Enter your username and password

Forgotten your username or password?

Your Shopping Cart

There are no items in your shopping cart.

Homage to Metallica

Sheet Music: Score

Homage to Metallica : for orchestra / by Matthew Hindson

by Matthew Hindson (1993)

  • Sales Availability: This item is not available to customers outside Australia and New Zealand.
    Please contact http://www.fabermusic.co.uk for all sales enquiries.
  • Library Availability: Q 784.2/HIN 3 — Available for loan
  • Instrumentation: 3 piccolos (2nd & 3rd doubling flute), 2 oboes, cor anglais, E flat clarinet, clarinet in B flat, bass clarinet, 2 bassoons, contra-bassoon, 5 horns, 3 trumpets in C (3rd doubling trumpet in B flat), 2 trombones, bass trombone, tuba, timpani, percussion (2 players), harp, strings, amplified 1/8 size solo violin.
  • Audio Sample

    Performance by Sydney Symphony, Simone Young, Martin Lass


This item is not available to customers outside Australia and New Zealand.
Please contact http://www.fabermusic.co.uk for all sales enquiries.

Product details

Homage to Metallica was written by Matthew Hindson in 1993 "not just as a tribute to this particular band, but rather to the whole genre of heavy metal music". The listener needs no knowledge of Metallica songs to be taken into Hindson's fantastical world.

Heavy metal music often centres around the 'evil' interval of the tritone and the semitone. These intervals are found in the Locrian mode which some centuries earlier was consider an illegal interval. The 'illegal' takes on a more confronting reality in the heavy metal world of dark satanic fantasy. But Hindson is not trying to encourage devil worship; rather, he is attracted to "the extreme sense of theatricality, virtuosity and rhythmic energy that is so representative of this style".

Instrumentally, the use of a 1/8th sized solo violin may at first appear to belong to the school string class (and indeed this is where Hindson, a string co-ordinator at MLC School, conceived the idea) but once amplified and played in 'thrash' style it becomes an entirely different musical weapon. The small fingerboard allows for rapid leaps, while wide glissandi and the scratchy tone (this is no Strad!) helps to conjure the timbre of a distortion guitar.

Distinctive melodic lines in parallel semitones are featured in the solo violin and also in the trombones (chosen partly for their glissandi capability) which take on the timbre of a car horn or, as in the opening of the piece, and air-raid siren. One is alternatively flung between 'road rage' and 'War of the Universe'.

Homage to Metallica, however, does not exist in a completely dark world. There are passages of ecstatic tonal harmony towards which the music is often moving. These brilliant major-chord hues are just as crucial to the piece as the dark menace of the Locrian-based harmony, and one only needs to look at Hindson's catalogue of works to find similar ideas in pieces such as In Search of Ecstasy, Rave-Elation and Chrissietina's Magic Fantasy.

Written for large orchestra with triple winds, the piece opens with massive orchestral blows measured out by glissandi trombones and the explosive clanging anvil which tolls like a prelude to Armageddon. The orchestra builds up to an ecstatic melée of virtuosity before subsiding to solitary harp arpeggios in E minor. Soulful melodies in the cor anglais and solo viola start a process of textural crescendo which leads to a passage for the solo violin. This sets up the thrash ('rhythmic energy') in repeated notes which remain for the majority of the piece, reinforced by pounding bass drum crotchets and (later) racing rototom patterns. The melodic material here is modally clear in a style of high drama.

A second passage for the solo violin, this time a cadenza, suspends rhythmic motion in favour of a more solitary exploration of the instrument - heavy metal Paganini! The coda is marked 'apocalyptic' and brass triads alternate in E and B flat major (a tritone apart) creating an aura of Wagnerian splendour underscored by the thrash motive in one last surge towards ecstasy in E major.

Notes by Stuart Greenbaum, 1997

Published by: Australian Music Centre (under licence from Faber Music) — 1 score (41p. -- A3 (portrait))

Difficulty: Medium — Professional or professional-standard.

Duration: 15 mins

Commission info: Composed for the 1993 National Orchestral Composers' School.

First performance by Adelaide Symphony Orchestra — Sep 93. Adelaide Town Hall.

Includes programme note.

Includes performance instructions.

Typeset edition.

This edition produced 1997.

User reviews

Be the first to share your thoughts, opinions and insights about this item.

To post a comment please login