In this first half of a special two-part conversation, Devin Patrick Hughes speaks with broadcaster and author John Suchet about Beethoven’s beginnings in Bonn, his precocious childhood on the Rhine, his mentors and patrons, and the myths surrounding his father and early works. Together, they explore Beethoven’s revolutionary ideas, his first “unplayable” compositions, and the legendary (and mysterious) meeting with Mozart. Along the way, Suchet shares insights from his new book, In Search of Beethoven: A Personal Journey, and we hear the music that shaped the young Beethoven and echoed throughout his career.

Featured Music All works composed by Ludwig van Beethoven, unless noted.

• Große Fuge, Op. 133 — Artemis Quartet (live, Paris 2001)

• Musik zu einem Ritterballet, WoO 1: No. 8 Coda — Günther Herbig & Staatskapelle Berlin (1971)

• Quartet WoO 36 No. 3 in C Major: I. Allegro Vivace — Christoph Eschenbach, Norbert Brainin, Peter Schidlof, Martin Lovett

• Sonatina in E-flat Major WoO 47, Kurfürstensonate No. 1 — Jörg Demus

• Cantata on the Death of Emperor Joseph II, WoO 87 — Reetta Haavisto, Juha Kotilainen, Leif Segerstam, Turku Philharmonic, Chorus Cathedralis Aboensis

• Violin Concerto in D Major, Op. 77: II. Adagio — Johannes Brahms, Itzhak Perlman, Chicago Symphony, Carlo Maria Giulini

• “Aria de Florestan: Gott!” from Fidelio — Jonas Kaufmann, Nikolaus Harnoncourt

• 12 Variations on “Se vuol ballare”, WoO 40 — Yehudi Menuhin & Wilhelm Kempff

For more information on John Suchet, see https://www.johnsuchet.co.uk. You can find his most recent book In Search of Beethoven, A Personal Journey where ever books are sold.

You can always find more info at OneSymphony.podbean.com. If you appreciate what we do you can Support the show and get exclusive content at patreon.com/onesymphonywithdevinpatrickhughes. Feel free to rate, review, or share the podcast! Until next time, thank you for being part of the music.

On this episode of One Symphony with Devin Patrick Hughes, composer Nan Avant takes us on a journey through her orchestral world — where nature, heritage, and imagination meet in music. Known for works inspired by the sea, the winds of Lahaina, and the birth of distant nebulas, Nan Avant blends classical tradition, cinematic color, and unexpected sounds — from steel road plates to wind machines — to tell her stories.

From her Peruvian roots and classical piano training to collaborations with the London Symphony Orchestra and Northwest Sinfonia, Avant reveals how she turns personal memories and natural landscapes into vivid symphonic experiences. She also shares insights into orchestration, working directly with musicians, and weaving cultural influences into her scores.

Music in this episode:

• Aloha ‘Oe – Queen Lili’uokalani, jazz bossa nova arrangement by Nan Avant

• End Credit Music from Remember Me (2009)

• Bijoux (The Nebulae) – Northwest Sinfonia Orchestra, David Sabee conducting

• Soundness of the Sea for Violin and Piano

• Wind Machine and Bass Drum demonstration

• Lahaina – Rhapsody for Violin and Orchestra – London Symphony Orchestra, featured on Symphonic Stradivarius

• Tributum – Northwest Sinfonia Orchestra, David Sabee conducting

Whether you’re drawn to the craft of composition, curious about the sounds that shape an orchestra, or simply love hearing music’s human stories, this conversation with Nan Avant offers a rare glimpse into the mind and heart of a modern composer.

In this episode of One Symphony, Devin Patrick Hughes interviews Lucas Richman, a Grammy winning composer and conductor, exploring his career and insightful perspectives on music and its role in society.

Richman recounts his early exposure to music through composer biographies, sharing an anecdote about writing to Aaron Copland and receiving an encouraging postcard in return, which served as an early inspiration.

The discussion moves to Richman's experiences with Leonard Bernstein, highlighting a masterclass on the Academic Festival Overture and the profound impact Bernstein had on his understanding of music and life. Richman emphasizes Bernstein's ability to infuse everything with love and teaching, noting his preference for discussing music with doctors rather than musicians due to their focus on the art rather than business.

Richman discusses his approach to composition, emphasizing his commitment to bringing social issues and awareness into the concert hall. He describes his symphony inspired by Bernstein's words, "This will be our reply to violence is to make music more intensely, more beautifully, more devotedly than ever before," with movements embodying intensity, beauty, and devotion. He also discusses "The Warming Sea," a piece addressing climate change, and Paths to Dignity, a violin concerto inspired by the issue of homelessness. In Paths to Dignity, Richman musically portrays the word "dignity" using specific notes, aiming to create a conversation and raise awareness. He collaborated with Mitchell Newman, a violinist and advocate for the unsheltered community, to bring attention to the human stories behind homelessness.

Richman reflects on his time as an assistant conductor, which instilled in him the importance of clarity and efficiency. He describes his experience conducting film scores for movies such as Seven and The Village, noting the collaborative nature of the work. Richman also shares his perspective on conducting his own music, expressing that others often bring fresh interpretations that he appreciates.

Transitioning to the evolution of the conducting field, Richman acknowledges the influence of mentors like Daniel Lewis and Herbert Blomstedt, emphasizing the significance of respect, intent, and honesty. He expresses concern that some contemporary conductors prioritize showmanship over serving the music and fostering leadership skills.

Turning to the role of a music director, Richman underscores the importance of community engagement, fundraising, and collaboration with the board and staff. He highlights initiatives such as streaming concerts, expanding educational programs, and forging relationships with local organizations. He also touches on his involvement in music education, including his piece Behold the Bold Umbrellaphant, which introduces children to classical music through imaginative characters.

Thank you for joining us on One Symphony. Special thanks to Lucas Richman for sharing his music and story.

Musical selections from today’s episode:

• Brahms: Academic Festival Overture, Op. 80 (Live). Lucas Richman conducting.
• The Warming Sea composed by Lucas Richman. Performed by the Bangor Symphony Orchestra, Divisi Women’s Choir, and the Bangor Area Youth Choir. Conducted by Jayce Ogren. Commissioned by the Maine Science Festival.
• Excerpts from Concerto for Violin: Paths to Dignity composed and conducted by Lucas Richman. Featuring Mitchell Newman on violin and the Bangor Symphony Orchestra.
• “The Gravel Road” from the film The Village. Composed by James Newton-Howard and conducted by Lucas Richman featuring Hillary Hahn on violin.
• “Tikkun Olam (Heal the World)” from Symphony: This Will Be Our Reply. Text and music by Lucas Richman. Performed by the Bangor Symphony Orchestra, conducted by Richman. Featuring the Oratorio Society and University of Maine Singers under the direction of Francis John Voight.

For more information on Lucas, see www.lucasrichman.com. You can always find more info at OneSymphony.podbean.com or DevinPatrickHughes.com, including a virtual tip jar if you’d like to support the show. Please feel free to rate, review, or share the podcast! Until next time, thank you for being part of the music.

George S. Clinton is an award winning composer who has scored over 100 films, most notably “Austin Powers” !The Santa Clause”; “Mortal Kombat”; and the Emmy Award winning “Bury My Heart At Wounded Knee.”

He began his professional music career as a singer/songwriter in Nashville writing for Tree Music and doing session work. Upon moving to LA, he became a staff songwriter for Warner Brothers Music, with songs recorded by the likes of Michael Jackson and Joe Cocker. It was the music from Clinton’s forth album as a recording artist that attracted the attention of Cheech and Chong, giving him the chance to score his first film “Still Smokin’”.

Clinton has been an advisor at the Sundance Composers Lab, on the Music Executive Branch of The Oscars, and Chair of Film Scoring at the Berklee College of Music in Boston. Awards include Grammy and Emmy nominations, the SCL Ambassador Award, and nine BMI Film Music Awards, including their highest honor, the BMI Icon Award for career achievement.

Thank you for joining us on One Symphony. Thanks to George S. Clinton for sharing his life and music. You can find more info on Rose of Sonora at Roseofsonora.com. For a list of recordings played on today’s episode please check out our show notes.

You can always find more info at OneSymphony.org or DevinPatrickHughes.com including a virtual tip jar if you’d like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music.

In this episode of One Symphony, host Devin Partick Hughes joins podcast, composer, conductor, and singer Damien Geter who shares his unique perspective on the world of opera and his approach to music. Geter's insights, drawn from his experiences as a performer, composer, and educator, offer a compelling look into the challenges and opportunities facing classical music today.

Geter’s current projects include a string orchestra piece, and he recently completed his fifth opera. He discussed his approach to composing, stating that he considers who will sing the parts, and that being a singer himself has given him a unique understanding of how to write for the voice. Geter explained that he doesn't find it hard to write an opera because he's been immersed in the world of opera for so long. His perspective is also informed by his experience conducting operas.

Geter also spoke about the process of putting an opera together. He explained the importance of a libretto workshop before writing the music. He also noted that there are many factors influencing the timeline for a production, including when the composer turns in the music and how organized the company is. Ideally, singers need a few months to learn their roles. He noted that some companies have unrealistic expectations about the time needed to create a new opera. Geter said that he would prefer to have two years to write an opera, but he's been doing it in six months lately and it feels rushed.

A key theme in the interview was the importance of representation in opera. Geter emphasized that people are more likely to engage with opera when they see themselves represented on stage. He noted that he didn't see many people who looked like him when he was growing up, and he wants to help Black and brown kids see that they can also pursue a career in classical music. He also spoke of the importance of partnering with communities to build audiences and secure funding, since American opera companies are not state-funded. He also pointed out the need for opera companies to mix new and old works, to appeal to both new and existing audiences.

Geter's approach to music is heavily influenced by the classical tradition, particularly composers like Beethoven and Brahms. However, he also incorporates elements of his background, such as his experience with jazz, his upbringing in the church, and his perspective as a Black person in the United States. He notes that his music will inherently have elements of his identity even if he's not intentionally writing about those experiences. He wants to have some years where he's not expected to write with a social bend.

Geter spoke about his love for history, which led to him co-authoring a book that examines the social and political context of Western European music. He pointed out that people will likely look back at the art of the 2016-2020 era and understand how much it was influenced by events of that time, such as the Black Lives Matter and Me-Too movements. In addition to his music career, Geter has also had some success as an actor, with a role in the television show Grimm.

Thank you for joining us on One Symphony. Thanks to Damien Geter for sharing his life and music. You can find more info at https://www.damiengetermusic.com. For a list of recordings played on today’s episode please check out our show notes.

You can always find more info at OneSymphony.org or DevinPatrickHughes.com including a virtual tip jar if you’d like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music.

In this episode of One Symphony with conductor Devin Patrick Hughes, Devin has an inspiring conversation with bass virtuoso and composer Kebra Seyoun Charles. From their early exposure to African drumming and gospel music to becoming a celebrated classical musician, Charles shares their unique journey and vision for the future of classical music through their "Counter Classical" style. Charles's work embodies a fresh perspective on classical music's future, one that honors tradition while embracing innovation and inclusivity. Their approach shows that classical music's evolution doesn't require abandoning its foundations, but rather expanding its boundaries to embrace diverse influences and experiences. As they put it, "Classical music is so beautiful and so ephemeral and it can't be contained."

Charles explores growing up in a musical household and how that led to their disvoery of the film composer, Erich Woflgang Korngold. They also discuss the autobiographical ballet project, Enby, that’s based on their experience as a nonbinary person developing in the world.

Kebra-Seyoun Charles is able to give prominence to the dance qualities in all forms of music. Kebra-Seyoun has performed alongside esteemed improvisers and composers such as Jon Batiste, at Carnegie Hall, and Tyshawn Sorey, at the New England Conservatory. Kebra-Seyoun was also featured in “Slugs’ Saloon” at the Institute of Contemporary Art in Boston, an interactive installation created by famed jazz musician and composer Jason Moran.

Kebra-Seyoun Charles is also a passionate chamber musician. Playing with groups like East Coast Chamber Orchestra, A Far Cry, Palaver Strings, and the Sphinx Virtuosi afford Kebra the opportunity to showcase virtuosity while still playing within an ensemble. A prime example of this is their tenure on the 2019 Emmy award-winning Broadway production “Hadestown”.

Thank you for joining us on One Symphony. Thanks to Kebra-Seyoun Charles for sharing their amazing spirit and music-making. You can find more info at https://www.kscharles.com. Recordings from the episode include:

• Koussevitsky: Concerto for Double Bass, First Movement. Featuring Kebra-Seyoun Charles on Double Bass. Performed with the Boston Philharmonic Youth Orchestra, Benjamin Zander conducting.
• Dating in NY. Composed by Kebra-Seyoun Charles. Featuring Charles on bass and musicians from the Juilliard School.
• The third movement from Andres Martin’s Bass Concerto. Performed by Charles with the New World Symphony under the direction of Chad Goodman.
• First movement from Erich Korngold’s Piano Quintet, op. 15. Performed by the ARC Ensemble from the Royal Conservatory, Toronto.
• Erich Korngold’s Cello Concerto in One Movement. Featuring Victor Julien-Laferrière on cello performing with the Frankfurt Radio Symphony. Conducted by Marie Jacquot.
• “Another Breakup Song.” Composed by Kebra-seyoun Charles. Featuring Charles on bass. Kayla Williams on viola, Joseph Brent on mandolin, Sommer Alteir on violin, and Kabir Adiya-Kumar on percussion.
• “Galaxy,” composed by Xavier Foley. Featuring Kebra-seyoun Charles and Xavier Foley on bass accompanied by the Sphinx Virtuosi.
• Holdberg Suite. Composed by Edvard Grieg. Performed by the Palaver Strings featuring Kebra-Seyoun Charles on bass.

You can always find more info at OneSymphony.org or DevinPatrickHughes.com including a virtual tip jar if you’d like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music.