The Music of Jennifer Higdon
BACKGROUND
Offered here is a sampling of eleven works by Jennifer Higdon, from her earliest orchestral work to more recent compositions such as Duo Duel from 2020. Higdon has written in virtually all genres, from orchestral/concerto music to chamber music, choral music, songs, band music, opera, etc., and my aim here is to show both the development of her style from early works such as Soliloquy up through to the present time as well as the wide variety of genres mentioned above. Other works by the composer can be heard in the Q&A section of this Conductor’s Corner segments. Enjoy!
Jennifer Higdon’s Soliloquy, from 1989, is one of her earliest works for orchestra: in this case, string orchestra plus English Horn. The composer writes that “the word "soliloquy" means to give a speech. This work is a thoughtful, plaintive speech by the English Horn, assisted by the strings. The piece aims to convey a sense of purely musical thought and feeling, rather than being programmatic or narrative-driven. Even at this early stage of her career, the composer showcases her ability to write music that is both accessible and engaging.
Arkhangelsk
Soliloquy for String Orchestra and English Horn (1989)
Southern Grace: “Swing” (1998)
"Southern Grace" is my version of many of the Southern tunes which are popular in the Appalachian region of this country. Each movement has been rewritten in a different manner: often, only the words of the original tune remain; sometimes a fragment of the melody remains but everything around it has been recomposed. One of the movements is an original work which reflects only a musical genre of the region. Though these songs have been rewritten, the color and flavoring are still there: home-grown from a Southern upbringing. —Jennifer Higdon
Jennifer Higdon as been active throughout her long career with vocal/choral music, and has a large body of works for chorus. As can be heard in this excerpt from Southern Grace, the composer weaves together music that she grew up with in the South as well as her own musical syntax and style, creating a very accessible final product.
Fanfare Ritmico (1999)
Fanfare Ritmico was composed in 1999 and first performed by the Bay Area Women’s Philharmonic in March 2000. The work is composed in a single movement and lasts around 6 minutes. The composer has written that the piece celebrates the “rhythm and speed” of life, and in the score itself she writes:
“Writing this work on the eve of the move into the new Millennium, I found myself reflecting on how all things have quickened as time has progressed. Our lives now move at speeds much greater than what I believe anyone would have ever imagined in years past. Everyone follows the beat of their own drummer, and those drummers are beating faster and faster on many different levels. As we move along day to day, rhythm plays an integral part of our lives, from the individual heartbeat to the lightning speed of our computers. This fanfare celebrates that rhythmic motion, of man and machine, and the energy which permeates every moment of our being in the new century.”
Fanfare Ritmico showcases Higdon’s percussion background and intensive use of the percussion section, which runs through her career in many of her works.
blue cathedral (1999)
I include blue cathedral here (note: the composer herself stresses that the title of this work is not to be capitalized!) as it is (by far) her most popular work and one of the most-often-performed contemporary orchestral works in the world today. It has been estimated that the work is performed at least once every week somewhere throughout the world, and has reached the 1,000-performance mark. Here is the incredible Concertgebouw Orchestra of Amsterdam under the baton of Stéphane Denève.
Concerto for Orchestra: Movement 2 (2002)
“Concerto for Orchestra” was commissioned by The Philadelphia Orchestra as part of its Centennial Celebrations, and is considered to be one of the major works of Jennifer Higdon. This 42-minute work is a tour-de-force for every section of the orchestra, and is divided into five movements that feature the different instruments in every section. The composer writes in her program notes:
The "Concerto for Orchestra" is truly a concerto in that it requires virtuosity from the principal players, the individual sections, and the entire orchestra. Built from the inside out, the third movement was written first, and it is the movement that allows each principal player a solo, before moving into section solis. The winds are highlighted first, which are followed (after a tutti) by the strings, and then the brass. Each solo has its own unique material, some of which is utilized in the tutti sections of the movement. The second movement was written next, inspired by the string sound of The Philadelphia Orchestra. This movement is like a scherzo in character, written in a jaunty rhythm and tempo that celebrates the joyous sound of strings. The movement begins with everyone playing pizzicato and then slowly integrates an arco sound, first through soloists, and then with all of the players. It continues to romp through to the end, where a snap pizzicato closes out the movement.
CYS was honored to perform the complete Concerto for Orchestra in November 2022 as part of its 2022-23 season!
Southern Harmony: “Reel Time” and “Gentle Waltz” (2003)
Does Jennifer Higdon compose chamber music? YES!! Here is a string quartet based on her recollections of growing up in the South . In her own words:
"Southern Harmony" is a portrait of the South, where I grew up (Georgia and Tennessee). The three movements depict gentle aspects of Southern life: a slower pace, simple living, and an emphasis on traditional, handed-down music. This piece includes some of the techniques that are found in Appalachian-style string playing (open strings and slides). The first movement, "Soft Summers", is a musical portrait of long summer evenings, a time for quiet porch-sitting and "fellowshipping" with friends, neighbors and relatives. The second movement, "Reel Time", is a dance based on the form of the reel (a dance occurring in a moderately quick duple meter)…this is a dance that you might witness in a place where there is some serious fiddling going on. The final movement is Gentle Waltz, which is self-explanatory, and was probably the result of having heard the Tennessee Waltz so many times while growing up. While this work is much less complex and moves at a slower pace than most of my music, I like to think that it doesn't necessarily reflect the South as being simple, but rather what is for me a simpler time.
—Jennifer Higdon
Piano Trio: mvt. II “Fiery Red” (2003)
Continuing with some more chamber music, here we have the second movement of Higdon’s Piano Trio, composed in 2003. The style is radically different than the string quartet heard above. The composer can easily move from a more relaxed, accessible style to a hard-driving, angular, contemporary idiom. The composer writes the following about this work:
“Can music reflect colors and can colors be reflected in music? I have always been fascinated with the connection between painting and music. In my composing, I often picture colors as if I were spreading them on a canvas, except I do so with melodies, harmonies and through the instruments themselves. The colors that I have chosen in both of the movement titles and in the music itself, reflect very different moods and energy levels, which I find fascinating, as it begs the question, can colors actually convey a mood?”
Concerto for Percussion and Wind Symphony (2005)
As noted in the Q&A section of this installment, Higdon has composed many concertos, including concertos for harp, low brass, mandolin, oboe, percussion, piano, soprano saxophone, trombone, tuba, violin, viola, and orchestra. Heard here is a short excerpt from her tour-de-force Concerto for Percussion and orchestra (also transcribed for wind ensemble, heard in this recording). This is a brilliant performance by percussionist Danielle Gonzalez playing with the University of Michigan Symphony Band. Note that the soloist has to move from one setup to another (three total) as the work unfolds. A fascinating and energetic composition!
Violin Concerto: mvt. III Fly Forward (2008)
This is the work that won the Pulitzer Prize for Music in 2010. In her own words, the composer states:
“I believe that one of the most rewarding aspects of life is exploring and discovering the magic and mysteries held within our universe. For a composer this thrill often takes place in the writing of a concerto…it is the exploration of an instrument’s world, a journey of the imagination, confronting and stretching an instrument’s limits, and discovering a particular performer’s gifts.
The third movement, “Fly Forward”, seemed like such a compelling image, that I could not resist the idea of having the soloist do exactly that. Concerti throughout history have always allowed the soloist to delight the audience with feats of great virtuosity, and when a composer is confronted with a real gift in the soloist’s ability to do so, well, it would be foolhardy not to allow that dream to become a reality.”
Duo Duel (excerpt) (2020)
Duo Duel is a vibrant sonic journey led by two percussion soloists, who conjure an astonishing palette of sounds using only pitched percussion instruments. From the shimmering brightness of the crotales to the resonant glow of the vibraphone and the warm, earthy tones of the marimba, the soloists explore a rich landscape of color and texture. Meanwhile, the orchestra becomes an equally dynamic partner, offering shifting harmonic backdrops and inventive instrumental combinations.
The music hints at Copland-esque grandeur, while at the same time, glimmers of Debussy shine through, with whole tone scales and delicate flute writing evoking impressionistic hues. Despite the ever-changing timbres and textures, the music remains remarkably clear and cohesive—a testament not only to Higdon’s finely crafted orchestration but also to the soloists’ keen musicality and precision. Their ability to highlight subtle solo lines while maintaining overall clarity makes Duo Duel both a technical tour de force and a celebration of color and collaboration.