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Jennifer Higdon has become one of the most successful composers in America. In 2007, the London Philharmonic Orchestra performed her Percussion Concerto, with soloist Colin Currie. It has been released on the LPO Label.
‘I probably hear music the way most people in America do’ she has said, whilst her music has been enjoyed and highlighted by a wide range of cultural figures in the USA (amongst them Matt Groening, creator of the satirical cartoon series The Simpsons).
Traces of American classical, rock and folk music can be found in her orchestral works, together with the influence of great classical orchestrators, Bartok and Debussy in particular. Even within this eclectic cocktail of influences, though, Jennifer Higdon’s voice is wholly individual and contemporary.
Colin Currie performed Jennifer Higdon's Percussion Concerto on Saturday 15 December 2007 at the Royal Festival Hall, conducted by Marin Alsop. We asked him some questions about the work.
Jennifer Higdon’s percussion concerto was written for you in 2005 and you gave the first 3 performances. When a work is written for you, what difference does this make to how you feel about it? Do you feel you have some sort of ownership of the piece?
It is an extra special moment in your career to give a significant premiere, such as the Higdon concerto. Jennifer somehow also managed to write very well "for me"; the work reflects my particular approach to playing as well as reflecting, I believe, the enthusiasm and fun that Jennifer and I share in having this collaboration. More specifically, there are various improvised sections in the work, where you will here a good deal of my own work!
Are you looking forward to performing it again?
This truly is a terrific concerto to perform and because the work is so exciting and high octane the buzz for me on stage is epic! The large orchestra is used superbly and I am standing in a very good place to revel in the glorious orchestration. The concerto can vary and alter from place to place - I've played it more than twenty times already - and the more the orchestra gives the more inspired will I feel, so there is every reason to be greatly excited to be playing the work with the London Philharmonic Orchestra!
Jennifer Higdon isn’t a composer whose music is well known in the UK. Can you describe the kind of soundworld she creates?
Jennifer's music is instant, bold, brilliant and passionate. It has a beauty and an honesty which are very touching. The percussion concerto is not only powerful and striking but tender and sweet at times too.
Can you briefly describe the structure of the work?
The work takes on a fairly conventional structure, and on a first hearing you can follow well the shape and logic of the piece. In one movement the work simply carries you along for the ride!
What instruments are used?
I use a variety of percussion equipment. The work opens with the marimba, and this instrument is fairly dominant throughout. I also use vibraphone and crotales for tuned passages, and for untuned sections I have a table-top setup of small bits and pieces(woodblocks, brakedrum, opera gong etc!) and a type of drumkit as well for the more rock-like passages.
Are there any particular sounds or passages that the audience should listen out for?
People usually have a strong reaction to the cadenza. I get left alone on the drums and build, over a few minutes, a pretty intense groove, to be finally joined by the percussion section in the orchestra. This culminates in a colossal and highly dramatic slowing down of the music, which actually often receives applause even though the work is not over!!
Are there any moments that you are particularly fond of?
I am actually very into one of the "connecting" passages in the work, a section where I don't in fact play. It is the transition from the slow central section back "home" to the fast music, and I still remember the first rehearsal when I heard live the awesome harmonies of these few bars. I kind of gaped at Jennifer in the hall and she was there behind the score with this big grin on her face - classic.
Are there any particular challenges?
It is a concerto, so there are some tricky licks for me! The combination of skills required for this work actually add up to a challenge in themselves. To go from maniacal rock 'n' roll drumming to complex vibraphone passages needs a very acute change of gear, so good concentration is essential.
You are presenting the work in a pre-concert event on 15 December. Will you be playing as well as talking about it?
In the talk I will be discussing the creative process with the composer and I will also demonstrate certain things from the concerto. There will be an opportunity for questions too.
Above all this work has been fantastic for the audience. It is an instantly appealing work and the crowd have been wowed every time I play the work. Jennifer is a wonderful person and to welcome her to London for the European premiere of this major work is an honour.
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