Score and parts for hire

In 1999 I was the recipient of a composer attachment with the Sydney Symphony Orchestra. As part of this attachment I was expected to compose three works, the third of which was to be a concerto of some kind.

In Memoriam is written for amplified cello with orchestra. Amplification was initially recommended by the performer, Nathan Waks, who was very encouraging in getting me to write the work. Amplification makes available the potential of a difference in tone colour (as compared to the unamplified instrument) as well as offering increased dynamic levels. There are two contrasting movements within In Memoriam, “Lament” and “Celebration”.

The work is dedicated to two of my relatives who passed away suddenly, Hargret Davis and Robert Hopkins. Both were around about my age when they died. Robert was an Aboriginal, and hence the use of some quasi-Aboriginal figures in the piece. In Memoriam is not just about my two particular cousins. In this piece I have strived to explore many of the universal feelings experienced upon the death of a loved one. Thus there are moments of anger, sadness, grief, resignation and so on. The work does not aim to be morbid, either.

The second movement in particular aims to celebrate joyous memories of life. In Memoriam was premiered on 5 April, 2001 at the Concert Hall of the Sydney Opera House. It was performed by Nathan Waks (amplified cello) with the Sydney Symphony Orchestra, conducted by Richard Gill.

‘The world premiere of Matthew Hindson’s Concerto for Amplified Cello and Orchestra: In Memoriam… cast in two movements, “Lament” and “Celebration”, was an imaginative and vividly energetic work and one of the best largescale scores of Hindson’s that I have heard to date…’ The Sydney Morning Herald - Timeout (Peter McCallum), 9 April 2001. ‘…a consistently interesting, intermittently impressive, and occasionally astonishing piece that bespoke a depth and maturity in the work of this young composer that I had not experienced before… In Memoriam was overflowing with ideas and well equipped with surprises… there was no doubt it spoke meaningfully to the much more versatile ears of the twilight Meet the Music audience, with its eclectic mix of young blades and adventurous oldies… Not only did the Hindson draw far and away the most enthusiastic applause of any work on the night’s agenda, but its response eclipsed by a long road that afforded to any other world premiere I have ever attended… it was an achievement of significant enough size to turn many composers of the younger generation green with envy.’ Opera-Opera (David Gyger) May 2001, Page 281.9