Composer Jennifer Higdon is unapologetically accessible : NPR

Composer Jennifer Higdon throughout rehearsal on the OK Mozart Pageant in Oklahoma. Her music receives over 250 performances every year.

OK Mozart Pageant

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OK Mozart Pageant

“Accessible” generally is a soiled phrase in up to date 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 massive in vocabulary however straightforward to understand. Throughout her profession, she has pulled off the near-impossible feat of strolling the nice 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 report 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 women who did not know somebody who appears like their mother might 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 dwelling 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, Girl with Eyes Closed, which receives its world premiere this month in Pittsburgh, has three completely different endings.

This interview has been edited for size and readability.

Tom Huizenga: Again in 2011, you contributed just a few weblog posts for NPR.  Considered one of them recommended that “replace” was the important thing phrase for the classical music discipline going ahead. “Updating shouldn’t be placing Beethoven in a leather-based jacket on a billboard,” you wrote. “Updating is enjoying music of our time, written by of us who reside now, for performers who reside now, for audiences who reside now.” How has that “updating” been going?

Jennifer Higdon: It looks 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 loads of colleagues who write unbelievable music who nonetheless do not get programmed very a lot. So I really feel just like the ball is transferring ahead, however we hold having to push just a little more durable.

You’re 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 guess it exhibits, as a result of your music receives tons 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 it’s important to really feel, on a intestine degree, good about what you are writing. You need 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, your entire time I used to be rising up, stated it’s important to query every little thing, I questioned every little thing and I did not take some issues too critically. 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 per 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 subtle works. And a few pop music can also be fairly subtle: The Beatles, Radiohead, Beyoncé. Do you consider your music as on the “pop” facet of classical, by way of how straightforward it’s on the ears and the way straightforward it’s to grasp?

That will 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’ll look easy and you are going to suppose, ‘Oh, this would possibly not be exhausting.’ ” However 100% of the time once they begin assembling the music, all people goes, “Oh wow, that is actually troublesome.” Surprisingly, they’ve coined a time period for this referred to as “Higdon Arduous.” It truly has its personal phrase.

I like that!

And it is not that pop music is not troublesome. I take a look at what Alison Krauss does with bluegrass and among the layering. Beyoncé’s Lemonade type of blew me away with all of the layers, the shifting tones, the way in which 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 may get that data out past our personal imaginations.

Talking of standard, let’s discuss your best-loved piece, blue cathedral. It is among the many most-performed items of up to date classical music right now, and it serves to memorialize a member of the family. Any thought why it is change into your greatest hit?

It is a exhausting 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 might lie.

I like the spaciousness of blue cathedral. Like a few of Aaron Copland’s music, it is full of open-ended promise and hope. The passages for flute and clarinet — devices that you simply and your brother performed, respectively — are significantly 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 this planet. We’re approaching the twenty fifth anniversary of the premiere and it has been phenomenal to share that music with folks. I believed the piece was going to be a failure. Generally composers haven’t got 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 relax.

What’s it about melody that’s so satisfying? Why will 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 every single place we go. It is that thread of sound we observe. Even when we hear a bus arising 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 desire a easy melody to allow them to bear in mind it once they stroll out of the live performance corridor. Some folks desire a extra complicated melody as a result of they need to give it some thought.

Higdon (left) in her early 20s, with flute trainer Judith Bentley, in 1983 at Bowling Inexperienced State College in Ohio.

Bowling Inexperienced State College

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Bowling Inexperienced State College

You had been a latecomer to classical music — grew up with out listening to it. You’ve got talked about that you simply did not even actually know Beethoven‘s symphonies while you entered faculty. What modified?

I used to be all the time drawn to 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, after I went off to varsity I did not know a single Beethoven symphony. There have been most likely professors who stated, “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 cherished it. It was such a pleasure to be taught 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 manner. I get up within the morning and suppose, “Oh my gosh, I get to jot down music right now.”

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 be taught from them?

George Crumb and Ned Rorem are about as reverse as you will get for academics. However I feel for a pupil, that is an amazing factor, as a result of it makes for an even bigger field of instruments to work with to make your individual choices.

Ned was all about melody and voice, and the way a lot you concentrate on the voice as in case you had been writing a tune while you write any type 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 your entire time: “Ensure that libretto is totally clear in case you’ll be able to’t have supertitles.”

Then you definitely take a look at all of the colourful issues that George Crumb did — and his sense of time was completely completely different than Ned’s. The dealing with of textual content was utterly completely 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 generally it is America, nevertheless it’s a sense. And it is making an attempt 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 had been learning composition, while you knew that is the way you wished to make a dwelling?

You are going to chuckle after I inform you this. However the second was after 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 had been asking me to jot down music that my mindset was actually transferring from piece to piece. And since I used to be freelance composing, you are likely to take that month by month. However so many reporters had been asking me after the Pulitzer, “How did you get right here?” that I ended 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 Middle in 2011. She received a Pulitzer Prize the earlier 12 months for her Violin Concerto, written for Hahn.
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I believed the light-bulb second would have come someday in your faculty years. Which leads me to surprise about these composition lessons — what number of different ladies had been there?

At Curtis [Institute of Music], it was the late ’80s. There was one different girl, nevertheless it was a really small class. Once I went to the College of Pennsylvania, half had been ladies, however that is very uncommon — it was a really small division, perhaps 14 folks. Now, after I journey locations, I see just one or two. It is nonetheless a majority of males.

I’ve so many little women come as much as me after orchestra live shows and say, “I did not know women compose.” Being a responsibly seen composer the identical manner that Joan Tower and Libby Larsen had been seen for me actually opened doorways. And it is my hope to open doorways for others.

Did you run into limitations due to your gender? Practically each girl composer I’ve talked to has a narrative — or two, or three — about having to leap by way of ridiculous hoops or simply not being seen.

Sure, for your entire time I used to be at school, my male colleagues would simply speak over my head — like, actually, they would not ask my opinion about something. They had been fast to evaluate issues. I simply ignored it, simply pressed forward. It is not that I might make a superb argument by saying, “Hey, guys, I am simply pretty much as good as you.” I figured the music had to do this. The one option to actually pull this off could be to make the music work in a manner they could not ignore. And I did.

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 stated, “I am unable to consider a lady wrote that.” My response was all the time, “Nicely, a lady did write it, so now you already know.” I attempted to cope with it in humor, however I used to be conscious of what was being stated 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 might discover myself speaking in regards to the music of Joan Tower, as an illustration, 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 manner, that ladies do not write muscular music.

I feel it could have been worse in case you stated it is “fairly.” You need to give your self credit score — if somebody stated my music was daring and muscular, I’d take that as a praise, as a result of I consider it that manner. My query as a composer is all the time, “Does the music be just right for you?” I typically take into consideration the variety of live shows I went to after I was a pupil the place I used to be bored out of my thoughts. So early on I stored considering, “What can I do that may make this a extra participating expertise? Can I maintain folks’s consideration from the primary be aware 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 stated: “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 uninterested in answering them?

I’ll reply them till the day I am within the floor. It is vital as a result of it is not all the time willful ignorance; generally it is simply that somebody hadn’t thought of 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 must always go searching and see what’s out there.” And generally they’re going to contact me and say, “Are you able to give me a listing of girls composers?” And I’ll put one of their arms as quick as I can. It is fairly straightforward now with the Web. Earlier than, making an attempt to get recordings and scores into folks’s arms was way more troublesome. And generally it is only a matter of somebody so busy making an attempt to maintain the orchestra on schedule, making an attempt 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 haven’t got time to sit down round and give it some thought, whereas I am interested by it on a regular basis.

I’ve seemed 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 girl of their total season. Are you OK with these numbers?

No. It is superb 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 shouldn’t be being represented. Generally conductors say, “I am too overloaded, I do not need to be taught new items,” which stuns me.

This is among the issues I cherished about working with Marin Alsop. Marin is recreation. She will get in there, she desires to be taught. And that makes all of the distinction within the group and for the viewers and growth, since you’re truly approaching music from a unique viewpoint. Generally when orchestras complain that their audiences are shrinking, I am like, “Do not hold doing the identical factor again and again and anticipate a change within the outcome.” That is not a sensible option to hold your group important and related to your group. Have a look at who makes up your group — who would you like in that live performance corridor?

You may have a world premiere arising this month. Girl With Eyes Closed, premiering on the Pittsburgh Opera, is predicated on the true story of one of many greatest artwork heists in historical past, the place seven work had been stolen from a museum in Rotterdam, together with two Monets, a Picasso and one by Lucian Freud referred to as “Girl with Eyes Closed.” These work have by no means been recovered; the thieves saved them on the dwelling of one among 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 rather a lot. 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 continues to be dwelling inside me; these characters are nonetheless there singing. And so to jot down an efficient second opera — and to problem myself artistically — I wished to jot down a chamber opera with simply 5 singers, 12 devices. And I believed, an artwork theft that is nonetheless unfolding — what would somebody do? Would you burn work of a well-known artist in case you thought it could save your child? Or is there a accountability in direction of artwork? I began asking myself these questions and thought, this would possibly make a superb thriller.

What’s uncommon in regards to the opera is that it has three endings — the story of the heist will finish otherwise 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 thought of tips on how to write a number of endings. Are you able to write an opera that’s emotionally participating and does not give its hand away as to which manner issues are going? I believed, “Oh, my gosh, if that girl truly burned these Picassos, 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 wished to see what the mom would do. I truly went round a desk and requested an entire bunch of individuals, and everybody had completely different solutions to what they’d have completed if their baby had stolen the artwork and introduced it dwelling. I believed, 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, “Accumulate 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 completely 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 just a little tougher. There’s extra shade distinction to the textures, and folks within the viewers might not know what instrument is enjoying — like enjoying contained in the piano, or strategies I used after I performed flute, like just a little 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’ve got 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 a factor for concertos.

I do. And the explanation I’ve a factor for concertos — some folks name me the “Concerto Girl” — 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 straightforward? Hey, I’ve received a violin that I do not know tips on how to play very nicely. 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 Images

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© Todd Rosenberg Images

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,” and so they hold asking yearly for 5 – 6 years. I had this actually lovely incident the place Avi Avital, the superb mandolin participant, was asking 12 months after 12 months. Sooner or later I received a name: He stated, “I am within the thirtieth Avenue Station in Philadelphia. I am on my option to New York. Are you able to simply come and have a espresso with me?” So I received to the station, and Avi took out his mandolin and began enjoying Bach. And your entire station stopped — it was so magical. He did not should say something. I used to be like, “Oh, I’ve received to jot 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 — making an attempt to jot down a concerto for orchestra, understanding the Bartók, as a result of I completely adore it. Once I received the fee, I bear in mind going dwelling 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 of write my very own piece.

How did you strategy 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 little thing surges to an enormous climax, all throughout the first 57 seconds. How do you do this?

An excessive amount of adrenaline, an excessive amount of Weight-reduction plan 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 nervousness 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 jot down for the Philadelphia Orchestra.” I knew that the second motion could be strings, so I believed I wanted a distinction of loads of emotion, and simply to point out off your entire orchestra by having a twister of sound coming at you. That manner you would not have an opportunity to catch your breath till you bought to the top of that first motion.

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 straightforward to you? Or are you writing 24/7 with a purpose to be that prolific?

It is not that it comes straightforward, however I work at it. I am a full-time composer, seven days per week, 4 to 6 hours day-after-day. It is type of like what I think about it is like for individuals who write novels: If you happen to work at it day-after-day, you are likely to develop a stream. It is exhausting while you begin the piece since you’re looking for the sound world and the logic and what you suppose needs to be the form of it. However when you get into it, you are like, “Oh, what if I can provide you with 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 have to do to make this extra attention-grabbing?” As a result of that is all the time the primary factor I am asking myself after I take a look at the phrases and take a look at the melody. What can I do that may hold the expertise contemporary for the one that’s enjoying it, but additionally the one that’s listening to it?

Am I proper that you simply publish your individual music? Why is that vital to you?

Once I was popping out of college, 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 Middle, and we could not get the music — I needed to play off of Xeroxes. Elliott Carter is a widely known composer. I additionally seen I could not afford to lease any of the music. And I believed, “Oh, that is ridiculous.” There should not be such a barrier. I need to play dwelling composers, nevertheless it’s so costly. A 3-minute piece was blowing your entire 12 months’s price range. I believed, “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 reasonably priced and I am going to reply rapidly.” And over time, as I wrote extra items, the catalog received greater and the orders simply began constructing. It is exhausting sufficient getting your music carried out in reside 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 midst 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 manner about how a lot they find out about music. In truth, after I’m writing, I feel, “Nicely, let’s fake that nobody within the room has ever heard classical music. Will this converse to them?”

Once you accepted the Grammy Award on your Viola Concerto in 2018, you stated, “After we write classical music, it actually takes a village.” What did you imply by that?

Nicely, I can put the notes on the web page, but when I did not have the help 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 you then’ve received performers on the stage, the man who turns the lights on, the one that sells the tickets, the one that advertises it, the radio one that interviews you, the press one that writes about it, and you have the viewers. Not one among this stuff brings music into the world by itself.

A be aware Higdon obtained from a younger pupil 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 today?

I really feel loads of misery within the village — folks worrying. I feel rather a lot about that after I’m writing, as a result of I would like to have the ability to write music that may keep calm, that may be a balm. I bear 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 loads 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 prefer to see the village change within the subsequent 20 years or so?

Help one another. Empathy. Assist make the artwork, and likewise assist others make artwork — even the youngsters. As a result of generally artwork saves lives. I’ve seen it. Generally that is all a child has. They could be dwelling in a spot the place they really feel utterly remoted from their household, like they’re actually completely different. However artwork makes all of the distinction.