The Pulitzer-winning composer needs her music to talk to everybody, from farmers to youngsters to the classical intelligentsia
Composer Jennifer Higdon throughout rehearsal on the OK Mozart Pageant in Oklahoma. Her music receives over 250 performances every year.
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OK Mozart Pageant/OK Mozart Pageant
“Accessible” could be a soiled phrase in modern classical music. For many years, composers have outfitted their works with gnarly tangles of complexity, and heaven forbid if there is a tune you’ll be able to hum. That music rightfully has its cheerleaders, however composer Jennifer Higdon is not amongst them. She is a vigorous defender of melody, and when her music is described as “accessible,” she does not wince, she rejoices.
Conventional-sounding melody, concord and rhythm are Higdon’s constructing blocks, however her works are something however old style. They have an inclination to percolate with an natural freshness, and a musical language that is giant in vocabulary however simple to know. Throughout her profession, she has pulled off the near-impossible feat of strolling the effective line between classical music’s fanatics and first-timers, satisfying each camps.
When Higdon writes music — whether or not it is her operatic adaptation of Chilly Mountain, chamber works or any of her 15 concertos — she insists that it communicates, that it is able to being understood and appreciated. Up to now, the 62-year-old Brooklyn native’s observe document is a hit. Her music routinely receives upwards of 250 performances per 12 months, and he or she’s received a Pulitzer Prize and three Grammys. She likes to inform tales of discovering followers in muddy-booted farmers and little ladies who did not know somebody who seems like their mother may write music for a symphony orchestra.
A frank, easygoing conversationalist with remnants of an accent from her childhood in East Tennessee, Higdon joined me on a video name from her house studio in Chapel Hill, N.C., to speak about how she got here late to the classical music bandwagon, the significance of supporting ladies composers and why her new opera, Lady with Eyes Closed, which receives its world premiere this month in Pittsburgh, has three totally different endings.
This interview has been edited for size and readability.
Tom Huizenga: Again in 2011, you contributed a couple of weblog posts for NPR. One in every of them prompt that “replace” was the important thing phrase for the classical music area going ahead. “Updating just isn’t placing Beethoven in a leather-based jacket on a billboard,” you wrote. “Updating is enjoying music of our time, written by of us who stay now, for performers who stay now, for audiences who stay now.” How has that “updating” been going?
Jennifer Higdon: It appears like there may be updating happening. I do know I’ve much more performances. And far to my shock, since I wrote that, I have been out at universities the place there are college students who know my music, which surprises me. However I additionally know plenty of colleagues who write unbelievable music who nonetheless don’t get programmed very a lot. So I really feel just like the ball is transferring ahead, however we hold having to push a little bit tougher.
You might be unapologetic about your music being described as “accessible.” That is a phrase many composers wouldn’t need related to their music.
It does not trouble me within the least. As a result of I feel the entire level of what I am doing is to talk to folks. To me, “accessible” is an unbelievable praise.
And I suppose it exhibits, as a result of your music receives lots of of performances a 12 months and you’ve got a stack of commissions ready for you.
There undoubtedly is a requirement. And for me, it means I am on my true path. George Crumb, in my classes with him, used to speak about how you must really feel, on a intestine degree, good about what you are writing. It’s a must to really feel that what you are doing is what’s true to you. I am undecided all artists expertise that, as a result of they’ve exterior pressures to do particular issues. However I feel as a result of my dad, the whole time I used to be rising up, mentioned you must query every part, I questioned every part and I did not take some issues too severely. I am very lucky to not have had restrictions placed on me at a younger age.
Higdon in her studio in 2010, when she lived in Philadelphia. She composes as much as six hours a day, seven days every week.
Sarah R. Bloom
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Sarah R. Bloom
Which isn’t to say your music is simplistic. The Concerto for Orchestra, for instance, or your first opera, Chilly Mountain — these are very refined works. And a few pop music can be fairly refined: The Beatles, Radiohead, Beyoncé. Do you consider your music as on the “pop” facet of classical, by way of how simple it’s on the ears and the way simple it’s to understand?
That may not have occurred to me as a result of I watched the battle to place these items collectively. Once I write items, I say, “It will look easy and you are going to suppose, ‘Oh, this would possibly not be onerous.’ ” However 100% of the time once they begin assembling the music, all people goes, “Oh wow, that is actually tough.” Unusually, they’ve coined a time period for this known as “Higdon Onerous.” It truly has its personal phrase.
I like that!
And it is not that pop music is not tough. I have a look at what Alison Krauss does with bluegrass and among the layering. Beyoncé’s Lemonade form of blew me away with all of the layers, the shifting tones, the best way she instructed the story. In essence, we’re all storytellers, and we attempt to discover the factor that feels true to us, but additionally that can get that data out past our personal imaginations.
Talking of widespread, let’s speak about your best-loved piece, blue cathedral. It is among the many most-performed items of up to date classical music immediately, and it serves to memorialize a member of the family. Any thought why it is turn out to be your greatest hit?
It is a onerous query as a result of it is so private. Once I first wrote it, I had no intention of telling a narrative. However by coincidence, my next-door neighbor was David Patrick Stearns, who was the critic for The Philadelphia Inquirer. He knew I had misplaced my brother, and he point-blank requested me, and I did not really feel like I may lie.
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I like the spaciousness of blue cathedral. Like a few of Aaron Copland’s music, it is stuffed with open-ended promise and hope. The passages for flute and clarinet — devices that you just and your brother performed, respectively — are notably efficient.
And you are not going to consider this, nevertheless it has handed 1,100 performances; it will get completed nearly each week someplace on the planet. We’re approaching the twenty fifth anniversary of the premiere and it has been phenomenal to share that music with folks. I assumed the piece was going to be a failure. Generally composers do not have a superb sense about their very own music, and I look again on that and chuckle. I am like, OK, so I simply want to sit back.
What’s it about melody that’s so satisfying? Why can we adore it, crave it, even?
I feel a part of it’s that all of us converse melody as a result of we converse sentences, and the sentences have form and articulation. They have exclamation factors or query marks.
Pop songs all have melody, nation songs and even rap songs. There is a melody in all places we go. It is that thread of sound we observe. Even when we hear a bus developing the road, there is a melody there, it is simply not formed like a Beyoncé melody or a Higdon melody. That is a component of familiarity for us as listeners, as human beings on a planet that tends to hum. And it reminds us that we’re right here, that we’re speaking. That sounds very philosophical, however for me it is so vital. Some folks need a easy melody to allow them to keep in mind it once they stroll out of the live performance corridor. Some folks need a extra advanced melody as a result of they need to give it some thought.
Higdon (left) in her early 20s, with flute instructor Judith Bentley, in 1983 at Bowling Inexperienced State College in Ohio.
Bowling Inexperienced State College
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Bowling Inexperienced State College
You have been a latecomer to classical music — grew up with out listening to it. You’ve got talked about that you just did not even actually know Beethoven’s symphonies whenever you entered faculty. What modified?
I used to be at all times interested in music, however I did not go particularly for an instrument till I discovered a flute within the attic that had been my mother’s. I joined the marching band and live performance band in highschool and the expertise was so unbelievable — the camaraderie, but additionally simply the facility of sound. Having a stadium up on its toes, it is such as you need to be a rock star. Additionally, my first 12 months of highschool, the primary Star Wars film got here out and that John Williams soundtrack hit me like a ton of bricks.
And also you’re proper, once I went off to school I did not know a single Beethoven symphony. There have been most likely professors who mentioned, “What the heck is that this child doing considering she’s going to be in classical music?” And it is not that I had any extraordinary expertise that exposed itself. However I beloved it. It was such a pleasure to study as a result of I felt like somebody had given me the keys to a magic kingdom. And to be trustworthy, I nonetheless really feel that means. I get up within the morning and suppose, “Oh my gosh, I get to write down music immediately.”
You ended up doing post-grad research with two composers who may appear diametrical — the experimental George Crumb and the supreme melodist Ned Rorem. What did you study from them?
George Crumb and Ned Rorem are about as reverse as you will get for academics. However I feel for a scholar, that is an excellent factor, as a result of it makes for an even bigger field of instruments to work with to make your individual selections.
Ned was all about melody and voice, and the way a lot you consider the voice as if you happen to have been writing a tune whenever you write any form of piece, together with purely instrumental works. And listening in your head to the poetry of the rhythm, what’s logical. In writing my opera, Ned was in my head the whole time: “Ensure that libretto is completely clear in case you’ll be able to’t have supertitles.”
Then you definately have a look at all of the colourful issues that George Crumb did — and his sense of time was completely totally different than Ned’s. The dealing with of textual content was utterly totally different. The considered: How do you make a sound world? In a George Crumb sound world, you are utterly past Disney, proper? It’s like one other planet. Ned takes you out and in of a sound world, however he does not keep lengthy. Generally it is Paris and typically it is America, nevertheless it’s a sense. And it is attempting to determine how what each of them taught me feeds into my soul, as a result of the soul is the factor that helps me to do the composing.
Was there ever a traditional “eureka” second whilst you have been finding out composition, whenever you knew that is the way you needed to make a residing?
You are going to giggle once I inform you this. However the second was once I received the Pulitzer.
In 2010? That late?
I do know. It does not make any sense. I feel it is as a result of so many individuals have been asking me to write down music that my mindset was actually transferring from piece to piece. And since I used to be freelance composing, you are inclined to take that month by month. However so many reporters have been asking me after the Pulitzer, “How did you get right here?” that I finished and requested myself, “Whoa, how did I get right here?” It’s very humorous, nevertheless it additionally means I used to be having fun with what I used to be doing to such a level I simply did not cease and look at it.
Higdon taking a bow, with violinist Hilary Hahn, at Philadelphia’s Kimmel Heart in 2011. She received a Pulitzer Prize the earlier 12 months for her Violin Concerto, written for Hahn.
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I assumed the light-bulb second would have come someday in your faculty years. Which leads me to marvel about these composition lessons — what number of different ladies have been there?
At Curtis (Institute of Music), it was the late ’80s. There was one different lady, nevertheless it was a really small class. Once I went to the College of Pennsylvania, half have been ladies, however that is very uncommon — it was a really small division, possibly 14 folks. Now, once I journey locations, I see just one or two. It is nonetheless a majority of males.
I’ve so many little ladies come as much as me after orchestra live shows and say, “I did not know ladies compose.” Being a responsibly seen composer the identical means that Joan Tower and Libby Larsen have been seen for me actually opened doorways. And it is my hope to open doorways for others.
Did you run into obstacles due to your gender? Practically each lady composer I’ve talked to has a narrative — or two, or three — about having to leap via ridiculous hoops or simply not being seen.
Sure, for the whole time I used to be at school, my male colleagues would simply discuss over my head — like, actually, they would not ask my opinion about something. They have been fast to guage issues. I simply ignored it, simply pressed forward. It isn’t that I may make a superb argument by saying, “Hey, guys, I am simply pretty much as good as you.” I figured the music had to try this. The one approach to actually pull this off could be to make the music work in a means they could not ignore. And I did.
I am unable to consider what number of males got here as much as me and mentioned, ‘I am unable to consider a lady wrote that.’
For the primary a number of years when my Concerto for Orchestra was carried out, I used to be completely unknown. And I am unable to consider what number of males got here as much as me and mentioned, “I am unable to consider a lady wrote that.” My response was at all times, “Properly, a lady did write it, so now you already know.” I attempted to take care of it in humor, however I used to be conscious of what was being mentioned to me. Then, after I had been doing this a short while, and different items got here out, folks stopped saying it.
I really feel like I am delicate to this subject, however I’ve needed to catch myself previously. I would discover myself speaking concerning the music of Joan Tower, for example, and describing it as muscular and daring. And whereas that is true, it’s also possible to argue that by pointing it out it is as if I am saying, in a backhanded means, that ladies do not write muscular music.
I feel it might have been worse if you happen to mentioned it is “fairly.” It’s a must to give your self credit score — if somebody mentioned my music was daring and muscular, I’d take that as a praise, as a result of I consider it that means. My query as a composer is at all times, “Does the music give you the results you want?” I typically take into consideration the variety of live shows I went to once I was a scholar the place I used to be bored out of my thoughts. So early on I saved considering, “What can I do that can make this a extra partaking expertise? Can I maintain folks’s consideration from the primary observe to the final with out them realizing time goes by?”
Higdon rehearses her double percussion concerto Duo Duel with conductor Cristian Măcelaru on the 2023 Cabrillo Pageant in Santa Cruz, Calif.
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In a chunk Marin Alsop wrote for NPR in 2009 about her friendship with you, she mentioned: “I do not attempt to dodge questions like, ‘Why are there so few ladies conducting main orchestras?’ and ‘Why do not we hear extra music by ladies carried out by these orchestras?’ Neither does Jennifer.” I suppose — like we’re doing proper now — you continue to get questions like these. Have you ever grown bored with answering them?
I’ll reply them till the day I am within the floor. It is vital as a result of it is not at all times willful ignorance; typically it is simply that somebody hadn’t considered it. And the significance of the dialog is that that one dialog could make all of the distinction.
I’ve truly seen creative directors go, “Oh, you are proper, we’ve got no ladies on right here on our program. We should always go searching and see what’s out there.” And typically they will contact me and say, “Are you able to give me a listing of ladies composers?” And I’ll put one of their arms as quick as I can. It is fairly simple now with the Web. Earlier than, attempting to get recordings and scores into folks’s arms was way more tough. And typically it is only a matter of somebody so busy attempting to maintain the orchestra on schedule, attempting to maintain them on price range, ensuring they get the soloists and the visitor conductors. There are such a lot of transferring components to creating a efficiency that they simply do not have time to take a seat round and give it some thought, whereas I am fascinated about it on a regular basis.
I’ve regarded on the repertoire for seven American orchestras for the upcoming season — let me throw the numbers by you. The Seattle Symphony: 18% of the composers they’re presenting of their classical collection are ladies. On the New York Philharmonic, 16%; Boston Symphony Orchestra, 11.3%; Los Angeles Philharmonic, 8.1%; Cleveland Orchestra, 7.5%; Utah Symphony, 5.5%. Now, this is a shocker: San Francisco Symphony, 2%. There’s a single 14-minute piece by one lady of their total season. Are you OK with these numbers?
No. It is wonderful how many individuals come as much as me and say, “I do not perceive why they are not performing ladies.” There are such a lot of wonderful ladies composers on the market. And you already know what? Half of your viewers just isn’t being represented. Generally conductors say, “I am too overloaded, I do not need to study new items,” which stuns me.
This is likely one of the issues I beloved about working with Marin Alsop. Marin is sport. She will get in there, she needs to study. And that makes all of the distinction within the group and for the viewers and improvement, since you’re truly approaching music from a distinct viewpoint. Generally when orchestras complain that their audiences are shrinking, I am like, “Do not hold doing the identical factor time and again and anticipate a change within the outcome.” That is not a sensible approach to hold your group important and related to your neighborhood. Have a look at who makes up your neighborhood — who would you like in that live performance corridor?
You’ve got a world premiere developing this month. Lady With Eyes Closed, premiering on the Pittsburgh Opera, relies on the true story of one of many greatest artwork heists in historical past, the place seven work have been stolen from a museum in Rotterdam, together with two Monets, a Picasso and one by Lucian Freud known as “Lady with Eyes Closed.” These work have by no means been recovered; the thieves saved them on the house of considered one of their moms, who claimed she burned the artworks to save lots of her son from being charged with the theft. What drew you to this real-life crime drama?
It was a distinction to my first opera, Chilly Mountain, and to maintain composition attention-grabbing. I pivot lots. I’ll do an orchestral work, then I am going to do a chamber work, then I am going to do a choir work, then a chunk for band. Chilly Mountain remains to be residing inside me; these characters are nonetheless there singing. And so to write down an efficient second opera — and to problem myself artistically — I needed to write down a chamber opera with simply 5 singers, 12 devices. And I assumed, an artwork theft that is nonetheless unfolding — what would somebody do? Would you burn work of a well-known artist if you happen to thought it might save your child? Or is there a duty in the direction of artwork? I began asking myself these questions and thought, this would possibly make a superb thriller.
What’s uncommon concerning the opera is that it has three endings — the story of the heist will finish in another way relying on the evening you see it. Is that as a result of the real-life story hasn’t reached its conclusion but?
That was a part of it. However I additionally admit I used to be intrigued with the concept of write a number of endings. Are you able to write an opera that’s emotionally partaking and does not give its hand away as to which means issues are going? I assumed, “Oh, my gosh, if that lady truly burned a Picasso, Monets and a Matisse, that is taking one thing out of our shared humanity of how we perceive artwork. Is it vital that they are well-known artists? Does that make it a higher crime or not?”
I needed to see what the mom would do. I truly went round a desk and requested a complete bunch of individuals, and everybody had totally different solutions to what they’d have completed if their little one had stolen the artwork and introduced it house. I assumed, OK, there’s my reply. Why not strive it? It hasn’t been completed, let’s have a look at if we will do it.
It is like, “Gather all three endings!” Go to the opera every evening!
The opposite uncommon factor I did was, as a result of it is about artwork and every of these artists could be very totally different, I made a decision to do my orchestration like portray. I’ve the devices enjoying prolonged strategies, actually uncommon sounds, which simply does not get completed in opera, making it a little bit tougher. There’s extra coloration distinction to the textures, and folks within the viewers could not know what instrument is enjoying — like enjoying contained in the piano, or strategies I used once I performed flute, like a little bit explosion of sound correct above the mouthpiece, sounding percussive like a snare drum with a wire brush.
You’ve got written two operas, however you have written greater than a dozen concertos. You received the music Pulitzer in 2010 on your Violin Concerto. The identical 12 months, you received a Grammy on your Percussion Concerto, then two extra Grammys on your Viola Concerto and your Harp Concerto. I dare say you’ve got a factor for concertos.
I do. And the rationale I’ve a factor for concertos — some folks name me the “Concerto Woman” — is as a result of, consider it or not, the soloists ask for them. It is the musicians coming to me and asking, “Will you write me a chunk?”
It is that simple? Hey, I’ve acquired a violin that I do not know play very effectively. Will you write me a chunk?
(Laughs) I am going to write you one thing, Tom.
Higdon backstage in Chicago with Avi Avital in 2022 for the U.S. premiere of her Mandolin Concerto, written for Avital.
© Todd Rosenberg Pictures
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© Todd Rosenberg Pictures
Is there one thing you search for in a soloist? I am guessing not each one that asks goes to get a concerto from Jennifer Higdon.
Their enthusiasm, their talent degree, how a lot they need it. Generally I say, “I haven’t got time on my schedule,” they usually hold asking yearly for 5 or 6 years. I had this actually lovely incident the place Avi Avital, the wonderful mandolin participant, was asking 12 months after 12 months. Sooner or later I acquired a name: He mentioned, “I am within the thirtieth Avenue Station in Philadelphia. I am on my approach to New York. Are you able to simply come and have a espresso with me?” So I acquired to the station, and Avi took out his mandolin and began enjoying Bach. And the whole station stopped — it was so magical. He did not should say something. I used to be like, “Oh, I’ve acquired to write down for this man.”
You additionally wrote a Concerto for Orchestra — a fee by the Philadelphia Orchestra, which premiered it in 2002. It is a piece that continues to fascinate me. It is rigorously constructed, in 5 actions; it is awesomely orchestrated and it is thrilling to listen to. Have been you in any respect impressed by that well-known Concerto for Orchestra, additionally in 5 actions, by Béla Bartók?
That was scary — attempting to write down a concerto for orchestra, realizing the Bartók, as a result of I completely adore it. Once I acquired the fee, I keep in mind going house and listening to the Bartók yet another time. After which I put it away for like three years, as a result of I used to be afraid I would not be capable to write my very own piece.
How did you method the orchestration — particularly the very opening of the piece? It explodes with chimes, busy figures within the strings, French horns, trombones, ping-ponging timpani, chattering winds, and every part surges to an enormous climax, all inside the first 57 seconds. How do you do this?
An excessive amount of adrenaline, an excessive amount of Weight loss program Coke. That was actually the final motion of the piece I wrote; I used to be so nervous about messing up the opposite actions by messing up the primary motion that I feel you’ll be able to really feel the anxiousness and the thrill. I am considering, as a younger composer who nobody knew at that time, “This can be the one time I get to write down for the Philadelphia Orchestra.” I knew that the second motion could be strings, so I assumed I wanted a distinction of plenty of emotion, and simply to point out off the whole orchestra by having a twister of sound coming at you. That means you would not have an opportunity to catch your breath till you bought to the top of that first motion.
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In 2023 alone, I rely 13 items from you, together with a string quartet, a piano trio and music for brass ensemble. Does composing come simple to you? Or are you writing 24/7 as a way to be that prolific?
It isn’t that it comes simple, however I work at it. I am a full-time composer, seven days every week, 4 to 6 hours day by day. It is form of like what I think about it is like for individuals who write novels: For those who work at it day by day, you are inclined to develop a circulation. It is onerous whenever you begin the piece since you’re looking for the sound world and the logic and what you suppose ought to be the form of it. However when you get into it, you are like, “Oh, what if I can give you a cool sound to do that? And the place ought to I take that?” It simply flows out, however I’ve to actually work on it. A great day for me is writing 15, most likely as much as 30 seconds of music. However that is actually being right here for six hours and going, “All proper, what do I must do to make this extra attention-grabbing?” As a result of that is at all times the primary factor I am asking myself once I have a look at the phrases and have a look at the melody: What can I do that can hold the expertise contemporary for the one who’s enjoying it, but additionally the one who’s listening to it?
Am I proper that you just publish your individual music? Why is that vital to you?
Once I was popping out of faculty, I performed the College of Pennsylvania Wind Ensemble and Orchestra, and was additionally enjoying flute. I used to be requested to carry out some Elliott Carter for the Chamber Music Society of Lincoln Heart, and we could not get the music — I needed to play off of Xeroxes. Elliott Carter is a well known composer. I additionally seen I could not afford to hire any of the music. And I assumed, “Oh, that is ridiculous.” There should not be such a barrier. I need to play residing composers, nevertheless it’s so costly. A 3-minute piece was blowing the whole 12 months’s price range. I assumed, “Nobody’s asking for my music. So once they do ask, I am going to simply promote them the music and I am going to make it inexpensive and I am going to reply shortly.” And over time, as I wrote extra items, the catalog acquired larger and the orders simply began constructing. It is onerous sufficient getting your music carried out in stay conditions; it should not be a barrier that issues are too costly. It is easy enterprise.
A lot of your music, I feel, displays America. Do you agree?
I do, truly. It is humorous — I’ve lived in Brooklyn, Atlanta, Tennessee, Philadelphia for 38 years, and I am now in North Carolina. I additionally lived in L.A. and in Ohio. So I’ve skilled the nation in numerous methods. I’ve folks randomly come as much as me in locations and say, “I heard you on the radio.” And I will be taking a look at this particular person, and it is a farmer — nonetheless in his muddy boots. He is coming in off the fields. He is walked right into a restaurant in the course of Wyoming. I am in there getting one thing and I am like, “Wow, that is miraculous.”
Music communicates. I do not know anybody on this planet who does not take heed to some type of music. And I do not decide folks in any means about how a lot they learn about music. Actually, once I’m writing, I feel, “Properly, let’s fake that nobody within the room has ever heard classical music. Will this converse to them?”
While you accepted the Grammy Award on your Viola Concerto in 2018, you mentioned, “After we write classical music, it actually takes a village.” What did you imply by that?
Properly, I can put the notes on the web page, but when I did not have the assist of all of the individuals who taught me — I take into consideration these band administrators who listened to all these classes the place all of us sounded terrible. And then you definately’ve acquired performers on the stage, the man who turns the lights on, the one who sells the tickets, the one who advertises it, the radio one that interviews you, the press one that writes about it, and you have the viewers. Not considered one of this stuff brings music into the world by itself.
A observe Higdon obtained from a younger scholar enamored of her Violin Concerto and its dedicatee, Hilary Hahn.
Courtesy of Jennifer Higdon
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Courtesy of Jennifer Higdon
How do you suppose that village is doing nowadays?
I really feel plenty of misery within the village — folks worrying. I feel lots about that once I’m writing, as a result of I want to have the ability to write music that may keep calm, that may be a balm. I keep in mind when the pandemic began, I used to be writing my double percussion concerto, Duo Duel. Folks anticipate (percussion music) to be very loud with drums, however I wrote one thing that used solely melodic percussion devices. I can really feel a necessity to succeed in out past the studio, out to different folks. There’s going to be plenty of music that comes out of this time, but additionally I feel we have to hold offering the music for this time as a result of the world is horrifying proper now.
How would you wish to see the village change within the subsequent 20 years or so?
Assist one another. Empathy. Assist make the artwork, and in addition assist others make artwork — even the youngsters. As a result of typically artwork saves lives. I’ve seen it. Generally that is all a child has. They might be residing in a spot the place they really feel utterly remoted from their household, like they’re actually totally different. However artwork makes all of the distinction.
