Will Hudgins is a percussionist with the Boston Symphony Orchestra and is a faculty member at the New England Conservatory of Music. A native of Texas, percussionist Will Hudgins was awarded Interlochen's Joseph E. Maddy Memorial Scholarship to attend the Peabody Conservatory of Johns Hopkins in Baltimore. In 1980 he earned his bachelor of music degree, winning the highest award in the school-wide Concours Recital Competition. After completing his work at Peabody, Mr. Hudgins went on to Temple University in Philadelphia, where he earned his master's degree and studied with Philadelphia Orchestra percussionist Alan Abel. In the spring of 1982, ten days before he was awarded his master's, he won a position with the Florida Symphony Orchestra, with which he remained until joining the Boston Symphony Orchestra during the November 1990. He performed as soloist in the BSO’s world premiere performances of Maurice Wright’s Concertpiece for Marimba and Orchestra. Other solo performances include the Boston Pops, Riverside Symphony, Springfield (Mo.) Symphony, and the Florida Symphony. He has taught as a clinician across the U.S. and Europe. Also an avid jazz vibraphonist, Hudgins is a member of the jazz band Pursuance.
The Listening Room
Four Songs on Texts by William F. Van Wert (2006)
Orpheus Descending 5.4 MB
Lethe 3.5 MB
Tantalus 1.5 MB
Medusa 3.2 MB
For 8 Percussionists ( A computer realization)
1. Stream/Ruisseau/Bach 4.2 MB
2. Ghost/Ombre/Schatten 2.2 MB
3. Junk/Ordure/Trödel 4.0 MB
4. Octet/Octour/Oktett 4.7 MB
The movements of the OCTET are quite varied. STREAM seeks to connect the percussion ensemble with the music of the past, especially the many compositions by Bach that percussionists transcribe and play. Although not a transcription, the first movement is indebted to the theme of the Fifth Brandenburg Concerto. GHOST is almost anti-percussive percussion music. The soft dynamic, constant tremolandos, bowed vibraphones and sustained singing evoke the echoes of the instruments and memories of their sound. JUNK is something of an experiment: a recording of the word “junk” was digitized, and the bit-patterns contained therein were transcribed for an ensemble of cast-off objects. The finale, OCTET, is the only movement that employs 8 instruments.
Movement in Time (1985)
Recorded in Concert, November 10 1985, by Don Liuzzi and Brian Prechtl
Movement In Time 11.5 MB
"Maurice Wright's Movement in Time (1985) celebrated the attributes of its instrumentsan impressive assemblage of four gongs, four timpani, vibraphone, xylophone, snare drum, bells (and two loudspeakers.)
Dedicated to Charles Owen, who was for many years a percussionist in the Philadelphia Orchestra, this fine work was a witty and sometimes vindictive vision of music from the underappreciated percussionist's perspective.
The two players, Don Liuzzi and Brian Prechtl, dashed around the stage from one instrument to another, banging and drumming away and making a grand old racket. The piece was virtuosic, rhythmically appealingjazzy, brisk, suaveall in all, fun to hear and apparently good fun to play, as well."
The Philadelphia Inquirer, 11/85
Plaints and Airs (2005)
Recorded in Concert, May 2005, by Prema Kesselman (flute), Jeremy Kesselman (oboe) and Brian Ciach (piano.)
1. The Turning Sky 1.3 MB
2. The Reluctant Suitor 1.8 MB
3. Chiu-ri-ruo (The Bird's Song) 2.1 MB
5. The Pipe and the Drum 2.4 MB
Copyright © 2005 by Maurice Wright (B.M.I.)
A single-movement work for multiple percussion set-up and electronic sound, Set-Up Music was composed for Will Hudgins, then a graduate student at Temple, studying with Alan Able.
The electronic sound was realized using a Moog synthesizer, recorded on 8 channel tape, and mixed with live sounds. Hudgins listened to the composer's real-time overdubs, and offered to help by playing the sequences on the Moog's one-voice keyboard.
After performing the work at a graduation recital, Hudgins volunteered to record the piece in the electronic music studio at Temple. Set-Up Music (16.7 Mbytes).