Instrumentation

Professional Version: 2(I+II=picc).2.2.1.cbsn - 2(4).2.3.0 - timp - perc(2) BD/2 SD/Tom-t/2 crash cyms/ride. cym/ch.cym/glsp - harp - strings. Alternative Orch: uses 4 hrn and 3 trbn. Version for amateur orchestra: (picc).2.2.2.2 asax.2 - 2(4).2.2.1 - timp - perc(6): glsp/xylo/drum kit/2 crash cym/ch.cym/2 wdbl/congas or bongos/tgl/claves/sand block (or chicken shaker or maraca)/vibraslap/c.bell/tamb - pno - strings

Availability

Score 0-571-52177-0 on sale, parts for hire

Programme Notes

Matthew Hindson RPM RPM stands for Revolutions per Minute. This piece seeks to capture the feeling of unrelenting speed, acceleration and momentum. The composer was influenced by heavy metal music, and describes the overall effect as similar to that of driving in a car at a very high speed. prog.note from Symphony Under the Stars programme guide, 1998

Reviews

‘I was particularly interested to hear RPM by Matthew Hindson, Sydney’s self-appointed chronicler of recent popular musical styles in a symphonic setting… What I think Hindson does rather well is to adopt a tone of naive homage, without irony, slickness, or sarcasm. In a post-modern age of quotation, double-coding and sarcasm, that is rather refreshing and also rather original.’ The Sydney Morning Herald, 16 January 1998

RPM (Orchestra)

Matthew Hindson

£11.99

RPM

National Concert Hall (Dublin, Ireland)

RTÉ National Symphony Orchestra

RPM

Central Coast Conservatorium (Gosford, NSW, Australia)

Sydney Symphony Orchestra/Colin Piper

RPM

Lazenby Hall, University of New England (Armidale, NSW, Australia)

New England Conservatory/Paul Marshall

RPM

Blackheath Halls (London, United Kingdom)

Gerry Cornelius/Trinity Laban Orchestra

RPM

2 perfs, plus video presentation and live relay to F1 Malaysian Grand Prix hospitatlity, and possibly KL City Centre big screen

Dewan Filharmonik Petronas (Kuala Lumpur, Malaysia)

Malaysian Philharmonic Orchestra/Kevin Field

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'RPM' reviews

‘I was particularly interested to hear RPM by Matthew Hindson, Sydney’s self appointed chronicler of recent popular musical styles in a symphonic setting … What I think Hindson does rather well is to adopt a tone of naive homage, without irony, slickness, or sarcasm. In a post-modern age of quotation, double-coding and sarcasm, that is rather refreshing and also rather original.’ The Sydney Morning Herald, 16 January 1998
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