CHAPTER 57
Neo-Romantic Evocations: Higdon and Program Music into the Twenty-First Century
OVERVIEW
The subject of Chapter 57 is the contemporary style of concert music dubbed neo-Romanticism,
a recent trend that embraces the sound and spirit of nineteenth-century genres. Jennifer Higdon’s
blue cathedral works embody the characteristics of the neo-Romantic style.
LEARNING OBJECTIVES
1. To understand the neo-Romantic style of contemporary concert music as a modern
adaptation of Romantic nineteenth-century idioms
2. To understand Jennifer Higdon’s blue cathedral as a neo-Romantic work that recalls the lush
harmony and colorful musical imagery of the Romantic-era tone poem
LECTURE SUGGESTIONS
Display for students Jennifer Higdon’s programmatic description of blue cathedral as quoted on
p. 324 of the textbook. Have students form small groups to discuss the ways in which the three
main sections of the excerpt (labeled A, B, and C in LG 46) correspond to Higdon’s
programmatic explanation of the piece. Does each section correspond to a single idea in the
program notes? Or do the sections reflect several of Higdon’s ideas simultaneously? To what
extent do the sections work together to create a narrative of Higdon’s programmatic ideas? What
is this narrative? How does this musical/narrative process hark back to the same process in a
programmatic orchestral work of the Romantic era, Berlioz’s Symphonie fantastique?
ASSIGNMENT SUGGESTIONS
1. The textbook notes that more recent stylistic musical trends, including neo-Romanticism,
signal a reaction to more intellectual approaches to composition. Which pieces or
composers in the textbook reflect this intellectual approach? Why? How does Higdon’s
music pose a challenge to these composers and their music? What do you imagine
“intellectual” music might sound like, or how would one go about composing it? Do you
feel that approaching music intellectually presents certain limitations? Why or why not?
2. Higdon is one of several twentieth- and twenty-first century composers who claim that
music correlates to color (implied in the title of her tone poem, blue cathedral). Do you
associate music or sound with color? If yes, what kinds of music or sounds do you associate
with different colors? If no, consider Higdon’s music in blue cathedral. What do you think
the color blue sounds like to her? Given that Higdon is a neo-Romantic composer, do you
see a connection between her ability to see color in sound and the musical values of
nineteenth-century Romanticism?
TEACHING CHALLENGES
Review the characteristics of nineteenth-century Romanti-cism in Part 5 to help your students
become familiar with the new Romantic aesthetic explored in this chapter.
SUPPLEMENTAL REPERTORY
Higdon: Violin Concerto
SUPPLEMENTAL BIBLIOGRAPHY
Higdon, Jennifer. http://jenniferhigdon.com/. Higdon’s official website, featuring a biography,
concert and residency appearances, and recording releases.
Rifkin, Deborah. “Musical Stories: Gesture and Texture in Jennifer Higdon’s Music 1998–
2003.” Ex Tempore 15 (2010): 121–46. This analytical survey of Higdon’s work includes
blue cathedral.
CHAPTER OUTLINE
Neo-Romantic Evocations: Higdon and Program Music into the Twenty-First Century
(Chapter 57)
I. A New Romanticism?
A. Neo-Romanticism: postmodern composers update the Romantic style
1. built on luxuriant orchestral tradition
2. respect, nostalgia for Romantic style
3. favor late-Romantic harmonic language
a. mostly tonal, chromatic, highly virtuosic
b. innovative timbral combinations
4. program music: biographical and cultural experiences
5. popular with modern audiences
B. Jennifer Higdon (b. 1962)
1. Brooklyn-born, widely performed living American composer
2. education: Bowling Green State; University of Pennsylvania, student of George
Crumb
3. teaches at Curtis Institute of Music
4. many prestigious awards: 2010 Pulitzer Prize
5. style: “American” sound, rooted in tonality, innovative sound palette, dense textures,
wide–ranging dynamics
6. extensive output: orchestral music, concertos, chamber music, choral works, vocal
works
C. Jennifer Higdon and blue cathedral
1. orchestral tone poem
2. written to commemorate anniversary of Curtis Institute of Music
3. tradition of program music
a. biographical elements
i. title refers to her brother, Andrew Blue Higdon
ii. reflects journey of life
iii. subtext of personal grief
b. program provides evocative images
4. large orchestra, many percussion instruments
a. tintinnabulation: bell-like timbres
b. “chiming” draws on Asian soundscapes
5. continual expansion, several stirring climaxes
D. Listening Guide 46: Higdon, blue cathedral, excerpt (2000)
1. sectional, rondo-like structure
2. languorous, ascending lyrical lines
3. A section
a. bell-like timbres over muted strings
b. solo flute, rising line, muted string chords, no sense of pulse
c. solo clarinet answers, harp and string accompaniment
4. B section: wavering horn chords, open high strings
5. C section: plaintive English horn, harmonics on harp
6. pitched glasses and “chiming” near end