Jennifer Higdon’s XC Blast – KSO Celebrates the Past and the Future

 

She’s won three Grammys, a Pulitzer, and has been composer-in-residence for the Philadelphia Orchestra. Next on her plate, composer Jennifer Higdon has written a celebratory fanfare for the Knoxville Symphony Orchestra’s opening concerts of its historic 90th season on September 18-19. And what a moment that will be for us lucky East Tennesseans.

I’m not sure how Higdon found the time to chat about this momentous commission, but she graciously did. She is warm and courteous – befitting her southern roots. Her manner is humble and open – with an ease that belies her status on the international stage. Her laugh is hearty and carefree – as if she didn’t have eight world premieres this season alone. 

In our conversation, Higdon discussed the “commission” process as well as her overall connection to East Tennessee, Maestro Aram Demirjian, and the KSO. We also chatted a bit about the writing process, fame, and the best compliment she’s ever received.

“One hundred percent of the time I’m told how long the piece should be. I’m also told the occasion and the instrumentation.” In the case of the KSO commission, Higdon was asked to write a fanfare, but not just for brass – an orchestral fanfare. “When Aram called, I felt I had to get this into my schedule. A 90^th anniversary is momentous.” As for considering the level of the orchestra when writing a new work, Higdon said, “In a case like Knoxville, I know their playing from their performance of my Cold Mountain Suite, so I know they’re up for any challenge.”

“Sometimes coming up with the title is the hardest part of my job.” But she found a compelling one for the KSO commission – XC Blast. Higdon thinks the idea of XC Blast may have come to her when watching a Super Bowl ad as she was finishing the piece. “The Roman numerals captivated me with the connection to the KSO’s 90^th season. And blast seemed a fitting way to launch into the next 90 years.” (XC equals 90.)

“I think I got the score to Aram last spring. There really wasn’t much back and forth once I sent it because I’m very careful with my notations.” Remarkably, Higdon does her own copy work on the individual orchestral parts, so she “finds missing accidentals and dynamics” before the full score is delivered to the conductor. Plus, Higdon and Demirjian have worked together several times and are well attuned. Demirjian will have the honor, and pressure, of bringing this work to life.

“First rehearsals of a brand-new work don’t sound too much like the piece.” Higdon says players are “learning the geography of the composition, determining who fits where, and figuring out what passages they need to work on.” As for Higdon, during the first rehearsal she says, “My brain is operating at high speed to see if I’ve correctly guessed the balance in the instruments. So, I usually wait until the second rehearsal to decide if I’m going to change anything.

“Premieres are so exciting! I’m just coming off the premiere of my opera, Woman with Eyes Closed. While composers certainly dream of having their works performed by major and regional orchestras, which Higdon does with great frequency, what makes Higdon notable is that the range of her compositions allows her to also be performed by youth orchestras, heard in universities and churches, and experienced in funky venues. And there are no shortcuts to her amazing success. Does she write every day? Simply, “yes.” 

“One set of my grandparents lived in Maryville and another in Knoxville.” Higdon moved to Maryville starting in 5^th grade and stayed on through high school, a product of the Blount County School system. That’s one of many reasons she feels a strong connection to Maestro Demirjian and the KSO. Those of us in the audience for this momentous premiere will be part of history as we are the first to hear XC Blast – a work which will always have a connection amongst its composer, conductor, orchestra, and audience.

“I occasionally get recognized and sometimes in the least opportune moments.” Higdon recalls being in the grocery store trying to reach the back of the top shelf for a carton of milk. As she was surreptitiously stepping on the ledge of the cooler, she hears behind her, “Are you that composer?” Higdon replied that she was, in fact, that composer and asked, “Is there anything I can pass you from up here?”

“A woman I didn’t know once said to me, ‘You know, you are a musician’s composer.’ And I said, ‘Wow, that’s a great compliment!’ I talked with her for a couple minutes and she wished me well. Someone nearby then said, ‘Do you realize that was the first female member of the New York Philharmonic?’” That moment lives on for Higdon, as well it should.

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