Chrissietina's Magic Fantasy (Preview)

PROMETHEAN EDITIONS
MATTHEW HINDSON
Chrissietina’s Magic Fantasy
Two Violins

Matthew Hindson
Chrissietina’s Magic Fantasy
Two Violins
PROMETHEAN EDITIONS
WELLINGTON

Chrissietina’s Magic Fantasy (PE015), for Two Violins by
Matthew Hindson (1994)
© Matthew Hindson 1994
Published exclusively by Promethean Editions Limited
First edition © 1998 Promethean Editions Limited (201508)
Series Editor: Ross Hendy
Editor: Ross Hendy
Programme Note: Linda Kouvaras
ISBN: 978-1-877218-15-6 (print)
ISBN: 978-1-77660-015-1 (ebook)
ISMN: 979-0-67452-066-9
Promethean Editions Limited
PO Box 10-143
Wellington
NEW ZEALAND
http://www.promethean-editions.com
No part of this publication may be reproduced in any form or by
any means without permission in writing from the Publisher.
PE015 – ii

Matthew Hindson (1968)
A leading figure among Australia’s composers, Matthew Hindson studied at the Universities
of Sydney and Melbourne with teachers such as Peter Sculthorpe, Eric Gross, Brenton
Broadstock and Ross Edwards.
Hindson’s music typically embodies a response to events or trends within contemporary
society, and is particularly notable for the way in which the influence of popular musical
styles appears within a ‘classical’ context. Particular among his interests are the techno and
death-metal genres, and echoes or imitations of their driving, repetitive rhythms and stock
harmonic progressions are typically found in his works, as well as an energy and a sense of
fun lacking in much contemporary music.
Hindson’s works have been performed by many Australian ensembles and orchestras,
including most of the orchestras attached to Symphony Australia, as well as chamber groups
such as the Song Company, the Sydney Alpha Ensemble, and the Goldner String Quartet with
guitarist Slava Grigoriyan. His music has also been extensively performed around the world
at events including the Gaudeamus Music Weeks in Amsterdam in 1994 and 2000, the 1996
ISCM Festival in Copenhagen and the 1997 Paris Rostrum.
Chrissietina’s Magic Fantasy (1994)
During a stay in Melbourne, Hindson listened avidly to programmes on 3RRR radio devoted
solely to death-metal music. The energy peculiar to death-metal has found its way into
Hindson’s writing, focusing in particular on its freneticism, which is translated into intensely
gestural, rapid instrumental writing. When listening to death-metal music, one cannot
discern the words: this fact is of no great concern to Hindson, who enjoys the opaqueness of
the verbal signification.
PE015 – iii

In Chrissietina’s Magic Fantasy, the listener is teased gently by the anomaly between the
title – which could prepare one for a light, perhaps sparkly aural experience – and the reality
of the sonic onslaught of the piece. And yet there is a certain paradoxical attractiveness and
cogency about this sonic blast – in the theatricality, the total over-the-top, almost loopy,
utterly committed savagery and virtuosity in the instrumental writing, all offset by the added
combination of rockabilly and techno styles.
Premiered by Glenn Murray and Christine Myers in 1994, the work was selected as the
Australian Young Composers’ entry to the Bangkok Music Festival, and has since been
performed around Australia and the world.
© Linda Kouvaras, 1995
PE015 – iv

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Violin I
Violin II
Chrissietina’s Magic Fantasy
Matthew Hindson 
=
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: 4
3
Chrissietina’s Magic Fantasy © 1994 Matthew Hindson
This edition © 1998 Promethean Editions Limited PE015 – 1
ISMN: 979-0-67452-066-9

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PE015 – 2

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PE015 – 3

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76
79
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SO
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h µ < µ
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= -
Block-shaped noteheads: approximate pitch only, played across two strings. The written pitches are given as a rough guide to the general pitch area.
The overall effect is of a grunge or death-metal vocalist: scratchy, forced and out-of tune, very definitely 'over-the-top'.
C
<
<
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µ µ µ- µ
µ µ µ T S T µµ
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PE015 – 4

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Y C C C C C C C C C Z C C C C C C Y C C Y C C C Z C C Y C C C C Z C C C C C X C C X C C C Y C C X C C C C Y C
µ µ-
µ µ µ µ T R µ S µ = µ O S µ
= g
µ µ
C C C C
88
92
96
98
100
103
sul A
M
,
! R
T C
7 8
Y
=C
= CµO O µ
C
C
C
C
C
C
C
C
µ T
µ µ
__ Ç
__
! Y Y Y T C 2
3
Y Ç
O C
Y >
O
Y - C-
ff
! µµ O
2
3
>- µ µO µ µ X Y __ Ç
__
>- C Y Ç Y Y Y Y
C Y C
Y C Y C C
f
f
3
2
3
2
4
4
4
4
PE015 – 5

[
]
[
]
[
]
[
]
[
]
[
]
[
]
C
C
^
C
C
C
C
C
C
C
C
C
C
C
C
C
C
CC
C
C
C
C
C
C
C
B
B
^
?
A
A
C
C
C
C
S
C
C
C
C
C
C
C
C
C
C
C
C
B
B
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
>C
C
C
C
C
C
TU
C
C
C
C
C
C
C
C
C
T
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C C
C
?
A
A
CC
CC
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
B
B
C
C
C
C
C
C
__
C
C
C
C
C
C
C
C
C
B
B
C
C
C
C
C
C
C
C
B
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
?
@
C
^
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
?
?
C
C
C
S
C
?
A
A
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
^
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
105
107
111
! 3 2
! 3 2
Y C C Y C
Y C
C Y
C
C
C
C
G
X C
W C
X C
C
C
C
C
X C C
C
C
CC
Y C
C Y
C
C
Y C Y C
C
C
CC
C C C C C C C C C C C C C C S Y C C
f
C
C
C
C
P Expansive
gi Y - C- C- Y - Y
! Y C Y C C C 3 2 C
Y C 4 4
Y C C C C Y Y
ff
! µ W ^µ
< I
T S
µ Y C X C Y 3 2
Y C 4 Y _ _ _
Y C
_ C _ 4 Y C
_ C
C Y C Yff C Y C Y C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
4
Y C Y C
S µ •
4
ff
ad lib.
C
C
C
C-
__C
C
C
C--
O
O
abrupt
ad lib.
! O g O
?
Y Y 7 S
YffCC
Y
Y Ç
8
distorted
O
O
ad lib.
! O g O
?
Y Y 7 S
CC
Y
Y Ç
8
Yff
distorted
C
C
ad lib.
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
Y C
C
C
Y C
C
C
C
C
C
C
C
C
rall
=
g
µ
=
g
µ
C
C
µ µ
C
C
C
C
C
C
µ O S
=
g
µ
=
g
µ
=
g
µ
=
g
µ
=
g
µ
=
g
µ
C
C
C
C
Y _ _
Y Ç
_
Y _
Y Ç
=
g
µ
=
g
µ
C
C
115
!
Q
Y
A tempo
Y C
Y
Y
Y
Y C
Y
Y
Y
Y C
Y
!
Y
Y
Y C
Y
Y
Y
Y
!
Y
Y
Y C
Y
Y
Y
rall
C
C
?
T
!
Y
Y C
Y
Y
Y
?
T
R
Molto espr. C = 80
116
! 4
CCC
Y
f sostenuto
! 4
CC
Y
f sostenuto
C C C
C
C
C C
C O
B
B
g
C
C C C Y
Y CC
C
C
C
C
C
C
C
C
C
C
C
Y C
C CC C Y CC C B C
C C C C C
CC
C
C
C
C
C C B Y B
B
! Y
4
C C C C
B
B
B
B
rall
Y C
C C C C C C C C ?
! 4 @
Y
PE015 – 6

[
]
[
]
[
]
[
]
[
]
[
]
C
C
C
C
C
C
C
C
C
C
B
C
C
C
<
C
C
C
C
C
C
C
C
C
C
C
B
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
R
C
C
C
C
C
C
C
C
B
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
B
B
C
C
C
C
B
C
C
C
C
C
B
B
B
C
S
C
C
C
C
C
h
C
C
C
C
C
C
C
?C
C
Q
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
B
C
C
C
C
C
C
C
C
?C
C
C
120
S
! 4 4 S
A tempo
f
C
C Y C
! 4 R Y B B
f
G
C
C B B
B
B
B
G
CCOO
O
C B C O
h
B C Y C
C B B C
h B B
C
Y B B B
B B B
125
!
B
B
! Y B
Y B B
?
A
A
Y C
Y
Y
C C C
Y C C C
Y C
Y
Y
!
Y C C C
Y C
rall
C C C C C C C ? T
A tempo
f
126
Y
C
C
B
C
C
Y
C
Y C C C
C
C
C
! Q B YfB
B
B
B
B
C
C
128
!
C
C
C
! Y B B
Y C O
Y
B
g
C
B
B W B
B
Y B X B B B
?
AA
W C
W C
rall
W C
W
W
W
!
U
S
! Q
A tempo
C
mp
Y C B
130
C
mp
cresc.
cresc.
C C B B B
C
Y C
C Y B
C
C
C
C
f
OO
OO
Y OO
B OO
f
g
Y CC
C
V
?C
lib
Yad
C C C
Y
O
O
Y C C Y C
Y
O
134
Y C C Y C
Y
Y
Y C C
! Y X Y X 4 C Y C C C Y C C XC
Y C XC
X Y
Y C Y C
X
Y C X C
Y OO
OO
?
! Y O
4 PE015 – 7

[
]
[
]
[
]
[
]
[
]
[
]
[
]
B
B
C
T
C
C
C
h
C
>C
C
C
C
C
>C
C
C
C
C
C
CC
>C
C
C
C
C
>C
C
C
CC
B
B
C
B
T
C
C
C
C
C
C
h
>C
C
C
C
C
C
C
C
B
C
B
C=
S
C
C
B=
C
C
C
T
C
C
T
C
C
T
C
C
C
Ċ
h
>C
C
C=
C
C
C
C
C
C
C
>C
C
C
C
C
C
C
C
R
C
A
C
B
C
C
C
CC
C
>C
C
C
C
C
C
>C
C
C
C
C
C
CC
>C
C
C
135
W
! 4 4
! 4 4
Tempo I
Trill gliss. - trill to the semitone above
B
pp
Y B B Y B B Y B
O
Y C B Y B
Q Q Q Q Q Q
141
! B
trill gliss.
poco più
! C C C
pp C CC
CC
CC
CC CC CC
f
Y B
B Y B
B Y B
Y
C C
CC
CC
CC
CC
CC CC CC
CC CC CC
CC
CC CC CC
CC
Y C C Y C C C C CC C C C C C C C C
CC
CC
CC
CC
CC
CC CC
CC
Y
C C
CC
CC
CC CC CC
CC
CC
144
trill gliss.
! OO
crescendo
! C C CCCC CC CC CC
CC CC CC
CC CC CC CC
CC
crescendo
g
Y C
Y
Y
t X
t X
CC CC CC
CC CC CC
CC
CC
t X
Y B
Y B
t X
Y
C C
CC
CC CC
CC
CC
CC
CC
t Y
A
A
t Y
CC C C C C C C CC CC CC C C CC
U T
C
C W >
W C >
C
>C
C
>C
147
150
X
C
Y
Y
> Y C > C > C >
C
X
Y
> C
Y
>
4
3
C CC CCCC C C C Y
C CCC C C CCC C C C C Y C C C C CCC C CCCC CC CCC CC C C Y
C C C C
f
! 4
3 Y Y Y C C C C C C
O Y
C Y C O
:4 Q
4
sfz
sfz
! 3 4
CCCC
CCC C
C
CCC C C W C
W C C
C
x4
:4 4
G
sfz
Y C-
mp
Y -
cantabile
153
! C
p Y C Y C C C C C C C C C C C C C C Y C Y
! OO
Y C
h
Y
C C C C C C C C C C C C C
C O T Y C
Y C C C
G
Y
Y
Y
C C C
Y
C C C
C C C
156
!
!
C C Y C
G
C C C C C C C C C C C C C
O
Y C
h
Y
Y
C Y C
C C C
C Y C
C C C
Y
Y
Y
G
Y
C C
O
Y
C C C
Y
C
h
PE015 – 8

[
]
[
]
[
]
[
]
[
]
[
]
[
]
T
T
159
explosive, impassioned Z
Y COY
C
! Y C C Y C C C C C C C C C C C C C C
C CY
C
Y CY
C BOO
Y C
C g T
h
C
f
X A
C
!
S R C C C C
CC CC C C C C C C C CC
C C C
C
f
162
!
CO
! C Y
Y C
C C C
C
C C C Y C -
C C
C C C
Y C - C - C
C
C CC C C C C
Y
Y C C
C
G
C
C
C C C
g
Y C
Y B
C C
C
C C
C C C C
C C
Y C
C C
C
G
C C
g
Y C
C
C
C C C
C C C
I
C
Y C CCC
C
Y C
h
C C C
165
!
Y B
=
Y C
C CY
C
Y -
Y C B < C
Y C C - CO
Ḡ
C
h
A
! Y
C Y C
C C
C CC Y C C C Y
Y C C
C C C C C C C C Y C C Y C Y C
CY
C
CY
C
C C Y
C
C
C
Y C
Y C
C C C C C C C C C C C C C C
168
!
!
A
Y C
C Y C C C C C C C C C C C C CY
C
AA
W
W C C
C C C C C C C C C C C C C C
f
W A
W A
ff >-
bold, inspirational
W C
CW C
CW C
C C C C C C C C C C C W B
> -
W B
B
>-
B
171
!
!
174
!
W C
A
>-
A
B > -OO
BOO
C W C C C C C C C C C C C C C C
Y C
h
C W C
! C C CC C C C C C C C C C C Y
C C Y CY C C
C C
Y A > Y A
W
B
B
C C C W C
C C C C C C C C C C C Y B
> -
C C
C C C
Y B
C C C
Y C C C C C C C C
Y C
C
f
C C
C C
C
C
C C
C C
C C
C C
C
C
C C
C C
C C
C C
C C
C C
C
C
C C
A
A
A
>-
W CW
C
X CW
C W CW
C CW C
>
B
J
ff
C C W C
C C
C
C C C
C C
C C C C C
C C C
177
!
W A-
W A
C
! W C C CC C CC C C C CC C CC C C C W W C
CC C C
W C
W CO
CO
C
h
C C C
C C C
C C C C C C C C C C C C
X A
X X C
C C
C C C
C C C
C C C C C C C C
C C C
C C
C C
C C C
PE015 – 9

[
]
[
]
[
]
[
]
[
]
[
]
[
]
T
A
A
C?
B
B
C
C
C
C
T
C
Ċ
C
h
C
C
C
C
h
Ċ
C
>C
C
=C
C
C
C
C
CC
C
>C
C
C
C
>
>C
C
C
CC
C
C
C
C
=C
C
C
C
CC
C
C
C
C
C
C
C
C
C
CC
CC
>C
C
C
=C
C
CC
C
C
C
C
C
C
CC
>C
C
C
C
CC
CC
T
=C
C
C
>
C
C
h
C
Ċ
C
C
<
C
<
C
>C
C
C
C
C
C
C
C
C
C
C
C
C
>C
C
T
C
C
C
C
C
C
Ċ
C
h
C
C
CC
C
C
>C
C
C
>
C
C
C
C
C
C
C
C
C
Ċ
C
>C
C
C
T
T
C
>C
T
C
C
C
C
>C
C
h
C
Ċ
CC
C
>C
C
C
C
^
C
^
C
C
C
C
C
CC
C
C
C
?
A
___
A
CC
C
>C
C
R
C
>C
C
C^
C
C
h
h
C^
CC
180
!
Y
O
C
C
^A
A
A
A
! C Y C
Y C
C C C C
C
C C C
C C C C C C C C C C C
C
C
C
C
C
C
C
C C
C
W
C C Y C
W
Y
W
C C C
C C C C C
W
C C Y C
W
Y
W
C C C
C C C C C
O O O O O
O C>C > C > C > C > C >
O O O O O
O
Meno Mosso
! Q
ff
Y
Y
!
X
ff > C
C Y C C C C C CC C C C C C C C
C C
C C Y C
> C C C C C C C C C
>C
>C >C
>C
C C
> C C
CC C C C C C
g
> > >
C B
f
BB A tempo C O C C O Y C . Y C . Ċ C O C C C O Y C . Y C . Ċ C O C C C O Y C . Y C .
! : T h
T h
3 4
ff
C
! : Y
> Y C >
Y
Y
Y C > C > C >
Y C >
X
Y
4
3
C C C CCC C C C Y
C C CC C C CCC CC C C Y C C C C CCC C CCC C C CCCC CC C C Y
C CC C
ff
Y Y C C C C C C C Y C
CC C O C C C O Y C . Y C .
! 4
3 :4
Ċ C O C C C O Y C . Y C .
4
h
C
C
C
C
C
C
C
C
C
C
183
186
189
192
! 3 4
CCCC
CC CC
CC CC
W C
C
W
C
C
:4 4
C C CC
CCC C
Y C C
CC C C
Y
C C
C C
CC CC
Y C C
C C
CC CC
O O Y . Y C .
DD
Y Y Y C C C C C C Y C
! 4
3 4 C Y .
! 3 4 CCCC CCC CC C Y C C Y
.
C 4 CC C C C C CC
W W
CC
CC
CCC C
Y C C
CC C C
C O C C C O
C C CC
C C Y C C
Y C C C C C C C C C C
CC
CC
Y C . Y C .
Y C . Y C .
195
199
! T
Ċ
h
! T C
!
!
f
ff
C C
O C C C O C
C C
? Y
A A
ad lib
Y > C
Flamboyant
C C
Y C .
Y C.
C>C Y > C > C > C> Y C
> C Y C
Y . T g
.
ff
Y .
T g
.
ff
Y C
C O C C C O
C O C C C O
Y C
<
Y C .
<
Y C.
<
Y C .
<
Y C .
C C C C
Meno mosso
Y C-
Y C-
Y -
Y C -
rall
Y C -
Y C-
Y - C - X C-
Y C- C - X C-
W C
>C
Y C
>C
X C
>C
C
C
Y
Y
Y C
C
Y
Y
G
?
A
___
A
fff
fff
Y C C X C
Y C C X C
Y
sfz
Y C
C
sfz
PE015 – 10

PROMETHEAN EDITIONS