms/Poly-rhythms
Additive Rhythms
Ostinato cycles
Isorhythms

Juxtaposition
Dovetailing
Superimposition
Development of Motifs
Repetition with change

Phase shifting musical cycles
Borrowing musical material from other compositions, from the environment, from non-Western music