ABSTRACT
In several interviews American composer Jennifer Higdon describes giving performers and listeners a degree of interpretative freedom. Such freedom is readily noticeable in three of her concertos, which include significant improvisatory sections. It is also evident in Higdon’s open attitude towards interpretations of her music. Both approaches offer a sense of autonomy for musicians and audiences, which in turn allow performers and listeners to actively share in creating and understanding Higdon’s music.
More specifically, Higdon recalls the improvisatory elements of classical concertos in her Percussion Concerto (2005), Violin Concerto (2008) and Concerto 4-3 (2007). The type of improvisation differs in each work, ranging from complete liberty to selectively stipulated elements, and may be spread throughout a movement instead of confined to a cadenza. Some may argue that such improvisation places a limitation on performers, requiring them to possess considerable improvisatory skills. Yet one should note that accessibility is not synonymous with autonomy. Higdon’s improvisatory passages create a space for skilled performers to put an individual stamp on their performance.
In terms of audiences, Higdon realises that her music will evoke different reactions in each listener. Although she describes having particular ideas in mind while composing, and she hopes these ideas are apparent in performance, she welcomes alternate viewpoints and analyses. Higdon also extends this attitude to conductors. She is aware that performing spaces differ, and she encourages dialogue about tempi and other musical aspects as ensembles prepare for performance. By allowing musicians and audiences to engage with her music in ways that encourage autonomy, Higdon fosters an environment where everyone becomes an integral part of the concert. Each artistic thought is valuable, emphasizing that the roles of composer, performer and listener are all vital for musical performance.
