#Jennifer Higdon

[music-crush]

Jennifer Higdon

Happy birthday, Jennifer Elaine Higdon!

[mozart2006]

Internationale Hugo-Wolf-Akademie - Thomas Hampson e Wolfram Rieger

Foto ©IHWA La Hugo-Wolf-Akademie ha concluso la sua stagione con il recital di un’ autentica star del canto come Thomas Hampson, Continue reading Untitled

[depressedraisin]

classical pieces that give me the same energy as the car

my classical phase is coming back bear with me

sergei rachmaninoff- morceaux de fantaisie op. 3 no. 1: elegie (sheku kaneh mason, cello & isata kaneh mason, piano)

jennifer higdon- harp concerto movt. 3: lullaby (yolanda kondonassis, harp; rochester philharmonic, orchestra)

pt. ravi shankar, philip glass- ragas in minor scale (ravi shankar, sitar et. al)

gian carlo menotti- violin concerto (jennifer koh, violin; spoleto festival orchestra)

erich korngold- theme for deception (1946)

einojuhani rautavaara- deux serenades no. 1: serenade pour mon amour (hilary hahn, violin; orchestre de philharmonique radio france)

franz schubert- nacht und träume, op. 43, no. 2 (peter pears, voice & benjamin britten, piano)

sergei prokofiev- piano concerto no. 3, op. 26 (martha argerich, piano; berliner philharmoniker orchestra)

[spacelazarwolf]

What are some of your favorite operas?

my absolute favorite is l’elisir d’amore. i also really like mozart’s operas in general. love puccini, and i did an aria from jennifer higdon’s cold mountain a few years ago and it was amazing.

[themusicaldesk]

"We Wish a very Happy Birthday to One of the Greatest Violin Players of our time Hilary Hahn

Hilary Hahn (born November 27, 1979) is an American violinist. A three-time Grammy Award winner, she has played as a soloist with orchestras and conductors, and as a recitalist. Several composers have written works for her, including concerti by Edgar Meyer and Jennifer Higdon, partitas by Antón García Abril, two serenades for violin and orchestra by Einojuhani Rautavaara, and a violin and piano sonata by Lera Auerbach."

[ioboesess]

100 Days of Practice, Day 1

Today I started working on audition excerpts for band/orchestra auditions in September. Our excerpts are from the Mozart oboe concerto (always), Jennifer Higdon’s Concerto for Orchestra, and the overture to Rossini’s La Scala di Seta. My chops have been weakened™️ by my inconsistent practice since school got out (since before school got out tbh), so I was only able to get through 40 minutes of practice.

Practice breakdown:

10 minutes of long tones

10 minutes of scales

10 minutes of Mozart

10 minutes of Higdon

Total cumulative practice time: 40 minutes

[orphanedinstoryville]

[alexanderrogge]

Tubist Jake Alford & euphoniumist Justin Weis performed the works of Jennifer Higdon, Amanda Harberg, Andrew May, Jennifer Bernard Merkowitz, and Justin's own piece entitled Plaything for The Leonard Falcone Euphonium & Tuba Festival Winners Recital at The U.S. Army Band 2025 Tuba-Euphonium Workshop. #LeonardFalcone #Falcone #Euphonium #Tuba #TEW2025 #TEW #Music

[chasenews]

Violinist Timothy Schwarz Releases Fifth Album as a Leader

Stock photo Recognized for his solid technique and considerable flair, acclaimed violinist Timothy Schwarz continues his career-long dedication to championing American composers with his latest recording The Living American. The Living American is a collection of contemporary works for violin by seven of today’s leading living American composers: Steven Sametz, Jennifer Higdon, Jessie…

[jempai]

Operas are continuously revived (currently in an American premiere of a forgotten French operetta!). The unfortunate bit is that recordings aren’t often available and production runs tend to only be a few weeks at most, so you have to search to see new stuff.

Opera is also very regional. There are thriving opera scenes across the globe, but because of language differences, lack of marketing, and the absence of readily available pro-shots, many of these operas are not known outside of their area. In the past five years, I’ve been lucky enough to see many non-canon operas live in my city:

Daniel Catán's La hija de Rappaccini (Mexico, 1996, Spanish)

Hermogenes Ilagan’s Dalagang Bukid (Philippines, 1917, Tagalog)

Uzong Choe’s As the Moon Arrives on the Waters (South Korea, 2018, Korean) 

Uzong Choe’s 1945 (South Korea, 2019, Korean)

Liliya Ugay’s Chhlong Tonle (USA, 2021, English)

Daniel Catán's Florencia en el Amazonas (Mexico, 1996, Spanish)

Mark Adamo’s Little Women (USA, 1998, English)

Eugen d’Albert’s Tiefland (Germany, 1903, German)

Federico Moreno Torroba’s Luisa Fernanda  (Spain, 1932, Spanish)

Jake Heggie’s Dead Man Walking (USA, 2000, English)

Jennifer Higdon’s Cold Mountain (USA, 2016, English)

Laura Kaminsky’s As One (USA, 2016, English)

Plus a bunch of smaller premieres from up-and-coming composers and revived operas from every era

There’s definitely a passion for works outside of the canon and introducing audiences to new stuff, but it takes time. Localized operas tend not to become part of the canon because joining the canon takes reviews, critical success, and countless productions to determine if a work is relevant, singable, accessible, and enjoyable. Opera companies rely on audiences’ tickets to fund the work they do, and it’s easier to sell tickets if people recognize La Traviata from Pretty Woman versus a random premiere from a composer they’ve never heard of.

Why modern academic composers don't write new operas? When staging and re-staging the same old pieces, over and over again, will be enough?

I look at your opera posts and reblogs and I just don't get the appeal. It's all so limited and stagnant, people pay attention to the smallest details because there is nothing else to think of, no revelation and inspiration.

They are all the same, like a seven or ten of them that every theater in the world had chosen for the rest of eternity and that's all. If the genre is truly dead and can not be revived, well, but why don't revive some real old operas?

Once I had to work with some Italian library, and they had DOZENS of printed librettos and notes of different 19th century operas of different composers from France, Germany and Italy, there were even several "Beauty and the Beast" kind of things. Opera was so diverse and big back then. It was fun.

There must be something hidden and pretty, something more than a group of over-used big names.

(Just in case, it wasn't negativity, I'm just thinking)

I'm all in favor of new operas and of reviving the countless obscure older ones. But I'm afraid you've come to the wrong person to complain about the constant re-staging of the popular warhorses.

Maybe it's because I'm autistic, but I like revisiting the same operas again and again, with different singers, conductors, and staging. I like seeing each different performance breathe new life into the same opera and find new insights into the plot and characters. For me at least, there is revelation and inspiration in it.

[yourdailyqueer]

Jennifer Higdon

Gender: Female

Sexuality: Lesbian

DOB: 31 December 1962

Ethnicity: White - American

Occupation: Composer, musician, professor

[thecuriouspianist]

Women compose. Women conduct.

[ more 2019 stats here! ]

[pitchybeachwitch]

Happy Pride Month!!

(Classical composers edition)

[depressedraisin]

thinking abt the collabing with a composer thing on this, the obvious first choice owen pallet. obviously. if not them though, i'll love to see nico muhly given how close he was to working on tlsp1. we need a muhly and turner project at some point the world needs it. my personal choice would be jennifer higdon for no other reason than i absolutely fuckin' love her and her work.

if alex ever puts out an album of orchestral reimaginings of the car and tbhc (or even them older) songs, know that i'll pay with my blood for that shit

[marxsound]

Dash by Jennifer Higdon also nominated for the best new composition grammy this year happy friday