{"title":"Hughes, Robert","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eROBERT HUGHES (1933–2022), composer of orchestral, chamber and vocal works, six ballets, eighteen film scores, and a body of electronic music, studied composition with Aaron Copland, Carlos Chavez, and Luigi Dallapiccola. He studied conducting at University of Buffalo and the Mozarteum in Salzburg, and modern music with Pierre Boulez at Darmstadt. His instruments were bassoon and contrabassoon and he was proficient on the Korean piri, or oboe. His studies with Lou Harrison in Aptos dating to 1961 developed into a musical partnership and friendship for over forty years that included the founding of the Cabrillo Music Festival, and the conducting, recording, arranging, and publishing of Harrison’s music and poetry. He also co-wrote music with Harrison, such as the double music \u003cem\u003eRitmicas\u003c\/em\u003e, an homage to the Cuban composer Amadeo Roldán.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eCarlos Chavez, as Music Director of the Cabrillo Festival, commissioned Hughes to compose new work over a five-year period to integrate the Moog synthesizer with classical performing forces. Hughes received commissions as well from the San Francisco Symphony, St. Paul Chamber Orchestra, Oakland Ballet, San Francisco Ballet, PBS, the Department of the Interior, and the Alaska Arts Council, among others. Of note is the composer’s fresh approach to instrumental tone colors within the music. His continued interest in the Moog as an additional voice informs some of these commissions, but by the 1980s he was no longer composing with the Moog. From that time forward he composed entirely for acoustic voices for his concert music, and used a Prophet 10 synthesizer to fulfill film, video, and stage commissions.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eThe defining composition of Hughes’ career is the “multi-perceptual” (the composer’s phrase) Silenus’ Antiphonary, for Western and Asian instruments. Electronics did reappear, relegated to an almost imperceptible continuous drone underneath the acoustic voices. Performing forces are ensemble, chamber, full, and extended orchestra, chorus and vocal soloists. This programmatic work takes the seasons for its structure, the Greek demi-god Silenus for its protagonist, and the quest for innocence through experience for its overarching drama. The oversize color score with music, image, intertext and hypertext is as much a visual work of art as it is a musical work of art, a prototype of accumulation and excess that the composer could write only after a full career of composing, conducting, and performing, and an active engagement with literature and art of all cultures and times, with a preference for the extreme poles of each discipline—the very old and the very new.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eOther musical production of note includes numerous pieces for ballet, modern and Renaissance dance, large double orchestral works for youth orchestra to be performed with a professional partnering orchestra and\/or chorus. Also notable is a body of programmatic works with themes on the Pacific Northwest and the Inuit Peoples therein; and a body of virtuoso ensemble pieces for children’s films, written for musician-friends in the San Francisco Symphony. Hughes composed extensively for wind quintet and also created arrangements of Harrison, Ives, Shostakovich, Schoenberg, and Dowland for wind quintet as well as for orchestra.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eMusic production tangential to original composition includes the recovery and arrangement of Robert Louis Stevenson’s music; the arrangement of California Gold Rush songs; the recovery of Saint-Saens’ Hail! California, lost after its premiere at the 1915 Panama-Pacific Exposition; and the recovery, premiere, recording, and print publications of all of the music of Ezra Pound, this latter research spanning fifty years and establishing Hughes as a niche expert in this subject, along with R. Murray Schafer, friend and colleague. Hughes received a Lifetime Achievement Award in 2015 from the Ezra Pound Society for his contributions.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eIt remains to mention the composer’s path-breaking initiative in the mid 1960s to found and shape the Youth Chamber Orchestra (YCO; later, the Oakland Symphony Youth Orchestra, OSYO) as a semi-professional touring and recording group for contemporary and world music, and music embedded within the history of the state— the California missions, the Gold Rush, and the Mexican, Chinese, and Japanese Diaspora in California. The YCO developed a program of musical, social, and political significance titled “The Black Composer in America,” which they toured to the (still unofficially segregated) American South in 1970 as an integrated orchestra and then recorded for the Desto label on LP and featuring seven living composers.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eHughes’ conducting and commissioning activism on behalf of contemporary music was an important component of the Northern California music scene. With the YCO he commissioned Ned Rorem, Henry Brant, and Bob Moran to write virtuoso music, spatial music, and multi-media spectacle, respectively. He commissioned Laurie Anderson in 1980 to write “Born, Never Asked” for the OSYO. It became the seed for her breakout hit “Oh, Superman.” In 1977, he co-founded with Thomas Buckner the Arch Ensemble for Experimental Music, a one-each-instrument group that performed new music and multi-media works with an emphasis on West Coast composers. He also guest-conducted many symphonies and ensembles up and down the West Coast and in Alaska. In the 1960s he was Assistant Conductor with the Oakland Symphony, Cabrillo Festival, and San Francisco Ballet, before devoting himself almost exclusively to new music. In 1988 he conducted Keith Jarrett and Lucy Stoltzman in Harrison’s “Suite for Violin, Piano, and Small Orchestra” for New World Records; and in 1990 he conducted two Frank Zappa ballets with the Lyons Opera Ballet in France. He then retired from conducting.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eHughes received Fulbright, Rockefeller, NEA, ASCAP, and Exploratorium awards, numerous research, residency, conducting, and composition awards, and was inducted into the Buffalo Music Hall of Fame. He was a life member of the American Federation of Musicians, Local 6, following in the footsteps of his father, a Teamster in Buffalo New York during a difficult time for unions. In August 2023, the Cabrillo Festival staged a two-night tribute to the composer. Original music by Robert Grove is published by American Composers Alliance, Second Evening Art, LLC, and Carl Fischer, Inc., and Disney Music Publishing. His arrangements of Lou Harrison’s music are handled by Peer International (Suites for Cello); and by Peters Music (“Sonorous or Exquisite Corpses” by Cage, Cowell, Harrison, Thomson, and Wigglesworth for wind quintet).\u003c\/p\u003e","products":[{"product_id":"music-for-the-cincinnati-science-fair","title":"Music for the Cincinnati Science Fair","description":"\u003cp\u003e3 players\u003c\/p\u003e\n\u003cp\u003eTemple blocks\u003cbr\u003eWood blocks\u003cbr\u003eWater gong\u003cbr\u003eFinger cymbal\u003cbr\u003eDoumbek\u003cbr\u003eClaves\u003cbr\u003ePot covers\u003cbr\u003eCastanets\u003c\/p\u003e","brand":"Robert Hughes","offers":[{"title":"Physical","offer_id":46396532883676,"sku":"ACA-HUGH-001","price":16.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":46475908776156,"sku":"ACA-HUGH-001e","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromHughes_Page_1.jpg?v=1741647212"},{"product_id":"trio-for-mexican-clay-flute-5-coffee-cans-and-jhalaturanga","title":"Trio for Mexican Clay Flute","description":"\u003cp\u003eA native of Buffalo, New York, Robert Hughes received a traditional and excellent music education at the University of Buffalo, expressed a preference for contemporary music early in his career, and traveled to Florence, Italy on a Baird fellowship to study with the eminent twelve-tone composer Luigi Dallapiccola. A photo taken at the grand piano before his departure shows a thin, short-haired serious young man in suit and tie, pencil in hand and music paper at the ready for his next big, Apollonian, but as yet reticent, idea. The trajectory, however, did not hold.\u003c\/p\u003e\n\u003cp\u003eHughes truncated his Italian studies to come to California to study with composer Lou Harrison. A photo taken soon after in his Aptos apartment above the Sticky Wicket Coffee Shop shows a somewhat heavier shirtless long-haired composer seated on the floor beating five coffee cans with pencils, several tuned bowls at his left, and a box of wine behind him. His next delightful composition, Trio, for Mexican clay flute, coffee cans, and tuned bowls, was in the can, so to speak.\u003c\/p\u003e\n\u003cp\u003eThe composer reminisces, “I bought a small baked clay flute, picked out from a bushel basket of similar cheap tourist souvenirs. Its three indiscriminately punched holes emitted a series of eight exotic pitches. Five metal coffee cans struck with the rubber eraser ends of two pencils, and six Pyrex bowls tuned with water (the traditional Indian ‘Jhalaturanga’’) to the pitches of the clay flute, completed my ensemble” (liner notes, audio CD, Second Evening Art, #AG1964).\u003c\/p\u003e\n\u003cp\u003eTrio had its premiere in concert version on October 6, 1963 at the legendary Old Spaghetti Factory in North Beach, San Francisco, with the composer on Mexican clay flute. In a rare music review written after leaving New York, Lou Harrison wrote of the Aptos performance that took place a month later, “It is fascinating to hear Hughes’ natural concert professionalism commingling in this work with the earlier wild-and-woolyness of the West-Coast percussion school of the thirties and forties (Cowell, Cage, Strang, and myself) to which it seems to owe a little of its impulse” (Lou Harrison, “Coffee Can Concert in Aptos,” music review, San Francisco Chronicle, Saturday Nov. 9, 1963).\u003c\/p\u003e\n\u003cp\u003eThe work also premiered as a ballet for the San Francisco Ballet re-titled Sancho on June 26, 1964, choreographed by Thatcher Clarke, the Ballet's lead male dancer.\u003c\/p\u003e","brand":"Robert Hughes","offers":[{"title":"Physical","offer_id":46475893342428,"sku":"ACA-HUGH-002","price":28.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":46475894063324,"sku":"ACA-HUGH-002e","price":18.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromHughes_TrioMexicanFlute_Page_1.jpg?v=1744412395"},{"product_id":"music-for-geraldine","title":"Music for Geraldine","description":"\u003cp\u003e\u003cem\u003eMusic for Geraldine \u003c\/em\u003ewas composed as a serenade for the newly arrived Geraldine Tiepolo, grandchild of Agnes Albert, head of Patrons of Art and Music for the California Palace of the Legion of Honor in San Francisco. The work for gongs, bass clarinet, and contrabassoon transforms the tonal range of the bass clef into lyrical passages and lullabies and ends with a hearty signoff.\u003c\/p\u003e\n\u003cp\u003eDescribing the “unheard-of combo,” the San Francisco Chronicle music critic Robert Commanday called the work “The wittiest and best-fangled serenade ever dedicated to an infant . . . a genuinely musical treat. . . . \u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003eThe gongs were dressed in shirts, then belts of wide\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003erubber bands, and finally they were placed face down on the cloth piano cover.”\u003c\/p\u003e\n\u003cp\u003eCommanday also divulged that the three-month old infant was not able to attend her special tribute, “The family advised us [the audience] that she had been hitting the bottle and was sleeping it off” (San Francisco Chronicle, February 2, 1965).\u003c\/p\u003e\n\u003cp\u003eAlexander Fried of the \u003ci style=\"mso-bidi-font-style: normal;\"\u003eSan Francisco Examiner\u003c\/i\u003e, reviewing a reprise performance of the work at the Palace of the Legion of Honor on February 23, 1965, hailed Geraldine, who “surely broke all records by being the youngest human being ever to be carried onstage for a concert curtain call” (San Francisco Examiner, February 25, 1965)\u003c\/p\u003e","brand":"Robert Hughes","offers":[{"title":"Physical","offer_id":46475947737308,"sku":"ACA-HUGH-003","price":29.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":46475948294364,"sku":"ACA-HUGH-003e","price":19.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromMusicforGeraldineSCORE9_Page_1.jpg?v=1744417313"},{"product_id":"anagnorisis","title":"Anagnorisis","description":"\u003cp\u003eAnagnorisis is the moment in one’s life when one perceives their fate. In this farcical allegory we see the industrial-age human torn between their responsibilities as symbolized by the machine, and their desires as symbolized by the dancer. The dancer is the spirit of art and has for their allies, the musicians. The garden hose represents the character’s inner nature at war with itself; it is used both as a musical instrument and as an element in the dance. The industrial human is unable to make a final commitment.\u003c\/p\u003e\n\u003cp\u003eThe work was commissioned by San Francisco Ballet for their lead male dancer, Thatcher Clarke.\u003c\/p\u003e\n\u003cp\u003eThe work showcases the virtuoso trombonist and can also be performed as a concert work without staging. Extensive performance notes accompany the music score. Premiere performances in July 1964 at the San Francisco Ballet School Theatre, featured Thatcher Clarke with musicians Stuart Dempster on trombone and garden hose, and the composer performing the percussion part. Other trombonists who have performed the work include Peter Toyoji Tomita, Kevin Krull, Donald Benham, Johannes Mager, and Andy Strain.\u003c\/p\u003e\n\u003cp\u003eThe work was recorded and released on the Second Evening Art label (#AG1964).\u003c\/p\u003e","brand":"Robert Hughes","offers":[{"title":"Physical","offer_id":46476139102428,"sku":"ACA-HUGH-004","price":29.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":46476265423068,"sku":"ACA-HUGH-004e","price":19.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromHughes_Anagnorisisscore_Page_1.jpg?v=1744429433"},{"product_id":"an-adamant-apple","title":"An Adamant Apple","description":"\u003cp\u003eProgram Note\u003c\/p\u003e\n\u003cp\u003eUpon receiving the gift of an apple, I wrote the words and music for the madrigal, \u003cem\u003eAn Adamant Apple\u003c\/em\u003e, to be sung in canon. The work is dedicated to Maxine, the apple's gifter. One of my great pleasures as a bassoonist in the 1990s was to join the San Francisco Opera's educational arm, Western Opera Theater, for their annual tours. We covered a great swatch of the United States by bus, and gave this cannon new life on those buses. For a 1988 recording released on the Second Evening Art label (SEA #1977) it was sung by Judith Nelson, Marcia Gronewold, Eric Morris, and Ed Cohen.\u003c\/p\u003e","brand":"Robert Hughes","offers":[{"title":"Physical","offer_id":46530973565148,"sku":"ACA-HUGH-005","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":46530974941404,"sku":"ACA-HUGH-005e","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromHughes_AnAdamantApple_Page_1.jpg?v=1746821359"},{"product_id":"three-pieces-for-lou-harrison","title":"Three Pieces for Lou (Harrison)","description":"\u003cp\u003eJahla, Interlude, and Estampie, titled in this edition as Three Works for Lou, were the first pieces that Hughes composed for his new mentor, in the style of the estampie, a medieval dance and music form beloved by Harrison, who himself was a dancer. The previous year Harrison completed Suite for Symphonic Strings, which opens with an estampie. \u003c\/p\u003e","brand":"Robert Hughes","offers":[{"title":"Physical","offer_id":46531079176412,"sku":"ACA-HUGH-006","price":16.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":46531083763932,"sku":"ACA-HUGH-006e","price":14.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromHughes_ThreePiecesforLou_Page_1.jpg?v=1746823422"},{"product_id":"sonitudes","title":"Sonitudes","description":"\u003cp style=\"text-align: left;\"\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e\u003cspan style=\"font-size: 12.0pt; font-family: 'Aptos',sans-serif; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003eSonitudes\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12.0pt; font-family: 'Aptos',sans-serif; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003e, written in December 1970, was commissioned by Gene Hambelton as a Christmas present for his wife Patrice, a very accomplished flutist, and for his son Craig, a talented young cellist. In its original form the movements made personal reference to the family and were hence a rather updated form of \u003ci style=\"mso-bidi-font-style: normal;\"\u003eGebrauchsmusik\u003c\/i\u003e (“Scene for Gene,” “Plague for Craig” – so called due to its difficulty for the young cellist; “Lay for Gay” – the 13\u003csup\u003eth\u003c\/sup\u003e-century song form having a double entendre meaning for the teenage daughter, and “Caprice for Patrice”). In revising the work in 1971 for a wider audience, the titles were changed, and the introduction of quasi-Japanese influence was added (the “kokko” rhythm and supine koto position of the cello played on the floor with a drumstick). Amusingly enough, the possibilities of percussively playing a reclining cello were discovered by the composer while hiding behind that instrument during a nude improvisation session with the dance group “Berkeley Movers.” The rhapsodic second movement continues to be very difficult for the cello. The third movement, “Serenade,” is the most complicated of the pieces, the free-sounding cross rhythms requiring great care in their synchronization. The final “Caprice” was written as a technical tour de force for the flutist and must be one of the most difficult things around to perform. Due to the practice time required to master the flute part the piece has the aspect of an “etude,” yet the extension of its sonorities by the cello make it a serious concert piece, a “sonorous etude,” and, hence its title, \u003ci style=\"mso-bidi-font-style: normal;\"\u003eSonitudes\u003c\/i\u003e. In 1974 the California Cello Club selected \u003ci style=\"mso-bidi-font-style: normal;\"\u003eSonitudes\u003c\/i\u003e as one of their prizewinning compositions. The work was first recorded on the 1750 Arch label by Janet Millard and Loren Brown, winning accolades for its interest and techniques.\u003c\/span\u003e\u003c\/p\u003e","brand":"Robert Hughes","offers":[{"title":"Physical","offer_id":46748474278108,"sku":"ACA-HUGH-007","price":22.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":48346381222108,"sku":"ACA-HUGH-007e","price":22.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/Hughes_Sonitudes-GraphicNotationCover.jpg?v=1774616370"},{"product_id":"hce-for-six-part-choir","title":"HCE for six-part choir","description":"\u003cp\u003eHCE by Robert Hughes\u003cbr\u003eLyrics: James Joyce,\u003cem\u003e Finnegans Wake\u003c\/em\u003e\u003cbr\u003eFor SATB and (optional) tape (Moog synthesizer and voices)\u003cbr\u003eExcerpt from a larger work, a 1977 commission from the San Francisco Symphony\u003c\/p\u003e\n\u003cp\u003eDuration with tape: 4:20\u003cbr\u003eDuration without tape: 3:38\u003c\/p\u003e\n\u003cp\u003eNote: the recorded versions uploaded to SoundCloud substituted the words Minotaur and Ariadne for a special production. The names from Finnegans Wake, “Math-hee-hew, Mar-kee-hew, Lu-kee-hew, John-whee-hew” are found in the published score.\u003c\/p\u003e\n\u003cp\u003eProgram Notes delivered viva voce by Bob Hughes to the San Francisco Symphony audience, August 5, 1977:\u003c\/p\u003e\n\u003cp\u003e“When I began to write this piece for a very large number of musicians, I happened to be reading \u003cem\u003eFinnegans Wake\u003c\/em\u003e by James Joyce. On the first page, there’s a place in Ireland called Howth Castle and Enviros, or, HCE. There is a character named Humphrey Chimpden Earwicker. Mankind itself is described as Homo Capite Erectus, man (or mammal), that is, with his head up. Later one comes across Hear! Calls! Everywhere! By the end of the book HCE stands for Here Comes Everybody; and indeed, that’s just what happens in this summer workshop – Here Comes Everyone, from the youngest to the oldest members of the community.\u003c\/p\u003e\n\u003cp\u003e“H C E, very fortunately, in the German system of notes means B C E – with H having the function of B in the solfeggio system. All of the music variations of HCE use the notes HCE in one way or another. Usually, they start with H C E.\u003c\/p\u003e\n\u003cp\u003e“The words from \u003cem\u003eFinnegans Wake\u003c\/em\u003e only appear in the choral setting. The chorus has an interesting thing to do, which is to sing the sound of the Fall of Mankind. The life cycle, according to \u003cem\u003eFinnegans Wake\u003c\/em\u003e, starts at the beginning, as we all know, with a Fall. It started with a fall of Satan from Heaven, perhaps; or it started with the fall of mankind from Adam and Eve. And so, the chorus begins the piece with Joyce’s writing of the Fall:\u003c\/p\u003e\n\u003cp style=\"overflow-wrap: break-word;\"\u003ebababadalgharaghtakamminarronnkonnbronntonnerronntuonnthunntrovarrhounawnskawntoohoohoordenenthurnuk!\u003c\/p\u003e\n\u003cp\u003e“The phrase repeats throughout as an ostinato, which, like the text of Joyce’s remarkable book, returns the end back again (Finn, again) to the beginning.”\u003c\/p\u003e","brand":"Robert Hughes","offers":[{"title":"Physical","offer_id":46748765192412,"sku":"ACA-HUGH-008","price":22.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":46748771516636,"sku":"ACA-HUGH-008e","price":17.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromHughes_HCE_Page_1.jpg?v=1752641561"},{"product_id":"music-for-the-kama-sutra","title":"Music for the Kama Sutra","description":"\u003cp\u003eFor thirteen players, large mixed ensemble, with Western and Asian instruments, five percussionists, contrabassoon solo.\u003c\/p\u003e\n\u003cp\u003eComposer's note: \"Music for the Kama Sutra” was written in the summer of 1966 for the San Francisco Ballet and was inspired by my love of Indian sculpture (voluptuous or transcendent, but almost always in posed ‘ballistic’ forms), which only increased with the exhibition Ancient Sculpture from India, circulated by the National Museum of New Delhi and presented in San Francisco. The original Kama Sutra is an ancient treatise on love, partly dealing with intimate erotology, and largely concerned with the outward sociological aspects of relationships. In the ballet, it is used in the most general way to establish a frame of reference and a reality other than our own.\u003c\/p\u003e\n\u003cp\u003eThe music is one continuous movement through five sections, in which trans-ethnic sonorities are unified by extensive percussion writing. (additional note in score)\u003c\/p\u003e","brand":"Robert Hughes","offers":[{"title":"Physical - score","offer_id":46898517770460,"sku":"ACA-HUGH-009s","price":69.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/Hughes_MusicForTheKamaSutra_FullScore11x17.jpg?v=1774616876"},{"product_id":"three-cowboy-songs","title":"Three Cowboy Songs","description":"\u003cp\u003eComposed originally in 1953, these tunes appeal to children and adults alike. They are especially popular with music-in-the-schools programs and have been embellished over the years with new bits of narrative and whistling by the performers.\u003c\/p\u003e\n\u003cp\u003eWhistling Tune was recorded by the Bellavente Wind Quintet and released in 2010. The CD received a Parents Choice Award from the Parents’ Choice Foundation (Bellavente #MCFROG).\u003c\/p\u003e\n\u003cp\u003eThree Cowboy Songs\u003c\/p\u003e\n\u003cp\u003e1. Cowboy’s Lament – A cowboy, dying in the streets of Loredo, Texas, calls to the people around him and asks them to listen to his story. He proudly tells them of his childhood days, his careless loves, and his gambling. His last wish is to be buried by gamblers and pretty girls.\u003c\/p\u003e\n\u003cp\u003e2. Nightherder’s Song – The song of a night herder is heard in the dark and lonely prairie night. The cowboy sings to keep awake and to quiet the nervous dogs.\u003c\/p\u003e\n\u003cp\u003e3. Whistling Tune – A lazy cowboy on a lonely street passes the time whistling tunes.\u003c\/p\u003e\n\u003cp\u003e--Bob Hughes\u003c\/p\u003e","brand":"Robert Hughes","offers":[{"title":"Physical","offer_id":46926444921052,"sku":"ACA-HUGH-010","price":59.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":46926782890204,"sku":"ACA-HUGH-010e","price":44.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/Hughes_3_Cowboy_Songs-250Cover.jpg?v=1774616813"},{"product_id":"uutiqtut","title":"Uutiqtut: Orchestral Suite","description":"\u003cp\u003e\u003cstrong\u003eProgram Notes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBob Hughes composed numerous film scores with Alaskan and Pacific Northwest themes. He conducted orchestras in Ketchikan, Juneau, and Sitka, Alaska over the course of his career and toured the Arctic with wind ensembles and experimental dance groups. Commissioned by the Public Broadcasting Service, the Alaska Arts Council, the U.S. Department of the Interior, and the Walt Disney Company, he composed music that portrayed the rarified atmosphere and natural wonders of the Arctic region, with the inclusion of native folk melodies, songs, and traditional instruments such as the hoop drum with seal bladder membrane, as well as his own additions to the percussion section, such as caribou antlers.\u003c\/p\u003e\n\u003cp\u003e“Uutiqtut” is an Inuit word meaning movement. It is identified with the annual migration of the caribou. This work stays close to the musical genre of the Chase, offered as a subtitle, as it selects the moment at which the herd’s movement accelerates to a furious pace when confronted with danger. The opening measures set the atmosphere—an icy cold early morning in the tundra. Unease disturbs the calm as a herd of caribou senses a predator. Wisps of fleeting sixteenth notes gather gradually into a forceful impetus which develops into the full pursuit of the chase as the arctic wolves make their move. In the end, one animal cries out (a dramatic tour de force for trombone) as it expires in the cold dark Arctic landscape.\u003c\/p\u003e\n\u003cp\u003e“Uutiqtut” is an offshoot of an experiment written to accompany a climactic scene in the movie \u003cem\u003eNever Cry Wolf\u003c\/em\u003e (Disney). Ultimately the film and scene took a much different shape and the composer chose to orchestrate the piece for large forces with a particularly elaborate percussion section. Here, “Uutiqtut” is paired to the atmospheric “Ublarpaluk” (Dawn)” to form an Orchestral Suite that folds the drama of the chase into the overarching wonder of the Arctic light and stillness.\u003c\/p\u003e\n\u003cp\u003eThe composer brought “Uutiqtut” forward for inclusion in his late work,\u003cem\u003e Silenus’ Antiphonary\u003c\/em\u003e, where it anchors the Summer section of this major composition based on the seasons.\u003c\/p\u003e\n\u003cp\u003e“Uutiqtut” and “Ublarpaluk” were premiered with the Berkeley Symphony Orchestra under the artistic direction of Kent Nagano on April 25, 1987, with the composer conducting. The Cabrillo Music Festival performed “Uutiqtut” on August 12, 2023, with Cristian Măcelaru conducting, in a special tribute to Bob Hughes, who in 1963 co-founded the festival with Lou Harrison.\u003cbr\u003e\u003c\/p\u003e","brand":"Robert Hughes","offers":[{"title":"Physical","offer_id":47395886465244,"sku":"ACA-HUGH-011s","price":108.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/Pages_from_Hughes_Uutiqtut.jpg?v=1766690557"},{"product_id":"silenus-antiphonary","title":"Silenus' Antiphonary","description":"\u003cp\u003eThis complete edition of Silenus' Antiphonary includes the engraved scores for each of the four Suites, numerous holographic reproductions of the original multicolor graphic scores, and extensive program, production, and editorial notes.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eInitiated in the early 1980s as a response to the potential afforded by new technologies, cross-disciplinary performance and performance art, \u003cem\u003eSilenus’ Antiphonary\u003c\/em\u003e was originally conceived as a rich assemblage of music with multi-image animations and video media. The project took shape in the 2000s with hand-drawn score pages augmented by inter-texts, color drawings, favorite images selected from illustrated manuscripts, sculpture and painting throughout the history of art, often resembling the Italian scrapbook or zibaldone assembled by medieval scholars and scribes.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/Hughes_SA_Graphic.png?v=1774795469\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003eIntended to be a constellation of many lodestars, the work’s philosophical and literary reach is mirrored in its wide gamut of performing forces. These include solo and a cappella voices; small, medium, and large choruses; chamber ensembles; full orchestras and oversize orchestras, with electronics.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/composers.com\/blogs\/standalone-articles-and-essays\/robert-hughes-silenus-antiphonary\" title=\"Silenus Antiphonary\"\u003eExplore the full article on Silenus' Antiphonary.\u003c\/a\u003e\u003c\/p\u003e\n\u003ch3\u003eContents\u003c\/h3\u003e\n\u003ch4\u003e\u003cstrong\u003eWinter Suite\u003c\/strong\u003e\u003c\/h4\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003eTimotheos Unfolds (Chaos into Time)\u003cbr\u003e\u003c\/strong\u003e7 Baritones with Chamber Orchestra\u003cstrong\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/strong\u003eText: \"Permit me voyage\" by James Agee\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eWinter\u003c\/strong\u003e (Hibernus, On a Gentlewoman Walking in the Snow, Winter Tames Man Woman and Beast)\u003cbr\u003eChorus with Full Orchestra\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003eTexts: “Snowbound” by John Greenleaf Whittier; “Let Us Now Praise Famous Men” by James Agee; “Snowflakes” by Henry Longfellow; “Song by an Old Shepherd” by William Blake; “On a Gentlewoman walking in the Snowe” by William Strode; “Winter tames man, woman, and beast” by William Shakespeare\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterlude I (Water)\u003cbr\u003e\u003c\/strong\u003eFull Orchestra\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch4\u003e\u003cstrong\u003eSpring Suite\u003c\/strong\u003e\u003c\/h4\u003e\n\u003col start=\"4\"\u003e\n\u003cli\u003e\n\u003cstrong\u003eVera (Spring)\u003cbr\u003e\u003c\/strong\u003eChorus with Full Orchestra\u003cbr\u003eTexts: “At Chiusi, some happy morn” and “Pippa passes” by Robert Browning; “The Spring” by Thomas Carew; “Zefiro torna” by Francesco Petrarca; “The Leopard” by Giuseppe Tomasi de Lampedusa; “And by the beach run, Tyro” from Canto II by Ezra Pound\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLe Quattro Volte (Four Changes) \/ \u003c\/strong\u003e\u003cstrong\u003eNewness strutting around as if it were significant\u003cbr\u003e\u003c\/strong\u003eChamber Ensemble\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cem\u003eIncludes reproduction from the holograph score\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePervigilium Veneris\u003cbr\u003e\u003c\/strong\u003eChorus with Full Orchestra\u003cbr\u003eText: “Cras amet qui nunquam” by anonymous, c. 4th century \u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterlude II (Leafy Treviso) \/ L'estate, \"Contiga de Gioia de Santa Maria\" de Alfonso El Sabio\u003cbr\u003e\u003c\/strong\u003eFull Orchestra\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch4\u003e\u003cstrong\u003eSummer Suite\u003c\/strong\u003e\u003c\/h4\u003e\n\u003col start=\"8\"\u003e\n\u003cli\u003e\n\u003cstrong\u003eUutiqtut (The\u003c\/strong\u003e \u003cstrong\u003echase)\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003eFull Orchestra\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLove Scene\u003c\/strong\u003e (The Kama Sutra, Ecstatic, Dance of Display, Return to Kama Sutra, Fanfare)\u003cbr\u003eFull Orchestra\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cem\u003eIncludes reproduction from the holograph score\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFanfare\u003cbr\u003e\u003c\/strong\u003eFull Orchestra\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePrelude to Gran’ Bacchanal\u003cbr\u003e\u003c\/strong\u003eFull Orchestra\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eGran' Bacchanal \u003c\/strong\u003e(Dithyrambe, Satyr’s Prelude, Pentheus Returns, Gran’ Bacchanal)\u003cbr\u003eFull Orchestra\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch4\u003e\u003cstrong\u003eAutumn Suite\u003c\/strong\u003e\u003c\/h4\u003e\n\u003col start=\"13\"\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterlude III (In Umbram)\u003cbr\u003e\u003c\/strong\u003eFull Orchestra\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMy Fading Sight...\u003cbr\u003e\u003c\/strong\u003eChorus with Small Ensemble\u003cbr\u003eText: \"My fading sight...\" by Hester Glory Storm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eUblarpaluk (Flowing, Alba)\u003c\/strong\u003e\u003ca href=\"\/products\/uutiqtut\"\u003e\u003c\/a\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eFull Orchestra\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Robert Hughes","offers":[{"title":"Physical","offer_id":47406044741852,"sku":"ACA-HUGH-012s","price":360.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":47421925097692,"sku":"ACA-HUGH-012e","price":125.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-HUGH-012eHughes_SilenusAntiphonary-Score_Page_01.jpg?v=1774896908"},{"product_id":"caccia-uutiqtut","title":"Caccia (Uutiqtut)","description":"\u003cp class=\"MsoNormal\"\u003e\"Caccia\" is a two-piano version of the larger orchestral work \"Uutiqtut.\"\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eUutiqtut is an Inuit or Inuktitut word meaning movement. It is identified with the ‘chase’—the equivalent therefore to the Italian musical term ‘caccia,’ hence the title. The opening measures set the atmosphere—an icy cold early morning in the tundra. Unease disturbs the stillness of the scene as a large herd senses that it is being stalked by a predator. A distant horn call gives an almost Sibelian cue of the approaching ‘hunt.’ A few wisps of fleeting sixteenth notes gradually gathers together into a forceful impetus which thrusts itself into the full pursuit of the chase, the main body of the work. By the end, the huge beasts are brought down in death lunges by the arctic wolves until the pathetic last breaths and shrugs expire into the cold dark Arctic landscape.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/p\u003e","brand":"Robert Hughes","offers":[{"title":"Physical","offer_id":47406580629724,"sku":"ACA-HUGH-013","price":38.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":47421913202908,"sku":"ACA-HUGH-013e","price":25.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromHughes_Caccia_Page_1.jpg?v=1767081014"},{"product_id":"sopo-muerte-se-cande","title":"Sop'o muèrte se cande","description":"\u003cp\u003eThe title of this work is selected from a number of Italian proverbs in the dialect of the Puglia region. The full proverb reads, “Sop’o muèrte se cande la glòrie.” Translation to Italian is “Sul morto si cantano le lodi.” A literal English translation might be, “Upon death one sings praises.” The composer was in Italy on a Fulbright award to research and set to music the texts of the regional dialects when he learned of the death of his good friend and colleague Calvin Simmons.\u003c\/p\u003e\n\u003cp\u003eThe Arch Ensemble for Experimental Music held a memorial concert for Calvin Simmons, for which they formalized Sop’o muèrte se cande as a commission for large ensemble and voice. Written for solo high tenor singing the single syllable “Ah” throughout, in vocalise, the “Ah” itself becomes the unrelenting praise coined from breath joined to sound—a universal language understood by all. The premiere took place at St. Mary’s Cathedral in San Francisco in 1983, with Thomas Buckner singing the tenor part.\u003c\/p\u003e","brand":"Robert Hughes","offers":[{"title":"Physical","offer_id":47492490100956,"sku":"ACA-HUGH-014","price":69.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/sopomuer_cover1_j.jpg?v=1769549000"},{"product_id":"ritmicas-homago-to-amadeo-roldan","title":"Ritmicas, Homago to Amadeo Roldán","description":"\u003cp\u003e\u003cstrong\u003eProgram Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCo-composed in 1964, the two-minute Ritmicas is a double music for flute, clarinet, bassoon and horn. While the ‘double’ refers to the co-composition, it can also point to the musical interest of this ritmicas, the two rhythmic meters – 2\/2 and 3\/2 – played simultaneously.\u003c\/p\u003e\n\u003cp\u003eAs indicated by the subtitle, written in Esperanto, it is an homage to the Cuban composer Amadeo Rold y Gardes (1900–1939), who had written four Ritmicas for winds and piano in 1930. Hughes composed the parts for flute and horn, and Harrison composed the parts for clarinet and bassoon. The work certainly emerged from Harrison’s lessons for Hughes, as the interest in both Esperanto and exposure to Roldán’s music originated with Harrison. Originally a quintet, the work remained unplayed until the 1990s when Hughes premiered it as a wind quartet while touring with the ensemble on an Alaskan cruise ship.\u003c\/p\u003e","brand":"Robert Hughes","offers":[{"title":"Physical","offer_id":47493245108444,"sku":"ACA-HUGH-015","price":26.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":47493295276252,"sku":"ACA-HUGH-015e","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-HUGH-015eHughes_Ritmicasscore9x12.jpg?v=1775227648"},{"product_id":"the-sampler","title":"The Sampler","description":"","brand":"Robert Hughes","offers":[{"title":"Physical","offer_id":47582698012892,"sku":"ACA-HUGH-016","price":37.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":47582713610460,"sku":"ACA-HUGH-016e","price":24.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromHughes_SamplerSCORE_Page_1.jpg?v=1771390372"},{"product_id":"compleynt","title":"Compleynt","description":"","brand":"Robert Hughes","offers":[{"title":"Physical","offer_id":47582738383068,"sku":"ACA-HUGH-017","price":16.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":47582742315228,"sku":"ACA-HUGH-017e","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/Hughes_Compleynt.jpg?v=1774616563"},{"product_id":"madrigal-1","title":"Madrigal","description":"\u003cp\u003e\u003cstrong\u003eProgram notes from the composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAMO ERGO SUM (I love, therefore I am) from which “Madrigal” is excerpted, derives its inspiration, method and form from the style and substance of Ezra Pound’s Cantos. To a large degree the actual musical construction was suggested by musical techniques employed in the Cantos. However, all the notes are my own.\u003c\/p\u003e\n\u003cp\u003eEzra Pound’s life was a dramatic one and his Cantos are its intellectual autobiography. His life – aesthete, linguist, expatriate, political being, crackpot economist, prisoner in a barbed wire cage, octogenarian with ebbing mind – is reflected in AMO ERGO SUM, as are the major themes of his poetry – the process of nature as hypostasis, the value of tradition as modus vivendi, and the corruption of Usury, sin against nature.\u003c\/p\u003e","brand":"Robert Hughes","offers":[{"title":"Physical - Conductor's score","offer_id":47582752932060,"sku":"ACA-HUGH-018s","price":16.0,"currency_code":"USD","in_stock":true},{"title":"Physical - Chorus scores","offer_id":47629419217116,"sku":"ACA-HUGH-018c","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/Hughes_Madrigal.jpg?v=1774616737"},{"product_id":"putnams-camp","title":"Putnam's Camp","description":"\u003cp\u003eExcerpted from \u003cem\u003eThree Places in New England.\u003c\/em\u003e Arranged by Robert Hughes in 1999.\u003c\/p\u003e","brand":"Robert Hughes","offers":[{"title":"Physical","offer_id":48245851554012,"sku":"ACA-HUGH-021","price":36.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":48245851586780,"sku":"ACA-HUGH-021e","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-HUGH-021eHughes-Ives_PutnamsCamp-Score_Page_1.jpg?v=1773959851"},{"product_id":"variations-on-america","title":"Variations on \"America\"","description":"\u003cp\u003eArranged by Robert Hughes in 1999.\u003c\/p\u003e\n\u003cp\u003eAttractive for music in the schools; music for a family concert; originally written by Charles Ives (1874-1954) for solo organ and orchestrated by William Schuman.\u003c\/p\u003e","brand":"Robert Hughes","offers":[{"title":"Physical","offer_id":48245866889436,"sku":"ACA-HUGH-019","price":54.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":48245866922204,"sku":"ACA-HUGH-019e","price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-HUGH-019eHughes-Ives_Variations-Score_Page_1.jpg?v=1773960203"},{"product_id":"happy-birthday-dixieland-band","title":"Happy Birthday for Dixieland Band","description":"\u003cdiv\u003e\u003cspan\u003eDixieland Happy Birthday is excerpted from the film score for \u003cem\u003eThat’s Me\u003c\/em\u003e, which Hughes composed in 1965 to accompany a film designed to help children identify themselves in the larger world they have newly entered. The film was produced by Amazing Life Games Films, directed by Jim Robertson, former head of Design at the San Francisco Art Institute. Hughes was a member of the core creative team. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eThe occasion of the 250th birthday year of the founding of the United States, paired to ACA’s celebratory collection “Music of the American Experience” seemed a perfect excuse to excerpt the Dixieland rendition of the Happy Birthday song, written in a style that is unmistakably American.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003eInstruments:\u003c\/p\u003e\n\u003cp\u003eClarinet in Bb\u003cbr\u003eTrumpet in Bb\u003cbr\u003eTrombone\u003cbr\u003eTuba (or Double Bass)\u003c\/p\u003e\n\u003cp\u003ePercussion:\u003cbr\u003eGlockenspiel, Marimba\u003cbr\u003e3 Tom-Toms, Tight Drum, Snare drum\u003cbr\u003eTemple Blocks, Wood Block\u003cbr\u003eSuspended Cymbal \u003cbr\u003eSlide Whistle\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Robert Hughes","offers":[{"title":"Physical","offer_id":50100999651548,"sku":"ACA-HUGH-022","price":69.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":50100999684316,"sku":"ACA-HUGH-022e","price":58.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/Pages_from_Hughes_HappyBirthdayforDixiel.jpg?v=1778876512"},{"product_id":"songs-from-the-palatine-anthology","title":"Songs from the Palatine Anthology","description":"\u003cp\u003eBob Hughes set these poems two years after arriving in Aptos CA to study with Lou Harrison. Within a short time, Harrison left for Asia on a Rockefeller Grant, not to return until July; so that Hughes began a concert series at the local coffee and book shop The Sticky Wicket. He programmed many contemporary music and music-theater works, including those of Harrison and himself. \u003cem\u003eSongs for the Palatine Anthology\u003c\/em\u003e had its premiere in this series.\u003c\/p\u003e\n\u003cp\u003eDudley Fitts referred to his translations as English paraphrase, remarking in his Commentary to the volume \u003cem\u003eOne Hundred Poems from the Palatine Anthology\u003c\/em\u003e, that “there is scarcely a single adequate translation into English verse,” and, “I have deliberately chosen a system of irregular cadence, assonance, and the broken line.”\u003c\/p\u003e\n\u003cp\u003eThe composer’s choice of poems suggests Harrison’s influence and milieu, with its turn of attention away from violence to nonviolence, and to the “two noble virtues.” These would be Lust and Greed, as described in a 1980 ode by Harrison, “Love is made of lust, of lust and tender prizing. And the thrust of love is born of beauty rising in a trust of joy.”\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e(Lou Harrison, \u003cem\u003eJoys and Perplexities,\u003c\/em\u003e 1992).\u003c\/p\u003e","brand":"Robert Hughes","offers":[{"title":"Physical","offer_id":50101005091036,"sku":"ACA-HUGH-023","price":32.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":50101005123804,"sku":"ACA-HUGH-023e","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-HUGH-023eHughes_SongsfromthePalatineAnthology-FullScore_Page_1.jpg?v=1776780363"},{"product_id":"waltz-from-dance-suite","title":"Waltz from Dance Suite","description":"","brand":"Robert Hughes","offers":[{"title":"Physical - Full Score","offer_id":50101011316956,"sku":"ACA-HUGH-020s","price":22.5,"currency_code":"USD","in_stock":true},{"title":"Physical - Parts","offer_id":50101012693212,"sku":"ACA-HUGH-020p","price":75.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Full Score","offer_id":50101011349724,"sku":"ACA-HUGH-020se","price":19.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Parts","offer_id":50101012725980,"sku":"ACA-HUGH-020pe","price":55.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-HUGH-020seHughes_Waltz-Score_Page_1.jpg?v=1776780851"},{"product_id":"le-quattro-volte-four-changes","title":"LE QUATTRO VOLTE (Four Changes)","description":"\u003cp\u003eRobert Hughes, “Le Quattro Volte” (Four Changes)\u003cbr\u003efor Koto, 2 Flutes, 2 French Horns, Drone\u003cbr\u003efrom Silenus’ Antiphonary\u003cbr\u003e\u003cbr\u003eLe Quattro Volte takes for its theme the four seasons, with the emphasis on the changes from one season to the next. The Italian word volte means to turn or change. The importance of the seasons to culture is that they never cease to influence the experience of living and non-living forms. They continually excite all of our senses. As a recurring cycle, they shape our humanity by giving context to religion, culture, economy, and agriculture, and religion. The work is both drawn into and drawn from the composer’s magnum opus Silenus’ Antiphonary, a “summation project” of lifelong pursuits, hand-written and hand-drawn in color pencil, to score the intersection of visual art, literature, and music. The earlier iteration of Le Quattro Volte was scored for the 1970 Amazing Life Games film Four Changes and released on CD under that title on the Second Evening Art label (#AG1964), with Yuriko Smiley on koto. Le Quattro Volte received its concert premiere as a standalone work from the Antiphonary on February 22, 2025 by New Music Works at the University of California Santa Cruz Music Center with Yuki Yasuda on koto, and Michael McGushin conducting. During an extended stay in 2008 at the American Academy in Rome, the composer reworked his musical materials in a temporary studio at the Academy’s Casa Rustica, the very site where, in 1611, Galileo first introduced his telescope to an erudite Roman audience. The coincidence highlights the contrast between these two very different approaches to nature—the telescope enables a particularized and direct perspective of nature through vision; the music abstracts the perception of nature through the particularized sounds and tonal colors. \u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":50352564699356,"sku":"ACA-HUGH-024","price":51.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":50352577839324,"sku":"ACA-HUGH-024e","price":32.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromHughes_LeQuattroVoltescore10x13_Page_1.jpg?v=1779415045"},{"product_id":"little-big-top","title":"Little Big Top","description":"\u003cdiv\u003e\u003cspan\u003eThis circus music for flugelhorn, trombone, percussion and toy percussion was composed in 1970 for a children’s film developed by the Amazing Life Games Co., directed by Jim Robertson, former head of Design at the San Francisco Art Institute, and engineered by Richard Beggs at American Zoetrope studios. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eIn its four and a half minutes, the piece passes through the many moods of circus: the grand master’s hyperbolic introduction, the parade of performers, the sad clown, a conundrum, suspense (as in the tightrope act), and a return to the grand finale when all forces gather in the ring to perform at once. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eThe circus-themed music subsequently was synchronized to a one-minute video, “Cowgirl Coffee,” for the Microtheater series produced by earwax productions. It features choreography and performance by Margaret Fisher, who, with co-director Robert Hughes, headed up the performance and production company MAFISHCO based in Emeryville CA.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eInstruments:\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eFlugelhorn\u003cbr\u003eTrombone (doubles perc)\u003cbr\u003ePercussion\u003cbr\u003etoy xylophone\u003cbr\u003emarimba (optional)\u003cbr\u003epro glockenspiel\u003cbr\u003epro snare drum\u003cbr\u003epro bass drum\u003cbr\u003etoy snare drum\u003cbr\u003etoy bass drum\u003cbr\u003e2 sets of 3 toms\u003cbr\u003e2 suspended cymbals\u003cbr\u003ehigh triangle\u003cbr\u003ehigh, medium \u0026amp; low slide whistles\u003cbr\u003e(low occasionally cued in tbn)\u003cbr\u003esquawks (assigned to tbn)\u003cbr\u003ebanya\u003cbr\u003emouth siren\u003cbr\u003ekazoo\u003cbr\u003eauto horn\u003cbr\u003eflower pots or cowbells\u003cbr\u003epitched Gb, Ab, Bb\u003c\/span\u003e\u003c\/div\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":50550094725340,"sku":"ACA-HUGH-026","price":46.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":50552302928092,"sku":"ACA-HUGH-026e","price":28.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromHughes_LittleBigTopScore10_Page_1.jpg?v=1779669822"},{"product_id":"three-pieces-in-the-style-of-mozart","title":"Three Pieces in the Style of Mozart","description":"\u003cp\u003e\u003cstrong\u003eNotes from the Composer:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe diverse scenic situations of cinema offer a composer the opportunity to enjoy composing in a variety of styles. When Maestro Ramadanoff invited me to participate as the Composer-in-Residence this year I was extremely pleased that he welcomed my suggestion of Three Pieces in the Style of Mozart.  \u003c\/p\u003e\n\u003cp\u003eThese short, modest movements were assembled from diverse sources and then, for their Vallejo premiere, were orchestrated for wind dectet with a harpsichordist doubling on two tambourines. Eventually I couldn’t resist adding a small contrabassoon part (the instrument I usually play in the Vallejo Symphony).\u003c\/p\u003e\n\u003cp\u003eThe first movement, Allegro, was composed for the Disney movie Never Cry Wolf, where it can be heard to humorous advantage accompanying the scientist’s dinner of mice. My music, inspired by the wind octet dinner music in the last act of Mozart’s Don Giovanni, is performed in the film, for comic reasons, on a honky-tonk piano. Tonight’s Vallejo Symphony concert allows me to realize it as a wind ensemble piece according to my original intentions. The second piece, Adagio, was expanded to its present form from my Music for Salicia’s Dreams, an early chamber music work. The sensibility, transparency and 90% of the harmonic content of the third movement, Moderato, are in the style of Mozart. However, the salient “creative” part of the eclecticism is in the use of a lilting 7\/8 meter, a time signature unknown in Mozart’s day but very much a part of our times.\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical - Score","offer_id":50606835171548,"sku":"ACA-HUGH-025s","price":44.5,"currency_code":"USD","in_stock":true},{"title":"Physical - Parts","offer_id":50607096398044,"sku":"ACA-HUGH-025p","price":85.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Score","offer_id":50606835204316,"sku":"ACA-HUGH-025se","price":38.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Parts","offer_id":50607096430812,"sku":"ACA-HUGH-025pe","price":68.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-HUGH-024seHughes_ThreepiecesMozart9x12SCORE_Page_1.jpg?v=1779735791"},{"product_id":"incidental-music-for-waiting-for-godot","title":"Incidental Music for Waiting for Godot","description":"\u003cp class=\"MsoNormal\" style=\"margin-top: 0in; text-align: justify; line-height: 150%;\"\u003e\u003cspan style=\"mso-bidi-font-family: 'Times New Roman';\"\u003eIn 1961, “Summer Theatre at the Sticky Wicket” featured Stravinsky’s \u003ci style=\"mso-bidi-font-style: normal;\"\u003eA Soldier’s Tale\u003c\/i\u003e, which Hughes had conducted during his graduate years at the University of Buffalo; Edna St. Vincent Millay’s \u003ci style=\"mso-bidi-font-style: normal;\"\u003eAria da Capo\u003c\/i\u003e, for which Hughes composed incidental music; and Gluck’s \u003ci style=\"mso-bidi-font-style: normal;\"\u003eOrpheus and Euridice\u003c\/i\u003e. Sidney Jowers created the costumes for all three offerings. Hughes served as Drama Director and Conductor for the Stravinsky and Gluck works.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-top: 0in; text-align: justify; line-height: 150%;\"\u003e\u003cspan style=\"mso-bidi-font-family: 'Times New Roman';\"\u003eIn 1962 the summer program, renamed The New Vic Theatre, featured Moliere’s \u003ci style=\"mso-bidi-font-style: normal;\"\u003eLe Bourgeois Gentilhomme\u003c\/i\u003e; “An Evening in Salzburg 1790 (Music by Haydn, Mozart, and Beethoven written for the outdoor gardens of Salzburg)”; An Intimate Evening with Geddis and Martin, \u003ci style=\"mso-bidi-font-style: normal;\"\u003eActors with Puppets\u003c\/i\u003e (and not for children); and Samuel Beckett’s \u003ci style=\"mso-bidi-font-style: normal;\"\u003eWaiting for Godot\u003c\/i\u003e. Hughes conducted the three music programs and composed this incidental music for Beckett’s play.\u003c\/span\u003e\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":50916617486556,"sku":"ACA-HUGH-027","price":28.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":50916644716764,"sku":"ACA-HUGH-027e","price":18.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromHughes_IncidentalWaitingGodotscore9x12zz.jpg?v=1780289789"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/collections\/Hughes_Kyoto1983_crop.jpg?v=1739389003","url":"https:\/\/composers.com\/collections\/robert-hughes.oembed?page=2","provider":"American Composers Alliance","version":"1.0","type":"link"}