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Dorothy Hindman

Miami, FL         

“Hindman offers extraordinary glimpses into interesting topics, concepts of modernity and structured complexity. … for many listeners the composer’s first CD Tapping The Furnace represents a remarkable discovery,” says Kulturni Magazin UNI.

Dorothy Hindman’s music has been called “bright with energy and a lilting lyricism” (New York Classical Review), “dramatic, highly strung” (Fanfare), “varied, utterly rich and sung with purpose and heart” (Huffington Post), “powerful and skillfully conceived” (The Miami Herald), and “music of terrific romantic gesture” (The Buffalo News).  Of her latest CD Tightly WoundICONmagazine says, “Hindman’s music weds technique and syntax of classical music with the directness and impudence of rock. Highly recommended for rockers wishing to get their proverbial feet wet in post-20th century classical music.” 

She writes:
“My current compositional style is influenced by Classical Spectralism, but instead of using instrumental sounds or manipulations of overtones as sonic models, I use American popular culture artifacts, combining the two into a unified artistic expression.

My works are inspired by the history of the places I reside, and how it is distorted through the lens of contemporary individual perception. Many pieces explore the modern individual’s relationship to physical and artistic remains of past civilizations.  Others focus on the cultural, social and economic legacies of industrialization, slavery and racist policies in the New South, where I lived for sixteen years. 

All of these influences result in an inviting yet wholly new musical language.  Surface level impact comes from the driving rhythms of my punk/rock background.  Deeper emotional and intellectual levels arise from the aesthetic and philosophical questions I pose framed within elegant, unique music .  I want to captivate my listener, and reward them with an experience.” 

Spanning 16 countries and 30 states, her over 400 performances include Carnegie Hall, the United Nations, Jordan Hall, the American Academy in Rome, Amsterdam’s Muziekgebouw, Berlin’s BKA-Theater, and Miami’s Adrienne Arsht Center.  Festival appearances include the Havana Contemporary Music Festival, Australian Flute Festival, Birmingham New Music Festival, Nuovi Spazi Musicali Festival, Imagine, and many others.

Hindman’s awards, recognition, and adjudicated performances include three Gold Medals in the 2017 Global Music Awards, 2017 ISCM/New Music Miami, 2017 Boston Microtonal Society, Iron Composer 2015, a 2015 Artist Access Grant from the Miami-Dade County Department of Cultural Affairs, a 2015 University of Miami Provost Research Award, NoteNova Choral Competition, Almquist Choral Composition Award, Nancy Van de Vate International Composition Prize for Opera, International Society of Bassists Solo Composition Competition, the NACUSA Young Composers Competition, and many more. 

Hindman’s compositions for world-renowned musicians include Bent Frequency Chamber Ensemble, Pulse, Empire City Men’s Chorus (NYC), Bang-on-a-Can double bassist Robert Black, cellist Craig Hultgren, the Corona Guitar Kvartet (Denmark), the Florida Orchestra, the Alabama Symphony, the Brevard Symphony Orchestra, and multiple national youth and university orchestras.

Guest teaching and residencies include the 2018 Charlotte New Music Festival, a 2017 Seaside Escape2Create Fellowship, the 2017 and the 2016 Miami International Piano Festival Academy, the 2016 Summer Composition Intensive, the 2015 AmiCa Credenze POP Festival, American Academy in Rome Visiting Artist, and Visby International Centre for Composers, Sweden. 

Hindman is Associate Professor of Composition at the Frost School of Music, University of Miami. Her eleven CDs include Tapping the Furnace(innova 848) and Tightly Wound(innova 965). Hindman’s music is published by Subito, dorn/Needham, and NoteNova.  dorothyhindman.org

Drift for saxophone quartet

Drift is concerned with the perceptual dilemma that no matter how hard one tries, it is not possible to
fully focus on a piece of music from beginning to end without having other thoughts or ideas drift in,
or rather, it is not possible not to drift in thought while listening to a piece. There are a number of
devices in Drift that attempt to force the listener to constantly return their attention to the piece, including
hooks, repetition, and timbral effects. Drift was written for the Lithium Saxophone Quartet in 2002 at their request.

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drowningXnumbers for amplified cello, live performance by Craig Hultgren

“drowningXnumbers” (drowning by numbers) was written at Atlantic Center for the Arts in 1994, for cellist Craig Hultgren. It exploits effects made possible by amplification, and incorporates virtuosic effects. It is a continuous, fifteen minute work divided into three main sections. The first is unforgivingly aggressive, the second is more percussive but less frantic, and the third is increasingly quiet, desolate, and still. The title suggests a metaphor for the work, but is a reference to Peter Greenaway film, and mentor Louis Andriessen.

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Tapping the Furnace for speaking percussionist, feat. Stuart Gerber

Tapping the Furnace for percussion solo was written in memory of James Withers Sloss, who built what became the Sloss Furnaces in Birmingham, Alabama. The furnaces drove Birmingham’s steel economy for a century, earning Birmingham the name “Magic City”. This piece is also in memory of the many primarily African-American workers who were maimed and killed in the furnace while at work. Powerful bombastic attacks are increasingly muted and choked, inspired by the massive expenditure of energy by men and furnace, that eventually fell silent.

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