Dorothy Hindman's music, a blend of punk/grunge with a spectralist sensibility, has been described as “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), “music of terrific romantic gesture” (The Buffalo News) and “one of the hopes of the present chamber music” (Kulturni Magazin UNI).

Her over 350 performances span 30 states and 16 countries, including major venues such as Carnegie Hall, the United Nations, Boston’s Jordan Hall, the American Academy in Rome, Amsterdam’s Muziekgebouw, Berlin’s BKA-Theater, and Miami’s Adrienne Arsht Center. Numerous festival appearances include the Havana Contemporary Music Festival, Australian Flute Festival, 2015 Birmingham New Music Festival, Nuovi Spazi Musicali Festival, Imagine, and New Music Greensboro.

Hindman’s music has been commissioned and performed by the world’s top new music performers including most recently the Bent Frequency Chamber Ensemble (Atlanta), Pulse Ensemble (Miami), Empire City Men’s Chorus (NYC), virtuosi including Bang-on-a-Can’s bassist Robert Black, cellist Craig Hultgren, guitarist Paul Bowman, percussionist Stuart Gerber, the Caraval Quartet (NYC), the Goliard Ensemble (NYC), the Atlas Saxophone Quartet (Chicago), the Corona Guitar Kvartet (Denmark), and orchestras including the Women’s Philharmonic Orchestra (reading session), the Alabama Symphony, the Brevard Symphony Orchestra, and the North Florida Symphony Orchestra. Her installation with artist Sally Johnson Projections and Reflections has been exhibited in multiple museums throughout the Southeast.

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