Image: ©️ Andrew Bogard
Naxos’ newest installment in its American Classics series features the works of Jennifer Higdon. Having left her mark on the contemporary music landscape, Higdon’s compositions have found their way onto an impressive 70 albums. This particular release showcases two of her pieces, “Duo Duel” and the “Concerto for Orchestra.”
Duo Duel (2020) takes us through a sonic wonderland with two percussion soloists guiding the way. As mentioned in the liner notes, they play only pitched percussion instruments but we hear a wealth of timbres. First up are the inviting chimes of the crotales, followed by the resonant and slightly heavier-bodied vibraphone, and finally the mellow hum of marimbas. All the while, Higdon creates a range of sounds in the orchestra through different instrumental permutations and harmonic and melodic colors. Panoramic characters that evoke Copland emerge at 1’30” while a minute later, we hear echoes Debussy with the whole tone scale and flute presence. Despite the mélange of colors and textures, nothing sounds muddled or confused: part of it has to do with Higdon’s writing, which at its most sensitive is beautifully layered and nuanced. It is, however, also the performers who do a fantastic job of bringing out small soloistic accents where necessary all while paying consistent attention to detail and clarity.
If anyone thought that percussion solos couldn’t excite, Duo Duel’s cadenza proves otherwise. The musical analyses make mention of the fact that this solo is one of the fastest ever written. And, impressive it is: Svet Stoyanov and Matthew Strauss have complete control, precision, and synchronicity but are nimble enough to add virtuosic flair. The technicality, however, is but one part of the cadenza’s character. Stoyanov and Strauss bring to life what Higdon describes as a musical ‘duel’: the parts are written in such a way to make it seem like they are trying to outdo each other, and this makes for a thrilling and suspenseful listen.
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The other work, Concerto for Orchestra, was written in 2002 (and recorded by the Atlanta Symphony with the same conductor, Robert Spano, back in 2004). Where Duo Duel had a mysterious, ethereal quality to it at many turns, there is not the case here. The ferocious opening movement, full of jagged chromaticism, perhaps calls to mind the most intense moments of Stravinsky’s ballets. The Houston Symphony does stellar work in drives the commotion insistently and provides unfailing energy that fuels the unrelenting character. Higdon does cleverly structure the work in a fast-slow-fast-slow pattern. This arrangement allows our mind and ears a break from the chaos and hear some of her breathtaking lyrical writing.
The third movement may not pack the most punch in terms of sound or speed but definitely stands out. It is vibrantly descriptive and cinematic, with the orchestra bringing out the creativity with which Higdon writes. The opening moments aren’t intense per se, but carry quite a bit of complexity on a close listen: there’s the inquisitive glissando motif and a most unusual feeling created when Higdon juxtaposes the eerie piano part and the piercing flute with the otherwise comforting, melodious strings.
The final movement is also unique in the presence of various non-pitched percussion instruments. While it has a similar tonal unease to the first movement, the character is more martial than it is tempestuous. The orchestra again does stellar work in bringing the regimented quality out through the precise and unwavering rhythmic patterns. The strong brass section deserves particular kudos in delivering the persuasive blasts in the final moments.
The sound engineering on this album might be some of the best I’ve heard for orchestral performances. In the Duo Duel, especially, there is ample spotlight placed on the soloists (but not at the expense of the orchestra) and the personality of each featured instrument is vibrant. In contrast to the music itself, the liner notes are not the most stylistically inspiring read; the writing comes off as rather choppy and matter-of-fact. At least their succinctness makes clear the descriptions of each work down to instrumentation and setup of performers on stage.
For such wonderful music, one hour is far too short. I would have gladly enjoyed hearing one or two more works on the disc. If anything, this album is hopefully a sign of more works of Higdon’s to be presented in future releases.
Jennifer Higdon – Duo Duel, Concerto for Orchestra
Houston Symphony
Robert Spano – Conductor
Naxos, CD 8559913
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All Things Majestic | Piano Trio | Sky Quartet | City Scape / Concerto for Orchestra
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