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Welcome to the website for

Brian Hughes, musician, conductor, teacher and author. I'll try to keep readers updated as to my comings and goings as well as adding exciting news (at least as I see it) in the world of music.

This is definitely a work in progress! Stay tuned.

Brian Hughes

Bio

Biography

Brian Hughes is a very active conductor both at home and abroad. He made his European conducting debut with the Northern Iowa Chamber Winds in Eger, Hungary in 1993 and has subsequently conducted ensembles in the Czech Republic, Poland, Romania and Russia. He founded the Tri-State Wind Symphony of Dubuque, Iowa in 1995 and has led that organization through seventeen seasons of quantitative and qualitative growth. At present, Hughes also serves as Music Director of the Quad-City Wind Ensemble, Davenport, Iowa. As an orchestral conductor, Hughes formerly served eight years as conductor of the Dubuque Youth Symphony and six as assistant conductor of the Dubuque Symphony Orchestra, leading that ensemble in ten concerts during its conductor search. He has also appeared several times with the Dubuque Community String Orchestra and has led orchestras and wind groups in clinic, concert and festival appearances in Iowa, Illinois, Wisconsin, and Pennsylvania. As a teacher, he has served school positions in Gilbertville, Iowa; Rock Island, Illinois; and Dubuque. For 15 years he was a faculty member at Loras College, Dubuque, serving seven years as department chair and another six heading up the institution's Arts and Lecture Series. He formerly served as a graduate associate conductor, staff conductor, and associate lecturer at the University of Wisconsin-Madison, where he led the University Symphony, Chamber Orchestra, Contemporary Chamber Ensemble, and University Band. He was subsequently invited to return as guest conductor of the UW-Madison Wind Ensemble.A proponent of new music, Hughes coordinated the reading/recording project at UW-Madison, as well as led UW-Madison ensembles in no fewer than four world premieres, including Alex Nohai-Seamans 50-minute Requiem for soprano and chamber orchestra. With the Quad-City Wind Ensemble he led first performances on a concert in conjunction with the Iowa Composers Forum in 2008 and led the first performance of Roy Magnuson's to have seen the worst...and to expect the best... with the Quad-City Wind Ensemble on May 1, 2011. The Tri-State Wind Symphony premiered its newly-commissioned fanfare by local composer Adam O'Dell in June 2011.As an author, Hughes has written program notes for the Dubuque Symphony as well as the Symphony and Chamber Orchestras of the University of Wisconsin-Madison. He continues an eleven-year association writing for BRAVO! the magazine of the Waterloo-Cedar Falls Symphony and recently filled in at literally the last minute as an author for the Knoxville (TN) Symphony.He received the Bachelor of Music Education Degree from Olivet College (Michigan). The University of Northern Iowa awarded subsequent Masters Degrees in both Music Education and Conducting and he is a candidate for the Doctor of Musical Arts Degree (ABD) in Conducting at UW-Madison.Hughes has won conducting prizes from the Hradec Kralove Philharmonic and the West Bohemian Philharmonic, both in the Czech Republic. He is a two-time winner of the Richard and Agatha Church Conducting Prize, presented by the University of Wisconsin-Madison. In recognition of his "outstanding contribution to the arts," he was presented the 2005 Elisha Darlin Award, given by the Dubuque County Fine Arts Society. In his spare time, Hughes can be found in both the kitchen and his wine cellar, dreaming up the perfect pairing.
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Testimonials

I consider him to be one of the finest directors I have ever worked with.Jim Crowder, Past President, Iowa Music Educators AssociationMr. Hughes' conducting technique borders on the brilliant. This is true of both his baton work and his rehearsal style. Brian is fully capable of comparison with any conductor I have worked under, no matter the group, no matter the level of performers.Paul T. Henley, Ph.D (TX)I can honestly say that out of the 15-20 conductors I have played under- he is the best, both as a teacher and as a leader.Paul Kohl, Ph.D Loras College (IA)Better than merely coping with Wagner's Prelude to "Die Meistersinger," the Youth Symphony, under the very able baton and inspired pedagogy of Conductor Brian Hughes, gave the concert-goers their money's worth and then some.Harvey Hess, Dubuque (IA) Telegraph HeraldBrian has charisma in abundance, a talent for speaking and relating to audiences of all kinds, a dynamic stage presence and very creative programming....He treats musicians with respect and still is able to expect and get the best results possible with limited rehearsal time.Nicholas Palmer, DMA, Music Director, Owensboro (KY) SymphonyBrian Hughes is the quintessential music educator. He is a passionate, sensitive artist with a tremendous depth of knowledge. He is truly excited about newly discovered music and the next opportunity to play it. He understands what people want out of a class or a rehearsal, and he delivers. He teaches us to love music, and we in turn love him for teaching us that.Jay Kahn, Director of Bands, Maquoketa (IA) SchoolsHis physical technique on the podium is both clear and expressive, resulting in performances that achieve both ensemble precision and musical style....Brian's combination of musical leadership and personal affability makes him an effective teacher and mentor as well as a welcomed professional colleague.John Stevens, University of Wisconsin-MadisonI know I speak for the orchestra when I say it was not only a delight to play his concerts, but he had wonderful rapport with the audience.Tracey Rush, Executive Director, Northeast Iowa School of MusicBrian is a distinguished musician, and his enthusiasm for teaching and conducting great music is quite inspirational for those lucky enough to perform with him.James Smith, University of Wisconsin-MadisonIn all situations his work was excellent and demonstrated thorough score study and preparation of the ensemble.Randy A. Hogancamp, University of Northern IowaBrian Hughes has been a driving force in the Dubuque-area musical community for many years....His drive and energy for making music seem endless.Ann Duchow, Associate Concertmaster, Dubuque (IA) Symphony OrchestraHis rehearsal technique is effective, inspiring, demanding, helpful and courteous, marked by thorough and consistent preparation, and his conducting technique right on for style and character. Musicians under his direction trust and respect his musicianship, and they and audiences enjoy his leadership and programming.Roy W. Carroll, Ph.D, Loras College (IA)He takes players at whatever their level of accomplishment or ability is and proceeds to rehearse and educate and ultimately improves their skill, musicality and understanding. He is always well prepared for rehearsal and consequently effectively maximizes precious rehearsal time. Predictably, his efforts result in excellent performances.Louis Sacchini, Ph.D, University of Wisconsin-Platteville (ret.)
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Conductor

Northeast Iowa Community College, Peosta, IA: Instructor of Music, 2012-Black Hawk College, Moline, IL: Concert Band Conductor, 2012-Dubuque (IA) New Horizons Band: Conductor, 2012-Quad City Wind Ensemble, Davenport, IA: Music Director, 2007-Roy Magnuson: Eine Kleine Kan-Kan Music (World premiere)Roy Magnuson: To have seen the worst...but expect the best (World premiere commission)Tri-State Wind Symphony, Dubuque, IA: Founder and Conductor, 1995-Jonathan David Tschiggfrie: Eagle Point March (World premiere)Adam O'Dell: A Tri-State Fanfare (World premiere commission)George Washington Middle School, Dubuque, IA: Director of Bands, 2008-2010University of Wisconsin-Madison: Associate Lecturer in Band, 2005-2008Jeffrey Kryka: An American Pastorale (World premiere)University of Wisconsin-Madison: Graduate Conducting Associate, University Symphony and Chamber Orchestras, Contemporary Chamber Ensemble, 2004-2006Stacy Barelos: 30% from Pumpkins (World premiere)Christopher Walczak: Lost in a Moment that has Come and Gone (World premiere)Alexander Nohai-Seaman: Requiem (World premiere)Dubuque Symphony Orchestra: Assistant Conductor, 1996-2002Sarah Lepp: Song of Christmas (World premiere)Robert Wendel: Carol of the Bells (World premiere)Robert Wendel: The Tall Ships (World premiere)Dubuque (IA) Youth Symphony: Conductor, 1994-2002Jeremy Beck: Summer, Uptown (World premiere commission)Robert Songallo: Westward the Pioneers (World premiere)Ralph Hultgren: Her Majesty's Ships (American premiere)Loras College, Dubuque, IA: Director of Instrumental Music, 1993-2008Wind Ensemble, Jazz Ensemble, Chamber Orchestra. Also taught courses in music appreciation, theory, history, orchestration, conducting and first-year studiesGrace United Methodist Church, Waterloo, IA: Organist, 1992-1993Bettendorf (IA) Park Board Band: Associate Conductor, 1989-1991 First Baptist Church, Moline, IL: Director of Music, 1988-1991Choir Director and substitute organistAlleman High School, Rock Island, IL: Director of Music, 1987-1991First Superior Ratings at ISHA Contest in 40-year history of the school.Don Bosco High School, Gilbertville, IA: Director of Music, 1984-1987Concert Band, Concert Choir, Girls' Glee Club, Chamber ChoirFirst Presbyterian Church, Dimondale, MI: Director of Music, 1978-1983Choir Director and substitute organist
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Guest Conducting

1992-1993:University of Northern Iowa Symphonic Band, Wind Symphony, Chamber Players, UNITuba EnsembleStudent recital conductor (University of Northern Iowa)R. Strauss: Serenade, Op. 7Crumb: Night of the Four MoonsCedar Rapids (IA) Municipal Band1994: Ensemble Clinician at Hempstead High School (Dubuque, IA), Wahlert High School (Dubuque, IA), and Northeast Community High School (Goose Lake, IA)Cedar Rapids (IA) Municipal BandBig East Conference Festival, Preston, IADubuque County Junior High Festival, Dubuque, IANortheast Iowa Bandmasters Association Festival, Oelwein, IA1995: Ensemble Clinician at Hempstead High School (Dubuque, IA), Wahlert High School (Dubuque, IA), and Northeast Community High School (Goose Lake, IA)Dubuque (IA) County Junior High FestivalDubuque (IA) Community School District Elementary Festival MFL-Mar Mac Invitational Band Festival, McGregor, IA1996:Big East Conference Festival, Bellevue, IAAll-City Orchestra Festival, Rockford, ILEnsemble Clinician for Hempstead High School (Dubuque, IA), Wood Junior High School (Davenport, IA), Northeast Community High School (Goose Lake, IA), and Jesup (IA) High School1997: Upper Iowa Conference Festival, Garnavillo, IAIowa Star Conference Festival, Gilbertville, IAAmerican Symphony Orchestra League Conducting Symposium, University of Michigan, Ann Arbor.Dubuque County Junior High Festival, Farley, IowaGuest Conductor, North Iowa Cedar League Festival, Traer, IA1998: Districts 3, 4, and 6 Honors Orchestra, Johnstown, PABig Bend Conference Festival, Solon, IA1999: North Iowa Cedar League Festival, Ackley, IAInternational Conductor's Workshop, Hradec Kralove Philharmonic, Czech Republic (Winner of Conductor's Prize for Weber: Overture to Der Freischutz)2000:International Conductor's Workshop, West Bohemia Philharmonic Orchestra, Marianske Lazne, Czech Republic. (Winner of Conductor's Prize for Franck: Symphonie in d-minor)2001:Hradec Kralove Philharmonic, Czech RepublicBernstein: Overture to CandideBarber: Adagio for StringsCopland: Four Dance Episodes from RodeoMendelssohn: Symphony No. 5, "Reformation"Karlovy Vary Symphony, Czech RepublicRespighi: The BirdsCopland: Appalachian Spring (original version)Beethoven: Symphony No. 6, "Pastoral"West Bohemia Philharmonic, Marianske Lazne Czech Republic"The Music of Mozart"Overture to Don GiovanniSinfonia Concertante for Winds and Orchestra, K. 297bSymphony No. 41, "Jupiter"2002:Northwest Illini Festival, Galena, ILDubuque (IA) County Junior High Festival2003Tri-State Music Festival, Decorah, IADubuque (IA) Community String OrchestraTri-II Music Festival Band Dubuque, IAGeorge Enescu Philharmonic (formerly Bucharest Philharmonic), RomaniaBernstein: Overture to CandideElgar: Cello ConcertoBrahms: Symphony No. 1(+ continuo) Dubuque (IA) Chamber StringsDubuque (IA) County Junior High Festival2004: Philharmonia Sudezka, Walbrzych, PolandCopland: An Outdoor OvertureBarber: Adagio for StringsDonizetti, Saint-Saens, Mascagni, Bizet: Opera ariasHoward Hanson: Symphony No. 2, "Romantic"Dubuque (IA) Community String Orchestra and FriendsAnderson Vocal Arts Studio/Loras College Opera Workshop. Gilbert and Sullivan: The Mikado, Grand Opera House, Dubuque, IANorthwestern University (IL) Wind Conducting SymposiumWAMAC Conference Festival, Dyersville, IA2005:Guest Concert/Contest Clinician, Maquoketa (IA) Middle and High Schools, Hempstead High School (Dubuque, IA)Maquoketa Valley-Delhi, IA Music Festival2006: Guest Clinican, Maquoketa (IA) Middle School in preparation for an Iowa Bandmasters Association Conference audition (the ensemble was subsequently selected for appearance on the 2006 IBA Conference)Vernon Hills (IL) High School Wind Ensemble clinic at UW-MadisonUniversity of Wisconsin-Madison Wind EnsembleGounod: Petite SymphonieU.S.A.F. Heartland of America Band, Dubuque, IADavid Holsinger: On A Hymnsong of Philip BlissQuad-City Wind Ensemble, Davenport, IA (subsequently offered position of Music Director2007: Southeast Iowa Bandmasters Association Festival, Iowa City, IAPskov (Russia) PhilharmonicChadwick: JubileeCopland: Billy the KidSchumann: Symphony No. 2UW-Madison Chamber Players (AIDS Benefit Concert)Albinoni: Adagio for Organ and StringsHaydn: Cello Concerto in D-majorAlex Nohai-Seaman: Requiem (world premiere)Northeast Iowa Bandmasters Festival, Oelwein, IA2008: Tri-II Festival Orchestra, Dubuque, IA2011:Contest clinician, Maquoketa (IA) Middle school bandsClinician/Conductor, Northeast Iowa School of Music, Summer Orchestra, Dubuque, IADubuque Community String Orchestra
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Education

Bachelor of Music Education (Minor: Speech/Theatre), Olivet College, MIWinner: Olivet College Theater PrizeMaster of Music Education, University of Northern Iowa, Cedar Falls, IAInducted into Pi Kappa Lambda Honorary Music SocietyMaster of Music (Conducting), University of Northern IowaDoctor of Musical Arts ABD, (Minor: Musicology), University of Wisconsin-MadisonTwo time Winner of Richard and Agatha Church Conducting PrizePrincipal Conducting Teachers: Kenneth Kleszynski, Danford Byrens, Ronald Johnson, David Becker, James SmithAdditional conducting studies: Frank Battisti, Eugene Corporan, John Locke, Felix Hauswirth, Kenneth Kiesler, Gustav Maier, Frantisek Vajnar, Ottakar Trhlik, Jonathan Sternberg, Rebecca Burkhardt, Malorie Thompson, H. Robert Reynolds, Beverly TaylorApplied Music Studies: Voice: Emily Byrens, John Dalke; Organ: Stephen Lange, Danford Byrens, Euphonium: Jeffrey Funderburk; Cello: Lori Hamburg MeyerMusicology: Patricia Aiken, Danford Byrens, Ronald Ross, Lathan Jernigan, Peter Michaelides, David Buch, Lawrence Earp, Susan Cook, David Crook
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News

UPCOMING PERFORMANCES October 23, 2011: Quad City Wind Ensemble, 3:00 p.m., Galvin Fine Arts Center, St. Ambrose University, Davenport, IA"Symphonic Moments" Johann de Meij: "Gandalf," movement 1 from Lord of the Rings Alfred Reed: A Symphonic Prelude Jean-Baptiste Arban: Theme and Variations from Bellini's NormaDavid Greenhoe, Trumpet Gioachino Rossini/Schaefer: Fanfara Alla Corona di Italia Paul Hindemith/Wilson: "March," from Symphonic Metamorphosis Richard Wagner/Cailliet: Das Rheingold: "Invocation of Alberich"Charles B. DCamp, Conductor Emeritus Vaclav Nelhybel: A Symphonic Movement Charles Gounod: Petite Symphonie I. Adagio-Allegro II. Andante cantabile Hector Berlioz/Goldman: Symphonie Funebre et Triomphale III. Apotheose (encore) Gottfried Sonntag/Foeller: Nibelungen MarschNovember 14, 2011: Dubuque Community String Orchetra, 7:00 p.m., St. Luke's Methodist Church, Dubuque, IA Ralph Vaughan Williams: Five Variants on "Dives and Lazarus" Gerald Finzi: Prelude, Op. 25 Gustav Holst: A Moorside SuiteFebruary 26, 2012: Quad City Wind Ensemble, 3:00 p.m., St. Mark's Lutheran Church, Davenport, IA "A Sweet Serenade" Frank Ticheli: Sanctuary Derek Bourgeois: Serenade, Op. 22 Georges Bizet/Van Duffel: "Habanera," from CarmenKatherine Dalin, mezzo-soprano Nebosa S. Macura: Echoes of Rascia John Philip Sousa: Revival March Richard Strauss: Serenade, Op. 7 Wolfgang Amadeus Mozart: Piano Concerto in C major, K. 503 I. Allegro maestosoJoan Trapp, pianoCharles B. DCamp, Conductor Emeritus Thomas Knox: God of Our FathersApril 29, 2012: Quad City Wind Ensemble, 3:00 p.m., Galvin Fine Arts Center, St. Ambrose University, Davenport, IA"Songs and Dances" Leo Deliebes/Schaefer: "The Huntresses," from Sylvia Percy Aldridge Grainger: Colonial Song Philip Sparke: Dance Movements I. Ritmico II. Molto Vivo (for the Woodwinds) III. Lento (for the Brass) IV. Molto Ritmico John Philip Sousa: Fairest of the Fair David Holsinger: Liturgical Dances Eric Ewazen: Hymn for the Lost and the Living Performance by Student Concerto Competition Winner: T.B.A. Arturo Marquez/arr. Nickel: Danzon No. 2RECENT PAST PERFORMANCESMay 1, 2011: Quad-City Wind Ensemble, 3:00 p.m., Galvin Fine Arts Center, St. Ambrose University, Davenport, IA Leonard Bernstein/Beeler: Overture to Candide Frigyes Hidas: Suite for Wind Band Roy Magnuson: To have seen the worst...but expect the best....(World premiere commission by the QCWE) Fisher Tull: Sketches on a Tudor Psalm Clifton Williams: The Sinfonians Morton Lauridsen/Reynolds: O Magnum Mysterium Vincent Persichetti: Pageant Georges Hue/Bourgeois: Fantasie for Flute (Grace Brasel, flute) John Williams/Cacavas: Selections from E. T.Tri-State Wind Symphony, Seventeenth Season, All concerts at 7:30 p.m., Eagle Point Park, Dubuque, IA(In case of inclement weather, concerts are held at Westminster Presbyterian Church, Dubuque, IA)June 2, 2011: Of Stage and Screen Adam O'Dell: A Tri-State Fanfare (World premiere) John Stafford Smith: Star-Spangled Banner arr. Jay Bocook: Film Score ClassicsThe Seahawk, Casablanca, King's Row, Gone With The Wind Victor Herbert/Clarke: March of the Toys, from Babes in Toyland Richard Rodgers/Bennett: The Sound of Music, SelectionsThe Sound of Music; How Can Love Survive; Lonely Goatherd; My Favorite Things;Sixteen, Going On Seventeen; So Long, Farewell; Do-re-mi; Edelweiss, An Ordinary Couple;No Way to Stop It; Maria, Climb Every Mountain arr. Frank Erickson: James Bond SuiteJames Bond Theme, Live and Let Die, For Your Eyes Only, Goldfinger arr. Jerry Brubaker: The Music of DisneylandZip-A-Dee-Doo-Dah; Mickey Mouse March; Yo Ho; You Can Fly! The Great Outdoors; The Best Time of Your Life; A Dream is a Wish Your Heart Makes; Its a Small World John Williams/Curnow: Olympic Fanfare and ThemeJune 16, 2011: Songs and Dances Adam O'Dell: A Tri-State Fanfare John Stafford Smith: Star-Spangled Banner Robert Jager: Third SuiteMarch - Waltz - Rondo Frank Ticheli: Shenandoah Herbert Hazelman: A Short Ballet for Awkward DancersMarch for Two Left Feet - Waltz for People with Slipped DiscsTwelve Tone Rag - Four Footed Galop Percy Aldridge Grainger: Irish Tune from County Derry Richard Rodgers/Warrington: Serenade to SpringIt Might As Well Be Spring, Younger Than Springtime, I Whistle A Happy Tune Andrew Lloyd Webber/Barker: Selections from The Phantom of the OperaThink of Me, Angel of Music, The Phantom of the OperaAll I Ask of You, The Point of No Return, The Music of the Night Leroy Anderson: Blue Tango Robert W. Smith: Buffalo DancesJune 30, 2011: A Star-Spangled Spectacular! Presentation of the Colors - American Legion Post No. 6 Adam O'Dell: A Tri-State Fanfare John Stafford Smith: Star-Spangled Banner arr. Bob Lowden: Armed Forces Salute Pierre LaPlante: American RiversongsDown the River, Shenandoah, The Glendy Burk, Bamboula tune John Philip Sousa/Brion & Schissel: The Invincible Eagle Dwayne Milburne: American Hymnsong Suite 3. Scherzo on "Nettleton" (Come Thou Fount of Every Blessing) 4. March on "Wilson" (When We All Get to Heaven) Morton Gould/Bennett: Cowboy Rhapsody John Williams/Bullock: Raider's of the Lost Ark MedleyRaider's March, Marion's Theme Alfred Reed: Rushmore John Philip Sousa/Brion and Schissel: The Stars and Stripes ForeverJuly 14, 2011: Christmas in July Adam O'Dell: A Tri-State Fanfare John Stafford Smith: Star-Spangled Banner Claude T. Smith: Symphonic Prelude on Adeste Fidelis arr. Warren Barker: Here We Come A' Wassailing Pietro Yon/Leidzen: Gesu Bambino Alfred Reed: A Christmas Intrada Fanfare: Christus Natus Est; Lullaby for the Christ Child;Processional of the Kings and Shepherds; Carol for the Holy Night;Wassail and Alleluia Robert Jager: Appalachian Carol FestivalChildren Go Where I Send Thee; I Wonder As I Wander;Jesus, Jesus Rest Your Head; Rise Up Shepherd and Follow;Go Tell It on the Mountain Leroy Anderson: Sleigh Ride arr. Philip Gordon: An Old English ChristmasThe Holly and the Ivy; God Rest Ye Merry Gentlemen; The Wassail Song James Christensen: ...And a Happy New Year Leroy Anderson: A Christmas Festival Joy to the World; Deck the Halls; God Rest Ye Merry Gentlemen; Good King Wenceslas; Hark! The Herald Angels Sing; Silent Night; Jingle Bells; O Come All Ye Faithful July 28, 2011: Season Favorites John Williams/Curnow: Olympic Fanfare and Theme John Stafford Smith: Star-Spangled Banner Robert Jager: Third SuiteMarch - Waltz - Rondo Percy Aldridge Grainger: Irish Tune from County Derry John Williams/Bullock: Raiders of the Lost Ark MedleyRaider's March; Marion's Theme John Philip Sousa/Brion and Schissel: The Invincible Eagle Alfred Reed: Rushmore Leroy Anderson/Philip J. Lang: The Waltzing Cat Andrew Lloyd Webber/Barker: Selections from Phantom of the OperaThink of Me, Angel of Music, The Phantom of the OperaAll I Ask of You, The Point of No Return, The Music of the Night Robert W. Smith: Buffalo Dances (encore) Charles Wiley: Old Scottish Melody
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Articles, lectures

Present: Program note annotator, Knoxville (TN) Symphony Orchestra

2000-present: Program note annotator, Waterloo-Cedar Falls (IA) Symphony Orchestra

2004-2007: Program note annotator, University of Wisconsin-Madison Symphony and Chamber Orchestras

1995-2001: Program note annotator, Dubuque (IA) Symphony Orchestra

1995/1996: "Wolfman Mozart and His Friends," Elderhostel presentation, Dubuque (IA)

1994 (published 2005) Ferenc Erkel: Hunyadi March (version for contemporary concert band)

1994: Form vs. Content: An Historic Overview. Presentation at Dubuque (IA) Symphony Orchestra Board Retreat

1994: Georg Druschetzky and His Music. Paper Presentation at the International Society for the Preservation and Study of Wind Music (11th Congress-Abony, Hungary.)

1993: Critical Performance Editions of Partita in B-flat, and Motet: Sehnsucht von Schiller , by Georg Druschetzky. University of Northern Iowa.

1993: Critical Performance Edition of Drawing Room Polka, by Louis Jullien. University of Northern Iowa.

1990: "Survey of Band Repertoire," Instrumentalist magazine

Writings

Sample program notes

(Written for the Dubuque Youth Symphony and the Loras College Choir, April 2000)LUDWIG VAN BEETHOVEN: Symphony No. 9, Op. 125Whatever may be said, it is certain that Beethoven, when finishing his work, and when contemplating the majestic dimensions of the monument he had just erected, might very well have said to himself: Let death come now, my task is finished.Hector BerliozSuch was the opinion of one of Beethoven's most prominent posthumous contemporaries. The Ninth Symphony so totally encapsulated all that the master composer would write that every subsequent symphonic work was compared to it. Brahms would take 20 years to complete his own first symphony, which many would coin as "Beethovens Tenth." The majesty and grandeur created in each of his nine contributions to the form, as well as his mastery of development and the expanded scope of the symphonic form itself, would cast a long shadow upon all who would write a work entitled symphony. Thomas Forrest Kelly would write in his wonderful book, First Nights, "It is not difficult to hear echoes of Beethoven and of this symphony in particular, in a number of symphonies . . . that seek a combination of personal and universal expression."As was true of all of his works, the Ninth Symphony took many years in planning. Beethoven had been growing increasingly deaf since 1800, ending his performing career--he was among the greatest pianists of his day--in about 1806. He did not give in to what must have been a staggering calamity; instead he devoted the remainder of his life solely to composition. The monumental characteristics of this final symphony can be seen in many earlier works, including the Eroica Symphony, his lone opera, Fidelio (another work with a very long, storied, and often agonizing genesis), the "Waldstein" piano sonata and many other works. Sketches for the symphony can be found in Beethoven's extensive compositional diaries dating from 1815. His Eighth Symphony would be completed in 1812 but he would not begin the Ninth in earnest until 1822. This is indicative of Beethoven's compositional process; his ideas would take months--often years--to come to fruition. The end result was miraculous beyond compare.The first performance of the symphony, the program of which also included movements from the Missa Solemnis and the overture The Consecration of the House, took place on May 7, 1824. One must understand that, in Beethoven's time, there were no standing orchestras outside the court, so a composer had to hire his own musicians and hope that he sold enough tickets to cover expenses. Events leading up to this subscription concert would lead one to wonder about the quality of that first hearing. The score and parts were not completed until late April and the orchestra had only two full rehearsals. The singers were slightly better prepared, having had six rehearsals, but of course this is music whose difficulty is of the highest order. The Vienna music publication Allgemeine Musikalische Zeitung reviewed the performance, "Neither the chorus nor the solo singers were prepared well enough as demands so difficult and deeply intricate music."The performance did, however, greatly impact its audience. So enamored were they with the Scherzo (the second movement) that they demanded a bow from Beethoven and an encore of the movement. (Twentieth-century audiences should understand that applause only at the conclusion of a multi-movement work is a fairly recent revelation.) Beethoven, present on the platform to assist with the tempi, had to be turned around by the mezzo-soprano soloist to see the thunderous applause which he would never hear. Reports of the conclusion of the performance indicate that the police commissioner had to finally call for silence. A musical triumph for Beethoven was certain; unfortunately he failed to make up his own expenses on either the premiere or a second performance offered two weeks later.The symphony is cast in a traditional four-movement design, although each individual movement ensues in an extreme scale exceeding any of his earlier works. (As a curious sideline, Japanese technicians, when establishing the length of the standard compact disc determined that it must be long enough to accommodate Beethoven's Ninth Symphony--yet another way in which this masterpiece continues to affect us to this date.) The first movement begins as if in another place, with hushed strings rising from the world beyond. A crashing climax bursts forth from the entire orchestra, with a tumultuous d-minor cadence emphatically proclaiming Beethoven's theme of defiance. In many extra-musical ways, the plan appears similar to that of the Fifth Symphony: calamity and despair leading to the exultation of the finale.Beethoven inserts his Scherzo in the place of the expected slow movement. Opening with another large gesture, it is simply a descending arpeggio (broken chord) with the timpani supplying with missing minor third. This movement is itself a masterpiece of polyphony, with each successive entrance telescoping upon the previous. The development of this theme is continually reworked before leading to a more placid trio section, in which the winds assume an increasingly important role. The entire movement repeats itself before ending with a hint at the trio and another bombastic conclusion.Following this lengthy display of such utter personal despair, the third movement offers a welcomed repose. This may be Beethoven's most beautiful music, a choral-like melody leading to a reverent second theme. Both are explored in various guises before the orchestra breaks forth in glorious splendor. The movement concludes in sublimity.Beethoven's inclusion of the chorus in the final movement was not a new invention; well-known to his audience were the grand symphonies of revolutionary France, complete with huge numbers of winds and singers. Beethoven himself was captivated by Schiller's Ode to Joy; as early as 1792 he had been contemplating setting that poet's entire works to music. Following the highly dissonant opening (in which Beethoven employs every pitch of the diatonic scale), cellos and basses launch into a lengthy recitative, each invocation punctuated by a statement from the earlier movements. The orchestra evolves into a resplendent presentation of Beethoven's most-loved melody, each time presented by higher strings, all before blazing forth in the glory of the entire orchestra. This serves as the catalyst for the entire movement, an extended theme and variation which features soloists and chorus in prominent and vocally-demanding roles.Arthur Canter refers to the themes closest to Beethovens heart: "Alle Menschen werden Brüder (All men become brothers) and Diesen Küss der ganzen Welt (The kiss is for the whole world). The large choruses, the dissonance, the repeated Freude theme with variations, the inter-weaving of military marches that bring to mind the French Revolution and the Napoleonic Wars, all culminate in the final realization of the Ode to Joy that is long felt after the music ends."(Written for the Knoxville, TN Symphony, April 2011)JOHANN GOTTLIEB GOLDBERG (1727-1756): Trio Sonata in C, formerly attributed to J.S. Bach (BWV 1037)It has taken more than a bit of detective work to discover the actual genesis of this work. While some sources attribute it to Bach's years in Cöthen (1717-23), when he was composing much of his strictly instrumental music, others insisted that it dates from approximately 1731, when Bach was firmly ensconced in the musical culture of Leipzig. The work somehow erroneously entered the first Schmeider catalog, aka Bach-Werke-Verzeichnis ("Bach Works Catalogue"), when it first appeared in 1950.Of course, such inaccuracies are quite commonplace, especially the further back one travels on the road to musicological discovery. In this case it was the work of an unscrupulous publisher for it was first published by Breitkopf under Goldberg's name in 1761 and then mysteriously reappeared as a Bach composition three years later. The past catalogs of Mozart and Haydn, to name only a few, were rife with such errors, and we are probably still in the process of uncovering these imposters.Thus, contemporary musicology has determined that the work formerly known in Bach's catalog as BWV 1037 was actually composed by one of his pupils, Johann Gottlieb Goldberg, a pupil of Bach and the composer of the theme for the famous Goldberg Variations. Born in Gdansk, Poland, the young Goldberg was sent to Leipzig to study with the Bach family at the mere age of 10. Actually, very little is known of Goldberg's life, except that he was mentioned by Johann Nikolaus Forkel, one of Bach's earliest biographers, who wrote that Goldberg "was a very skillful keyboard player, but with no particular talent for composition." Of course, even this evidence is refuted by the fact that Bach himself entrusted Goldberg with the composition of a number of Leipzig church sonatas.One must understand the concept of the trio sonata as you are going to see four performers on the stage: the two upper voices provide the melodic material while the cello and keyboard act as a single unit to offer the accompaniment, with the keyboardist improvising the intended harmonies. Jeff Elledge, annotator for Orchestra Seattle, tells us that "One can sense the influence of Bach in this trio sonata, cast in four movements alternating slow and fast tempos, and it is entirely possible that Bach even contributed some helpful suggestions to his student; especially noteworthy is the triple fugue in the second movement."JOHANN SEBASTIAN BACH (1685-1750) : Sonata for Viola da Gamba and Harpsichord No. 3 in G minor, BWV 1029Appearing in Europe near the end of the 15th century, the viola da gamba, or viol, is a bowed string instrument with frets. It is held upright and supported between the legs. Viola da gamba literally means leg viol. It can also be played, as a plucked instrument, across the lap. Generally, it is a six-stringed instrument, but seven-stringed basses are very popular and five-stringed instruments are not rare. Compositions for a full consort of viols were the popular music of the day prior to 1700 and nearly every significant composer of the period wrote for the instrument; however, as advancements were made to produce clearer tones and higher volumes, the cello became better suited for the louder 18th century ensemble style. Bach still employed the instrument in many ways: in the solo sonatas as well as in many of his vocal works. It is widely accepted that Bach's own cello suite no. 6 was probably written for the gamba.While it is difficult to establish an exact chronology of his works, it is widely accepted that the gamba sonatas date from the 1740s and thus are late works of the master. The scholar Ulrich Siegele has suggested that Johann Sebastian Bach's Sonata No. 3 did not start life as a sonata at all, but as a full-scale concerto, perhaps written for two transverse flutes. Of course for the sheer enjoyment of the music, such arguments are moot.Andrew Lindemann Malone compares the opening movement to the Third Brandenburg Concerto, with its often-antiphonic treatment of the thematic materials. As usual, Bach wanders through a wide range of different key areas (Malone calls it an adventurous, picturesque journey). The adagio is abruptly different in character (Malone: "In the Adagio, dialogue between the viola da gamba and harpsichord gives way to a delicate interweaving, organic and essential to the music.") The gamba's mellow upper range is exploited, resulting in an emotionally tender moment. The closing Allegro is much more divergent in its melodic element, with a wide range of themes driving through countless key areasboth major and minor. This is not a particularly famous work, but Malone insists that, "The Sonata No. 3 is possibly the finest of Bach's gamba sonatas and one of his many lesser-known masterpieces."ANTONIO VIVALDI (16781741): Al Santo Sepolcro RV 169Nicknamed l Prete Rosso ("The Red Priest"), for his bright auburn hair, Vivaldi is recognized as one of the major composers of the Baroque period and an important influence on his time and beyond. Although he is best known for his set of concertos, The Four Seasons, Vivaldi's output included over 500 (!) concertos, a large number of sacred choral works and over 40 operas. Thus a complete recording of his massive catalog would be a great undertaking indeed.He is probably best remembered for his 37-year career serving the female music ensemble at the Venetian orphanage Ospedale della Pietà. Judging by the sheer virtuosity of many of his works, his teaching there must have been immeasurably successful. But after meeting the Emperor Charles VI, Vivaldi--desirous of a royal position--moved to Vienna. However, the emperor died soon thereafter, and Vivaldi soon met the same fate, dying a pauper without a steady source of income.Despite his position at Venice, he was obviously given much leave time, as he was well-traveled and sought out throughout Italy and a large part of the continent. It is believe that Al Santo Sepolcro (of the Holy Sepulcre) was composed in 1728 in recognition of the completion of a chapel of the same name (part of the large Sacro Monte complex in Varallo, Italy). Originally dating from 1491, this chapel is said to be a scaled-down replica of the Church of the Holy Sepulcre in Jerusalem. Although written in two very brief movements, Adagio molto and Allegro ma poco, is full of a prickly harmonic language; the opening passes through several dissonant moments before finally landing within its home key. Harmonic instability seems to be the norm here, symbolizing the passion music of the Baroque: an extreme chromaticism representing Christ's pain and suffering. The ensuing final movement is much the same, but written with swift figuration in a call and response kind of pattern. This is not the Vivaldi of Spring, but rather at his most intense and dramatic.GEORGE FRIDERIC HANDEL (1685-1759) Alcina: OvertureAlthough Handel is best known and loved during our time (and particularly in this country) for his monumental oratorio, Messiah (he actually wrote 28 others), he was probably recognized by his contemporaries as a composer of opera, cantatas, celebratory works, and his 16 organ concerti. Born in Germany and trained in Italy, he eventually moved to England in 1712. His former employer, German Prince George, Elector of Hanover would become King George I of Great Britain in 1714, sealing Handel's place in the royal patronage and English society. He became a naturalized British citizen in 1727. Handel actually began composing opera in earnest in 1724 (composing three major works (Giulio Cesare, Tamerlano and Rodelinda) in only a year's time. His works would appear at the Royal Academy of Music, The Queen's Theatre in Haymarket (now Her Majesty's Theatre, and the theatre he established with John Rich, the Covent Garden Theatre. The English audiences of the time were a fickle lot and Handel gave up on the form--having made and lost several fortunes--in 1741, focusing on oratorio and other works until 1751, at which time cataracts caused him permanent blindness. He would survive another eight years and at his death on April 14, 1759, he was given full state honors and buried in Westminster Abbey.Alcina, was composed for Handel's first season at Covent Garden, premiering in April, 1735. An opera seria (an Italian musical term which refers to the noble and "serious" style of Italian opera), it became quickly out of favor and fell into obscurity. After a revival in Brunswick in 1738 it was not performed again for nearly 200 years. It would gain ground in the 20th century, with Joan Sutherland performing in a 1960 Franco Zeffirelli production at La Fenice, Venice, and Renee Fleming would appear in the title role in the late 1990s at the Lyric Opera of Chicago.The Overture begins in a style very typical of its time, with an opening section replete with its ever-present dotted rhythms in a slower tempo; the expected fugue ensues, but that's not all. The action is interrupted by a much more sedate, almost serenade-like section (yet, this time written in a short-long rhythmic style, known as the Scotch snap). Another sprightlier dance follows, creating in the work a kind of miniature suite of dances, rather than the expected bipartite form. Never underestimate Handel; he always has something surprising up his sleeve.HENRY PURCELL (1659-1695): Abdelazer Suite Being raised in a musical family just a few hundred yards west of Westminster Abbey, Purcell was probably destined for greatness. Although it was said that he started composing at the age of nine, the earliest work of which there is any certainty was written in 1670 (a late bloomer--writing an ode for the king's birthday at age 11!). Appointed organist at Westminster in 1679, he strictly devoted himself to sacred composition for six years. He eventually returned to the theatre and produced his landmark work, the chamber opera Dido and Aeneas in 1689 (oddly enough, this masterpiece was only performed in private circles).A subsequent position as organist of the Chapel Royal confirmed the composition of additional sacred music as well as works written for the crown. He also entered into a lucrative partnership with playwright John Dryden, with whom Purcell supplied the music for an untold number of productions. His last work, the music for Abdelazer, was composed for a 1695 revival of the play written by Alphra Behn, the first professional English woman writer.For Abdelazer Purcell provided an overture and eight instrumental pieces, as well as a song, "Lucinda is bewitching fair." All of the numbers, except the song, were incorporated by Purcell into one of many suites he prepared as Ayres for the Theatre. By far the longest selection in the suite, the overture features the now-expected slow introduction followed by a fast Allegro. The Rondeau that follows has become one of Purcell's most famous tunes due to its appropriation by Benjamin Britten as the theme for his set of symphonic variations known as A Young Person's Guide to the Orchestra.HEINRICH IGNAZ FRANZ BIBER VON BIBERN (1644-1704): BattaliaSent to Kroměříž on a Summer, 1670 trip to obtain new instruments by his employer the Bishop of Olomouc, Karl II von Liechtenstein-Kastelkorn, the Czech-born Biber never reached his final destination. Instead he was waylaid into the patronage of the Archbishop of Salzburg, the future employer of the Mozart family. Well known for his extensive technique, he was named the best violin composer of the 17th century by music historian Charles Burney. We know little of his actual schooling, but Biber's technical accomplishments on the violin remain unparalleled during his time. He could easily reach sixth and seventh positions and his compositions demonstrate extensive polyphonic (multi-voiced) structures with a substantial use of double stops. Another area in which he excelled was the use of scordatura, i.e. altering the regular tuning of the instrument. These were substantive achievements for his time.Dating from 1673, Battalia depicts the happenings at an army camp and is probably Biber's most unusual piece. He employs the instruments in many unique ways: tapping the bodies of the instruments to imitate drums, pizzicati in fifths to sound like fencing, a march in which the bass places a piece of paper between the strings to emulate a marching drum. Snapped strings in "Die Schlact" imitate artillery, but the most ingenious movement must be "Das liederliche Schwärmen der Musquetier" (The Dissolute Revelling of Musketeers). Here, eight drunken musketeers sing songs from their homelands with all eight tunes appearing simultaneously in eight different keys, predating the polytonality of Igor Stravinsky by nearly 250 years!HANDEL: Concerto Grosso Op. 6, No. 10 in D-minorNearing the end of his active operatic career, Handel fashioned a set of Twelve Grand Concertos for the 1739-1740 season at the Lincoln's Inn Fields Theatre. These were not intended at all for concert performance, rather they would be performed during the intervals in theater pieces and oratorios, of which Handel was now writing in earnest (Messiah would be completed--allegedly in 21 days (!) in 1741. These works were composed quickly as well: in just five weeks in September and October 1739. Ten of the concerti contain all original music, while two are re-workings of earlier organ concerti.Instead of the prevalent three-movement form (seen in similar works by Vivaldi, Bach and many others), Handel bases his concerti on the Corelli model and writes in four, five and even six movements. One of the latter is the concerto no. 10 in D-minor, completed on October 22. All of the music in this concerto was newly composed and its form is actually that of a baroque dance suite proceeded by a French overture.In the overture, the dotted rhythms in the opening slow sections are very similar to those employed in Handel's opera and oratorio overtures. The subject of the ensuing fugue in 6/8 time has a very dramatic-sounding theme and this section leads into another slow lentement, a variation of the opening.Five dance movements are to follow: the "Air" is akin to a sarabande, a noble and simple dance, with modal harmonies suggesting its antiquity. The next two movements seem loosely based on the allemande, an older German dance, and the courante. Johann Mattheson wrote that, "The motion of a courante is chiefly characterized by the passion or mood of sweet expectation. For there is something heartfelt, something longing and also gratifying, in this melody: clearly music on which hopes are built." The final movement, an allegro moderato in D-major is a cheery gavotte featuring a variation with repeated figuration in the upper and lower strings.Terry Barfoot warns contemporary audiences to prejudge such music according to experience with similar works by other composers: "In great music such as this it is dangerous to be too proscriptive in one's descriptions, since there are so many varieties and shadings."

Programs

Sample programs

QUAD-CITY WIND ENSEMBLEWinter ConcertSunday, February 27, 20113:00 p.m.Allaert Auditorium, Galvin Fine Arts CenterSt. Ambrose University, Davenport, IowaEsprit des Corps Robert JagerA Movement for Rosa Mark CamphousePrelude, Siciliano and Rondo Malcolm Arnold/PaynterStar Wars Medley John Williams/BurdenINTERMISSIONFanfare 125 Richard Scott CohenAzcarraga Richard Scott CohenSymphonic Songs for Band Robert Russell Bennett I. Serenade II. Spiritual III. CelebrationMasque W. Francis McBethAlleluia! Laudamus Te Alfred ReedQUAD-CITY WIND ENSEMBLEChamber Music SpectacularSunday, November 15, 20093:00 p.m.St. John's Lutheran Church, East Moline, IllinoisFanfare pour preceder La Peri Paul DukasBrass EnsembleScherzetto, Pavane and Gopak Gordon JacobIt Takes Four to Tango Daniel DorffClarinet QuartetCanzona duodecimi toni Giovanni GabrieliBrass EnsembleSerenade: Gran Partita, K. 370a Wolfgang Amadeus MozartWind EnsembleDawn Carol Margaret LoweAdagio and Scherzo Adolphe WoutersFlute EnsembleIrish Tune from County Derry Percy Aldridge Grainger/EricksonWoodwind EnsembleGrand Choeur Dialogue Eugene Gigout/KuzmaBrass Ensemble and OrganTRI-STATE WIND SYMPHONYThe British InvasionThursday, June 17, 20107:30 p.m.Eagle Point Park BandshellCelebration Fanfare, from Buffalo Dances Robert W. SmithStar Spangled Banner John Stafford SmithArmy of the Nile--Quick March Kenneth J. AlfordSuite in F for Military Band Gustav Holst I. March II. Song Without Words Ill Love My Love III. Song of the Blacksmith IV. Fantasia on the DargasonIrish Tune from County Derry Percy Aldridge Grainger/RogersHighland Cathedral Michael Korb and Ulrich Roever/KingstonBill McInnes, PiperEnglish Folk Song Suite Ralph Vaughan Williams I. March: Seventeen Come Sunday II. Intermezzo: My Bonny Boy III. March: Folk Songs from SomersetH. M. S. Pinafore Highlights Gilbert and Sullivan/BennettLondon Bridge Traditional, arr. Jim ParcelTunes of Glory--Concert March arr. John Cacavas

Contact

BRIAN HUGHES201 West Seventeenth Street, Apt. A-23Dubuque, Iowa 52001Mobile: (563) 599-7730Email: maestroblh1_gmail.comAdditional web sites:(Tri-State Wind Symphony): www.tsws.org(Quad-City Wind Ensemble): http://quad-city-wind-ensemble.webs.com/ You Tube: maestroblh