My Conducting

I do not conduct to control sound—I conduct to interpret symbol, gesture, and spiritual structure.
Every score is a sacred text. Every rehearsal is a liturgy. Every ensemble is a temporary body made holy by the act of listening.

My approach to conducting integrates:

  • Compositional literacy

  • Sacred symbolism

  • Emotional architecture

  • Ritual awareness

I work with chamber ensembles, sacred choirs, and flexible hybrid forces, specializing in modern repertoire and spiritually informed programming.

Grief: A Symphonic Choral Poem

Lecture: 4:36

Recital: 40:10

Grief: A Symphonic Choral Poem (Thesis Performance, Tufts University)
This performance blends SATB choir and chamber orchestra in a five-movement symbolic structure based on the Kübler-Ross model of grief.
Each movement was conceived as both musical narrative and spiritual descent/ascent.

Hindemith: Stücke for Strings, Op. 44 No. 3 Movement 1-4

Hindemith: Stücke for Strings, Op. 44 No. 3
This live performance showcases structured gesture, ensemble precision, and inner-voice balancing. I approach even formalist repertoire through a lens of sacred form and internal rhetoric.

Interested in Booking, Guest Conducting, or Ensemble Collaboration?

I’m available for guest appearances, composer-led score study sessions, and hybrid conducting residencies.
Reach out at contact@hxhmusic.com or visit the Ossia Philharmonic page to learn more.

🎼 Selected Repertoire

Hunter X. Harville-Moxley – Conductor, Composer, Interpreter of Sacred Form

My repertoire reflects a deep commitment to both the canonical and the neglected, the structurally profound and the spiritually symbolic. I approach each work not simply as a sonic artifact, but as a vessel of memory, gesture, and theological architecture.

Across chorus, orchestra, and solo literature, I seek repertoire that embodies emotional structure, sacred narrative, and symbolic ritual—from historic masterpieces to modern sacred reinterpretations. I champion underperformed works, diverse composers, and hybrid forms that speak to the human condition through sound.

Major Choral & Sacred-Form Repertoire

  • Requiem – Maurice Duruflé

  • Requiem – Gabriel Fauré

  • Requiem in C Minor – Luigi Cherubini

  • German Requiem – Johannes Brahms

  • Mass in B Minor – J.S. Bach

  • Mass in E-flat, Op. 5 – Amy Beach

  • St. Cecilia Mass – Charles Gounod

  • Glagolithic Mass – Leoš Janáček

  • The Creation – Joseph Haydn

  • Elijah – Felix Mendelssohn

  • Seven Pious Pieces – Donald Martino

  • Symphony No. 1 – Ralph Vaughan Williams

  • Die Zauberflöte (The Magic Flute) – W.A. Mozart

Orchestral Repertoire

  • Symphonies No. 1–4 – Johannes Brahms

  • Symphony No. 4 – Felix Mendelssohn

  • Symphony No. 1 – Ludwig van Beethoven

  • Symphony No. 3 – Camille Saint-Saëns

  • Scheherazade – Nikolai Rimsky-Korsakov

  • Der Freischütz – Carl Maria von Weber

  • Pulcinella Suite – Igor Stravinsky

  • Concerto for Orchestra – Witold Lutosławski

  • Siegfried and Siegfried Idyll – Richard Wagner

  • Appalachian Spring (13-instrument version) – Aaron Copland

  • Gaelic Symphony – Amy Beach

  • Le Martyre de Saint Sébastien – Claude Debussy

  • Ramal – Kareem Roustom

  • Strum – Jessie Montgomery

  • Symphony No. 1 & Sonata for Flute and Harp – Joseph Bologne

Solo/Concerto Works (with Ensemble)

  • Violin Concerto in D Major, Op. 77 – Johannes Brahms

  • Variations on a Rococo Theme – Pyotr Ilyich Tchaikovsky

  • Neruda Songs (Mezzo-Soprano) – Peter Lieberson