The Great War By Richard Hubbert
'The Great War' was composed to commemorate the centenary of the start of the First World War. The title of the 'The Great War' was chosen because this is how it has been frequently described. Seen as the 'war to end all wars', history has taught us how wrong this statement was. This 'bloody' conflict was neither great for the millions fighting it or the 'war to end all wars'.
The composition starts with a modern act of remembrance with flurrying flags via an interlocking scalic and trill motif in the woodwind and the Last Post being sounded by the lone trumpeter. This is then repeated and developed within the whole ensemble before arriving back at the lone trumpeter. The music then takes us back 100 years to 1914 and the outbreak of war. Millions volunteered to fight and 'marched to war' on all sides. This is represented by the inclusion of three melodies of the period - 'It's a Long Way to Tipperary', 'Sempre -Et- Meuse' and 'Prussian Glory''.
When all three pieces have been introduced they then interweave to form a counterpoint with the Last Post. There is a gradual introduction of harsher discordant music with the ever present interval of the fifth in the trumpets and horns sounding the ominous 'call to war'. The music eventually moves to a description of the trenches. The section is designed to reflect the horrors of trench warfare through repetition of motifs, in particular a driving bass line. We are reminded that this war is fought between opposing sides with reference to their national music which was introduced previously. This section is brought to an end with the tutti ensemble playing off-beat stab chords and the driving bass motif. There is a sudden
   
change in mood via a lone trumpet pausing and then to the reoccurring interval of a fifth motif, which is sounded both in the Last Post and as part of the description of conflict in the "Trenches' section. This is designed to give the music a sense of irony as it represents both the war and the eventual peace.
The final section has a reflective hymn-like quality which eventually arrives at the Last Post being sounded again. This brings the piece to a climax and then dies away to nothing, silence and reflection.
This piece was first performed by Invicta Wind Orchestra

The Great War

The Canterbury Tales
'The Canterbury Tales' is my musical description of Chaucer's famous 'Canterbury Tales' written in the 14th Century. The stories are mix of themes based around human qualities and weaknesses; including love, virtue, lust, honour, shivery, sadness and greed. I have chosen three of the better-known stories (there are twenty in all); 'A Knight's Tale', 'A Millers Tale' and 'The Wife (of Bath's) Tale. The music in 'A Knights Tale' depicts honour and shivery but also love and betrayal. In 'A Miller's Tale' the music reflects the humour, lust and bawdiness of the story, which are also found in many of the other stories. In the 'The Wife (of
Bath's) Tale' I have tried to reflect the story's themes of man's weakness to lust, his eventual redemption and his understanding the women are virtuous and know what they want. I have also created music for the story tellers which opens and closes the piece but also acts as a link between the sections.
This piece was first performed by Invicta Wind Orchestra

Canterbury Tales

'Portus Dubris' (Images of a famous British sea port)
The music opens with a lively melodic depiction of the busy port of Dover (‘Portus Dubris’), who's ferry’s relentlessly carry vehicles and goods to and from mainland Europe. The second contrasting section is a musical description of the imposing medieval castle that stands guard of the port and the narrow Dover Straits. The music returns via a link to a repeat of the opening first theme before the middle slow section describing the iconic 'White Cliffs' is introduced. This section opens with an extended introduction containing seafaring musical imaginary before the board main 'White Cliffs theme is heard. This theme is developed and reprised in a grandioso manner, the aim being to reflect the glorious sight of the shear white cliffs as one enters Dover from Europe and beyond. The music then returns with a short repeat of the busy port and castle themes which are then concluded by a codetta ending. 'Portus Dubris' (Images of a famous British sea port) is dedicated to the members of 'White Cliffs Symphonic Winds' and their conductor Graham Harvey who are based Dover.

PORTUS DUBRIS

‘Kentish Sketches’ is a three-movement descriptive suite of images of the county of Kent. The first movement – ‘Invicta’ depicts the famous ‘White Horse’ symbol of Kent (the rising melodic theme represents this) and the broad sweeping North Downs. After the broad triumphal-like opening section, the music moves into the main Allegro section which describes the white horse galloping across the downs. The movement concludes with a return to the broad triumphal music heard at the beginning.

1 - Invicta (Kentish Sketches)

‘Dance Moves’ - Ballet Suite
'Dance Moves' is a ballet suite in four movements. The suite is programmatic in that the music reflects the different genres of dance music that are performed at a dance school's end of term show.
2. 'Latin Groove' - is music that is representative of the Latin dance genre, energetic like a rumba but mysterious like a tango.

2 - Latin Groove (Dances Moves)

‘Dance Moves’ - Ballet Suite
'Dance Moves' is a ballet suite in four movements. The suite is programmatic in that the music reflects the different genres of dance music that are performed at a dance school's end of term show.
3. 'Waltz for a Lone Dancer' - a light waltz, with a hint of melancholy danced by the school's 'prima ballerina’. The dancer takes centre stage captivating her audience with flawless and elegant steps.

3 - Waltz For A Lone Dancer (Dance Moves)

‘Cavaliers and Roundheads’
‘Cavaliers and Roundheads’ was composed to depict the battle of Maidstone between the attacking Roundheads and the defending Royalists (Cavaliers) on the 1st of June 1648. Much of the music is built around the use of traditional Roundhead and Cavalier songs particularly in the opening section. The middle section is the ‘battle’. The music is a mix or original battle-like themes interjected with the tradition roundhead and cavalier music. There follows a slow lament section for the dead and wounded. The final section is a return to the tradition Roundhead music reflecting their victory over the Cavaliers/Royalists.
This piece of music was commissioned by Maidstone Borough Council to mark 350th anniversary of the battle of Maidstone and first performed by Maidstone Winds (before it became known as Maidstone Wind Symphony) at its 25th anniversary concert.

Cavaliers And Roundheads

The music is designed to describe the sights and sounds of Manhattan. The angular or beat nature of the music represents the skyscrapers. The music also has references to music styles/genres Minimalism and Be-Bop which are strongly associated with 20th C New York cultural scene. The middle section is designed to describe the hustle and bustle of Broadway and Times Sq. The music returns to the angular, minimalist motifs of the opening reminding use what manhattan represents.

'Manhattan' (from 'Metropolis' - Scenes from New York)

'Central Park' is the 2nd movement of my 'Metropolis - scenes of New York' suite. The music is designed to reflect the nature and purpose of this iconic public space in central Manhattan, that is, to have fun!  After a slow dreamy short introduction, the music speeds up and becomes a lively jazz waltz. The main themes are developed around the orchestra, but there is always an emphasis on a relaxed mood found in the 'easy listening' jazz style of the music. This is closely associated with New York, particularly in the 20th Century, where  small jazz clubs are situated not far from Central Park itself.

Central Park (From 'Metropolis' - Scenes of New York)

By the Water Front and Brooklyn Bridge are the 3rd and $th movements of 'Metropolis - Scenes from New York'.

By the  Water Front & Brooklyn Bridge ('Metropolis-Scenes of New York')

'Pushing back Night' is a celebration of our wonderful NHS/Medical & Key Workers who are working so hard to keep use safe at this time. Unfortunately this is not a real choir and orchestra as we can not (as yet)perform together. However, it gives you an idea of what the music is about. The music is composed by Richard Hubbert and the words are by Lizzie Ballagher

Pushing Back Night - A Celebration of NHS/Medical and Key Workers

'Latin Groove' - is a latin dance - tango inspired piece, written in the light classical genre. The music is designed to set the mood of a warm summer mediterranean evening.

Latin Groove

'Il Nostro Amore' was written to celebrate the wedding of my son and daughter-in-law. The wedding was held in a beautiful castle in Tuscany, which was the backdrop for the celebration of love. I would now like to make this music available for everyone to (hopefully) enjoy. If you like what you hear please share.
Richard Hubbert

Richard Hubbert

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