Article Contributed on: 2/13/2009 11:16:20 AM
Those of you who have not recently attended one of the many orchestra concerts here in Denver and the suburbs may be unfamiliar with Devin Hughes. Hughes is a resident conductor of the Denver Philharmonic Orchestra, and he is working on an artist diploma at the University of Denver. He is also the music director and conductor of the Niwot Timberline Symphony Orchestra and the founder and conductor the Denver Contemporary Chamber Players. Hughes founded the Ithaca Chamber Players, of Ithaca, New York, and was the music director of the Ithaca Sinfonietta. He has conducted the Ball State University Summer Symphony and was assistant conductor of the Muncie Indiana Symphony Orchestra.
On Thursday, February 12, he conducted a required recital for his Artist Diploma. I have no doubt that he will receive the Artist Diploma without any qualms on the part of the University. At the risk of sounding patronizing, he has a tremendous amount of experience for one so young. This experience has given him the ability to communicate extremely well with the orchestra, and he truly imparts to them the joy and excitement of making music. As he conducts, it is clear that he views his relationship with the orchestra as a partnership, not as an autocrat.
For the first work on the program, Devin Hughes chose a piece entitled "Raga," by American composer, Christopher Theofanidis. Raga is a Sanskrit word which is a designation of a particular scale in the music of India. It also clues prescriptions of ascent and descent patterns, motives, and emotional character. This was a chamber work for violin, cello, percussion, and piano. The composer, Theofanidis, was born in 1967, and yet this piece reminded me very much of a piece that could have been written in the mid-60s. The pianist stroked the strings of the piano in the opening and the composition made use of tone clusters on the piano as well. In addition, the rest of the chamber group seemed to be playing not just notes, but aleatoric gestures. It was a well done piece and a well written piece. Because of its complicated rhythm and difficult entrances, it gave Mr. Hughes a genuine workout. But one of the interesting things about Hughes conducting is that he makes his job look easy. He has a certain thrift of movement that could fool some people.
Next on the program came a single movement entitled "Summer," from Antonio Vivaldi's famous concerto grosso, The Four Seasons. Performing the solo violin in this concerto was the extraordinary Rebekah Durham. This young woman has her Bachelor's Degree in performance from the University of Denver, where she graduated Magna Cum Laude. She is currently studying with Linda Wang in pursuit of her Artist Diploma. She has studied at the Aspen Music Festival and School, and has graduated from the Young Artist Program at the Cleveland Institute of Music.
This movement from "The Four Seasons" is difficult because of its rapid repeated notes and strategically placed rests. Durham was always on pitch, and her playing was always articulate and extremely clean. And, at this point, something needs to be said about the Lamont Symphony Orchestra. I have never heard them play so well. The orchestra was always in tune, and they followed Hughes as he followed Durham. Hughes demanded a lot, but it was clear that he got a lot from this orchestra. The precision with which the orchestra played belied the fact that they are all students, albeit with a very good concertmaster, Veronica Pigeon, who is also a member of the Denver Philharmonic Orchestra. Rebekah Durham's playing was incredibly energetic and very, very exciting. She gave great dynamic shaping to each phrase and so did Devin Hughes. The result was a very tight and electric performance.
There was no intermission in this program and I did not miss it at all. The music being made was simply too exciting. Next on the program, Hughes chose the seldom heard "Poeme, Op. 25," for violin and orchestra, by Ernest Chausson. Again, Rebecca Durham was the soloist. Perhaps one of the reasons that it is seldom heard is because it has such a difficult violin part. It is a very dark piece, richly romantic, and shows much influence of Franck and Faure. Durham was always up to the task, exhibiting graceful aplomb in the double stops and lyric melodic line. It was very clear that Durham and Hughes shared the sense of mystery and reverie so inherent in this piece of music. It highlighted Durham's exceptional ability at obtaining warm tone from her violin. It also highlighted Hughes ability to communicate with the orchestra using facial expression and his ever-changing technique, switching from steady beats to conducting in huge, sweeping phrases, to draw what he wanted from the orchestra.
Last on the program was Mozart's Symphony Nr. 36, K.425. We know that this symphony was written in great haste - many people have said four days. Frankly, I don't see how that could be (how can anyone physically write that fast?), when the composer has to copy all of the parts as well as write the work in the first place. He must have had the germ of a new work in his head before he got to Linz where it was written. We do know that Mozart could write a complete work in his head, make the necessary corrections in his head, and then put it down on paper with only the smallest of errors, or no errors at all.
The orchestra changed personnel for the Mozart, complete with a new concertmaster, who I believe was Natasha Colkett. Where does DU get such good string players? As everyone is surely aware, this is one of the delightful works of Mozart. It was very clear from the orchestra's reaction to, and partnership with, Devin Hughes, that they were having a very good time wallowing in the music. It was full of life. And by the way, the tempo of the third movement, the Minuet, was absolutely perfect. So many conductors take this movement too fast, but, to his credit, Hughes did not. It seemed to me that Hughes really likes to conduct Mozart. The last movement, which is quite difficult, was superb. Hughes made sure that the little two-note phrases were articulate and always dynamically shaped.
This was a very enjoyable concert. It is difficult for me to consider this a student ensemble because they were all so professional. And that means that Hughes did his job. It is also clear that Hughes and Durham are ready for a career. Remember their names.