Music Text Relationship in the Choral Music of Jennifer Higdon: Compositional Aspects Are Universally Spawned by the Text

2019 HAWAII UNIVERSITY INTERNATIONAL CONFERENCES ARTS, HUMANITIES, SOCIAL SCIENCES & EDUCATION JANUARY 3 - 5, 2019 PRINCE WAIKIKI HOTEL, HONOLULU, HAWAII

MUSIC TEXT RELATIONSHIP IN THE CHORAL MUSIC OF JENNIFER HIGDON: COMPOSITIONAL ASPECTS ARE UNIVERSALLY SPAWNED BY THE TEXT

SKOOG, WILLIAM DEPARTMENT OF MUSIC RHODES COLLEGE MEMPHIS, TENNESSEE Dr. William Skoog Department of Music Rhodes College Memphis, Tennessee

Music Text Relationship in The Choral Music of Jennifer Higdon: Compositional Aspects are Universally Spawned by the Text

Synopsis:

Jennifer Higdon is an internationally renowned composer, most notably for orchestral works and the remarkable success of her opera Cold Mountain, based on the novel by Charles Frazier with a libretto by Gene Scheer. It was commissioned by the Santa Fe Opera, the Minnesota Opera and the Philadelphia Opera, and premiered at Santa Fe, NM in 2015. It was so well received that every performance was sold out, adding a performance that also sold out. Santa Fe produced a recording of it (the only opera they have recorded in 21 years. This opera also received the International Award for Best World Premier, and was nominated for a Grammy Award in 2016. Music‐Text Relationship in the Choral Works of Jennifer Higdon As Represented In Her Large Form Choral Work, The Singing Rooms William Skoog

Mention the name Jennifer Higdon (b. elements of music linked to text will no achievement who have significantly 1962) to most musicians and there is near doubt be threaded with a degree of influenced the field of composition. universal recognition and acclaim for her subjectivity. This study will offer work, essentially for her instrumental representative stylistic characteristics She has become one of America’s works. In opera circles, she is hailed as a found in her choral pieces, honing in on most acclaimed and most frequently rising star in contemporary opera due to various elements of composition and how performed living composers, and has the enormous success of Cold Mountain Higdon uniquely connects them to the become a major figure in and a current operatic commission words. Higdon is prolific in this genre, and contemporary classical music through underway. However, to most choral the compositional fabrics woven are so commissions that represent a wide musicians, there appears to be little varied and complex an analysis of all these range of genres, including orchestral, awareness of her accomplishments as a works would be beyond the scope of a single chamber, choral, vocal, opera, and composer or that she has written a article: a detailed analysis of her entire opus wind ensemble. substantial quantity of quality choral music. of choral music would result in a monograph Hailed by the Washington Post as to approach comprehensiveness. Examples Higdon’s choral works are prolific and “a savvy, sensitive composer with a from her larger choral work, The Singing keen ear, an innate sense of form and profound; varied, rich in colors and highly Rooms, will be cited to illustrate analytical acclaimed by those who know them. By her a generous dash of pure esprit,” her points, to detail specific techniques works have been performed own admission, her instrumental works and employed, and will serve to represent opera have largely overshadowed the choral throughout the world, and are enjoyed materials for the overall discussion of her by audiences at several hundred works. The analytical book, Jennifer Higdon works in this study. Composing in Color by Christina L. Reitz of performances a year and on over her instrumental works, has greatly expanded Her primary compositional tendencies sixty CDs. Higdon’s orchestral the awareness of her instrumental works, and trends relating music to text will be work, blue cathedral, is one of the whereas a similar reference is not yet articulated here; these trends and most performed contemporary available for her choral music. tendencies are seen in her small form orchestral compositions by a living choral works as well. (A list of Higdon’s American with more than 600 This article hopes to bring Higdon’s choral works is provided at the end of this performances worldwide since its choral works to light, exploring the works article.) It is hoped that this study may premiere in 2000. with respect to their implicit relationship of inspire additional analytical studies and music to text. As an analytical paper, it will One of Higdon’s most current performances of her contributions to the projects was an opera based on the reveal the intrinsic nature of that choral world. connection from a compositional best-selling novel, Cold Mountain, by standpoint and will also analyze its As Jennifer Higdon is not as well known in the Charles Frazier. It was co- immediate and demonstrable connection of choral community, a brief introduction to her commissioned by Santa Fe Opera, the creation of musical elements drawn seems appropriate. Higdon has won numerous Opera Philadelphia and Minnesota directly from the text. This is a deduction awards and received an abundance of Opera in collaboration with North that she wholeheartedly embraces. commissions from prestigious musical Carolina Opera. Higdon recently won organizations for orchestral works, operas, and the International Opera Award for A thorough analysis of her compositions choral compositions–large and small. Most Best World Premiere for this opera. demonstrates convincingly that the notably, her Viola Concerto won a Grammy for The Singing Rooms, her largest construction and musical choices are Best Contemporary Classical Composition in substantially inspired by the text. Structure, choral-orchestral work to date, was 2017, her Percussion Concerto won a Grammy commissioned by the Atlanta melody, harmony, counterpoint, rhythm, Award in the same category in 2010, and in the meter, textures, accompaniment (when Symphony and Chorus, the same year she received the Pulitzer Prize in Minnesota Orchestra and the present), give clear evidence all elements Music for her Violin Concerto, with the are intimately linked to the poetry. Often, Philadelphia Orchestra. On the Death committee citing Higdon’s work as “a deeply of the Righteous, another large several musical elements combine and engaging piece that combines flowing lyricism conspire to augment elements of text. choral-orchestral work was with dazzling virtuosity.” commissioned by The Mendelssohn Given the close relationship between A summary of her achievements from her Club of Philadelphia. music and text in these works, particularly website (www.jenniferhigdon.com) follows: regarding construction, it is tempting to Higdon’s choral works have been refer to her as a “Neo-Renaissance Higdon has received awards from overshadowed by those of other genres, composer,” as each line of text seems to the Guggenheim Foundation, the but this is changing, as evidenced in the create a new musical thought or region of American Academy of Arts & Letters growing number of prestigious choral construction. However, that description, (two awards), the Koussevitzky organizations performing her works, as while perhaps appropriate in some ways, Foundation, the Pew Fellowship in the well as the substantial and numerous would be a disservice in defining her overall, Arts, and the National Endowment for commissions being requested. This serves highly complex, compositional style. the Arts. Higdon received the as evidence of their worthiness of attention prestigious 2018 Nemmers Prize from and critical scrutiny, bringing them to a Attempting to summarize any composer’s Northwestern University which is level similar to her other genres. overall style and theoretical tendencies is awarded to composers of exceptional something of slippery slope, as interpretive Jennifer Higdon’s overall style in these works employs sophisticated forms 1 Music‐Text Relationship in the Choral Works of Jennifer Higdon As Represented In Her Large Form Choral Work, The Singing Rooms

essentially based in traditional rehearsals and performance. Singers, as it relates to this empirical analytical constructions, decidedly tonal, yet unique instrumentalists and audience members discussion. and new in tonal and harmonic colors, receive her work with tremendous refreshing in their distinctive sounds. She enthusiasm and appreciation. It is with Large Form Choral Works normally utilizes relatively short motivic gratitude to Jennifer Higdon that she has The Singing Rooms (2007) is the largest ideas, developing them, expanding them, given strong support for this study. choral work in Jennifer Higdon’s opus. It is altering them into high-level fabrics of Higdon’s Choral Works a powerful, musical-poetic work, coupling contrapuntal ideas while employing six (6) lyrical poems by Jeanne Minahan interesting and complex rhythmic and Higdon’s choral works are abundant, into a series of art songs for chorus and harmonic notions that align with the text musically diverse and complex. They exist orchestra. A tour-de-force violin solo structure, enunciation and delivery. as large form works combined with dances throughout the work as a Thorough analysis reveals that Higdon orchestra, and as small form works connecting thread: it is, essentially a violin gives careful, implicit attention to the text in performed either a cappella or with concerto for chorus and orchestra. every musical element available to her in chamber instruments. The focus of this Higdon’s propensity for music serving the crafting these compositions. Her works, as paper will be to illustrate Higdon’s methods text is evident with the use of the solo violin articulated to this author by singers and of articulating text by and through various to personify one’s soul moving through audience members alike, tend to create musical elements. various rooms during one’s “day” seeking “atmospheres;” affects, as it were, which at its meaning, and metaphorically, the first blush give the impression of being Higdon’s secular works are set in meaning of life. This work is set in seven somewhat transparent; seemingly English, but Latin is used in some sacred contiguous movements and in each accessible. Upon closer scrutiny, however, pieces, O Magnum Mysterium and movement weaving Minahan’s poems, the inner complexities of her compositional Sanctus. Her attention to ensure text uniquely crafting them to suit each poem. processes that created these “affects” comprehension is seen by setting them in The movements are unified by the violin inform the performer that the complexities English as well as in Latin, eliminating a solo and orchestral interludes, a thematic present are far more challenging than may language barrier for the singer and listener. unity serves to introduce poems or offer have first appeared. Her large form choral works are extensive in reflection upon them. There is not one succinct list of stylistic illustrating musical elements relating to the This is Higdon’s most extensive choral work characteristics that define Higdon’s choral text. The large form choral work, The Singing to date and will serve to illustrate techniques music. Rather, each piece (and each Rooms, will be used in this article to display and devices that distinguish her choral writing movement within a larger work) is mainstream techniques and provide examples with respect to its music-text relationship. While individually crafted with a particular, unique to illuminate stylistic techniques. The work this work is abundant in stylistic compositional personality. In a sense, she creates identifies her compositional tendencies and methods and devices that are essentially musical vignettes; each piece (or main compositional traits–representative consistent throughout Higdon’s choral works, it movement) is distinguished by certain trends and tendencies that will be found in serves only as a representation of her musical choices connected to the words– most of her choral compositions. An analysis comprehensive techniques. directly or indirectly. Each work is further of any composer’s works in an empirical form distinguished by a uniqueness of the text of music-text relationship brings with it a Conclusions degree of subjectivity and interpretation. itself, and, as the music is inspired by that Higdon’s complex compositional style text, it makes sense that each work would The scholar brings his or her expertise to does not lend itself to be reduced carry a unique presence, rather than the empirical form, deducing elements of succinctly. It is hoped that this offering one overarching, distinctive stylistic such connection with as keen an eye as representative analysis will intrigue the flavor that colors all of her choral works. s/he is able. To quote Keith C. Burris in his reader, inspiring them to delve further into There are, however, some conclusions book on Robert Shaw (Deep River), in Higdon’s significant contributions to the that can be drawn in this regard. Each such a work: choral repertoire and will be of assistance piece represents something of a musical in assessing and approaching her “ he discovers how much he does not compositions. Higdon continues to add to mosaic; specific musical elements and know, and can never know, about it. He combinations of musical elements are her work, which is already voluminous, discovers that he cannot, finally, “get to complex, creative, and deep in its offerings utilized to create form, used to balance the bottom” of the subject’s nature, unity with variety within each piece (or to this genre. As she continues to compose though his job is to try. He knows he in this genre, an analysis of her future movement). Musical choices that might must be wary of broad claims and brand a given piece are largely unique to works will be eagerly awaited. The music generalizations.” “So, (he) creates a world will be well rewarded by the growing that piece (or movement), but are portrait. He can only paint from his own consistently bent to creating an individual, awareness to her choral works and perspective and his portrait cannot be presentation in concert. artistic impression–sometimes a very other than subjective. For no two people particular impression–that Higdon chooses see another in the same way.”1 A comprehensive listing of her choral in which to express the poetry. works to date is at the end of this article. Burris is discussing a biography on This author has had the privilege of Shaw, but his words resonate to this author conducting a number of Jennifer Higdon’s choral works in live performances with the composer present. This conductor finds 1 her works to be challenging, intriguing, Burris, Keith C. The Life and Music of Robert Shaw, highly effective and inspirational in GIA Publications, Chicago, IL, 2013, p.xi and xii. 2 Music‐Text Relationship in the Choral Works of Jennifer Higdon As Represented In Her Large Form Choral Work, The Singing Rooms

The Singing Rooms Higdon’s text selection and anticipated Movement 1: (2007) 37 minutes setting in The Singing Rooms was Three Windows: Two Versions of the Full Orchestra, Chorus, Violin Solo paramount in consideration of this work, Day – 3’ 22*22 43*31 Timp +2 Hp; Strings bearing in mind it was to be set specifically as Poetry: Jeanne Minahan, a violin concerto with orchestra and chorus. Higdon’s dedication to text-mood in secular music is instantly evident as the orchestral The movements with the distinctive introduction creates an ethereal The Singing Rooms (2007) was poems are connected by orchestral atmosphere for the mystery of one’s day composed in seven contiguous interludes that are often substantial and and “rooms in one’s life.” Decidedly movements, seamlessly constructed, set to complex. These interludes, without transparent, the introduction creates an six poems by Jeanne Minahan. These exception, foreshadow or reflect the affect through ambient percussion, poems were carefully selected by the dramatic essence of each poem. As including crotales mounted on timpani composer from the large collection of designed as one complete and organic played while “pedaling freely,” and vibes poems by Minahan. In her own words, work, no movement from this work can be that are “bowed.” Harmonics and ‘other- “When I was asked by the Philadelphia extrapolated and performed separately. worldly sounds’ are plentiful here; many Orchestra to write a concerto for violin that Distinctive musical elements characterize stacked seconds, and lilting, seemingly would include a choral part, I immediately each movement, highlighting a particular unmeasured free rhythms are set in started searching through all sorts of poem and personalizing a given counterpoint, representing the mystery of poetry...the poetry would need to speak to movement. Most movements are not, by time. The violin solo, prevalent throughout me in order for me to be able to set it to invention, directly unified or connected to this work, represents an individual–one’s music…the words would need to “invite” one another by thematic ideas, though the soul–traveling from room to room in search setting (her quotation marks)…To create first and last movements, which use the of “the day’s” meaning. the best form for the piece, I needed a same poem, are sung twice to frame the group of poems that would not be too long work (Three Windows: Two Versions of This movement is characterized by (because I wanted to create different the Day). Those movements are varied secundal harmony, quintal writing, and the moods within this large work), and that from one another musically in consort with presence of Lydian mode, especially in would fit together somehow thematically… the poetry–two varied movements the solo violin part. Lydian mode is found I found what I was looking for…a series of representing “two versions of the day,” frequently in Higdon’s choral works, poems that resonated with me and would with two settings of that poem. usually for moments of uplift, or especially provide different emotional stings, as if ethereal passages–as in this introduction. they were lessons in life arranged like The opening choral section is built on different rooms within a house.” open fifths–that are actually the tuning notes of the violin, G-D-A-E–representing the spaciousness of the rooms, the expansiveness of the soul, and directly linking the chorus to the violin. See Figure 1.

Higdon frequently constructs distinct sections contrapuntal development. There are a number grow to a peak which then repose in a cadential of music coupled to specific sections of text; of such sections in Three Windows: Two formula. In this fashion, her music is essentially musical form closely aligned with poetic form. Versions of the Day, with intervening through composed, unified by musical elements, Music-for-music’s-sake per se, is almost non- instrumental interludes that reflect upon the text identifiable harmonic choices, rhythmic motives, existent in her choral works, even when just sung. and the like, and almost always framed with significant contrapuntal development is musical ideas connected to text meaning. She is employed. Phrases of text are stated, One tendency of Higdon’s overall style is inherently sensitive to structure and the need for sometimes succinctly, and then expanded found here–short sections of music, constructed thematic unification and structural balance, simultaneously with musical motives and on motives that expand, evolve, develop and never losing sight of the text in the process of 3 Music‐Text Relationship in the Choral Works of Jennifer Higdon As Represented In Her Large Form Choral Work, The Singing Rooms

musical creation of a section, or an entire work chorus, considered “choral chant” or “choral cadences. The following section of “choral chant” (small forms). recitative,” where a portion of text is enunciated demonstrates her use of parallel harmonic without much melodic variance, and rhythms motion in a descending section, as she Attention to clarity of text in her choral offerings align with natural scansion and syllabic inflection. references the closing of the window’s “blinds,” is ever-present. Orchestral density and This type of choral setting is a hallmark of many one can visualize the blinds closing as the lines complexities most often occur at times when the of her choral pieces. descend. See Figure 2. chorus is not singing; and then instrumentation thins out when the chorus enters. There are also Higdon often utilizes parallel harmonic motion a number of sections of chordal writing for the (planing) heightening the affect of approaching

A variation of choral chant or choral In the following excerpt, Figure 3, the text depicts the peacefulness of the room and recitative is often found in these works to “the couch, the desk, bookshelves,” is set the sunlit setting. Again, the descending deliver text transparently. Higdon also in such a fashion. The voices are almost thirds seem to indicate the “thin cloths of crafts choral sections that are narrow in completely subservient to the poetry, sung light, lingering and sliding,” indicated in the contour, somewhat in the style of an art in constant parallel thirds, with rhythms that poetry. In this moment harmony, rhythm, song with lines that are lyric and clearly articulate the scansion of the poetry melody, mode, and transparency of expressive, where rhythm, text and modest with natural text inflections. Musically, it is orchestration are subservient to the poem. melodic motion are intimately bound for set simplistically describing the setting of This is very typical of Higdon’s musical sensitive poetic expression. the room. Harmonically, there is a whole crafting in the poem. tone scale–Lydian mode based on G–that

4 Music‐Text Relationship in the Choral Works of Jennifer Higdon As Represented In Her Large Form Choral Work, The Singing Rooms

In the following excerpt (Figure 4), a “day” that is transpiring. In this case, the voices weave through an otherwise another simple, yet effective Higdon-esque tenors (imitating the soprano line a half homophonic texture. This helps to device is seen, as homophony gives way to beat later) hand the voice off to the basses, demonstrate one method of mood-coloring lyric, woven lines of descending who resolve ultimately to the root of the present in her writing as one can almost counterpoint. It is most often the bass voice harmony, characterizing the decaying “see” the light diminishing, as the lines that serves in this “rogue” function, but in evolution of ‘time’ on this day. This descend. the following case, the staggered entrances technique of chordal sections of music are from both of the men’s voices, depicting consists essentially when one or two rogue

Rhythm, meter and text are commonly meter was seen in Figure 2. MM 18-22, Major (root of a third) for an essence of woven together in an intimate web of when the meter is changed from 3/4 to 4/4 comfort, which is more common in her musicality using choral-chant with attention with descending voices indicating the light choral works. to the text and its natural inflection and blocked by the partially closed “blinds.” stresses. Often, sections using choral- Figure 5 also illustrates the highpoint of chant are begun with short motives, and Another instance of rhythm and meter to this movement, and Higdon uses altered then to heighten emphasis and drama, are objectify the text is found in her treatment rhythmic entrances and meter to help expanded by adding more words or of the word “blue,” symbolic for light coming accomplish this affect. Note that here also, syllables, repeating words and adding lines through the windows at the break of day as the voices are in homophony, with of poetry. When mixed meter or this movement builds to its peak. harmonic alterations (B Major to F Major) asymmetrical meter is used during choral Construction coupled with motivic repeatedly, roots of a tritone, then B Major portions, it brings new meaning to specific development and altered textures and to G Major, roots of a third, much more text or by altering the text to bring rhythms approaching a peak is a common “consonant” and peaceful, returning, heightened attention. She often employs trait in Higdon’s works. Figure 5 also however, to the tritone movement to end “rhythmic metamorphosis” in developing demonstrates her rare but effective use of this section. This emphasizes the volatility motivic statements, using one rhythmic root movements by tritones. In MM 53, 54 of life, and translucence of light. figure then adjusting it in a way that and 56, the roots go from B to F, for the objectifies the text. One type of altered word ‘blue’ in MM55, from B Major to G

5 Music‐Text Relationship in the Choral Works of Jennifer Higdon As Represented In Her Large Form Choral Work, The Singing Rooms

The first movement is constructed in music, varying the music while seven short sections, the longest of which accentuating certain words. In this is eight measures with interludes spliced movement, the repeated verse is found in together by orchestra and violin solo. The the penultimate section of music, rather sections are essentially chordal, than at the very end. homophonic, with brief iterations of counterpoint that occur at the end of Three Windows: Two Versions of the Day phrases during final words (or syllables) concludes with a tense orchestral bridge that illuminate the meaning of a particular highlighting the dramatic mystery of the word. There are six succinct lines of poetry “windows” present within the rooms. This with the opening line repeated at the end, segues quickly into a single, repeated note, framing the movement. This symmetry rhythmically varied in the solo violin and is (unity and balance) is found almost without expanded through considerable rhythmic exception in Higdon’s choral pieces (or metamorphosis segueing into the next movements within pieces). movement indicating the soul’s anxiousness of the journey, the next room Short segments of text set to short to seek out. motives of music abound, clearly articulating the poetry in natural text Movement 2: inflection without interference or complex Things Aren’t Always – 3’ musical development of the vocal parts. The The introduction to this movement is longest sections are recitative-like, delivering lengthy, with motivic development lasting a large amount of text quickly and 79 measures. The chorus enters, with a transparently. This movement features open succinct motive that defines this Figure 6. Jennifer Higdon, The Singing Rooms, fifths and stacked seconds placed on certain movement–a two-note, half-step motive, MM 80-81 syllables for color and choral chant and incessantly altered rhythmically. This Music Copyright © 2007 by Jennifer Higdon homophonic writing, with parallelism at key motive revolves around one note “E,” rising [ASCAP]. moments. One will find the use of subtly and falling... It is clear, that “always” Poems Copyright by Jeanne Minahan parallelism/planing is also found in orchestral in the poem is identified by that note “E.” As portions of music underneath the chorus. things are not always predicable or

The composer often varies textures by consistent in life, it is likewise represented techniques such as voice exchange or a by the incessant alterations and varied coupling of voices which augment adjustments around that note, yet return to specific portions text when repeated. These it in time. See Figure 6. MM 80-81. devices are normally found at the culmination of homophonic sections of

6 Music‐Text Relationship in the Choral Works of Jennifer Higdon As Represented In Her Large Form Choral Work, The Singing Rooms

The poetry is such that, in Higdon’s moment of relative harmonic reprieve, then words, “…things in life are always the music quickly returns to the e minor changing, always moving… not at all what norm that governs this movement. Such they seem.” The chorus again is in choral sections of parallelism define this particular chant mode–moving in parallel motion, in movement, as do broken phrases. See parallel chords. The violin’s E-F note Figure 7. MM 85-86. alteration motive becomes the alternating chords of e minor and F Major in the chorus Even tonality for sections of choral writing at the onset. The chorus never utters a reflect this–the first section ends in e minor complete, continuous phrase of text or on the word “hunger,” while the next musical theme rather, they articulate a section is set to the text, “Not every dog splice of poetry, “Things aren’t always,” as barks,” starts in F Major portraying the dogs the inference of that text is musically that do “not bark.” Sections of choral writing articulated in the orchestral writing. are incessantly alternating with orchestral commentary, yet the choral sections are In this movement, short poetic phrases connected in poetic thought, overarching are set to very short sections of music: the continuity and musical motives. The phrases are then bridged by a few incessant motion of the solo violin orchestral measures. Subtle harmonic represents unsettled life amidst constant variations occur, clearly coupled with text changes, and the chorus breaks the rhythm meaning. The poetic phrase, “not every matching the text, “break our heart.” See newborn cries in hunger,” is distinctly set Figure 8. MM 103-106. Figure 7. Jennifer Higdon, The Singing Rooms, from the previous phrase, alternating by MM 85-86 thirds, e minor and G Major, carefully set to Music Copyright © 2007 by Jennifer Higdon these triads and in parallel motion. The [ASCAP]. word “cries” is set to an F Major triad–a Poems Copyright by Jeanne Minahan

em F d6 Lydian

Concluding this movement is a Consistent in Higdon’s work, each violin in Lydian mode. In this fashion, protracted, developmental interlude, movement carries a unique character structure is all-important in Higdon’s writing– referencing the dominating motive, while defining that section. The next movement there is organic continuity within movements, escalating rhythmic energies that intensify has a very different melodic motive written connecting them, and also in an over-arching the unpredictability in life builds to a peak, for its very different text. With a sudden fashion for a composition. In her methods of then transitions directly into the introduction shift in dynamics, tempo, and orchestration, musical construction, text and text meaning is of The Interpretation of Dreams. an atmosphere of an eerie, dream-like aura not forfeited in the process.. is created to connect movements 2 and 3 by use of the half-step motive referencing the previous movement, over-laced with the 7 Music‐Text Relationship in the Choral Works of Jennifer Higdon As Represented In Her Large Form Choral Work, The Singing Rooms

Movement 3: Lydian mode based on F in the common to find her octatonic scale The Interpretation of Dreams – 6’ orchestration. This is consistent with her combining tones from the Lydian and use of Lydian mode associated with certain Mixolydian modes in the same scale. This In this movement, The Interpretation of kinds of texts. However, as the melody motive begins with unison sopranos then Dreams, the poetry indicates a dream-like evolves, it evolves to Mixolyidan based on adds the alto line for texture (in unison, as atmosphere that Higdon orchestrates in an F (Octatonicism is present as she mixes a color choice), then adds the male voices ethereal, other-worldly aura, with ambient modes), (finding B flat and E flat, in the in open fifths as the “hush” takes on percussion sounds. The melodic theme is scale) set to the text “a new laugh, an old gravitas. Her use of descending parallel akin to other motives in the work, as it hush.” “Old” and “new” then, are set in a chords in the orchestra–descending begins with a short statement, expanding to mode other than was first found in the chromatically from F to D (in open fifths) at an evolving melody. However, it contrasts melodic scale. The word “hush” ends the the cadence, enhances the essence of the with previous movements as it is a longer, phrase on open fifths (D/A); the “hush” is dream expressed via the women’s voices. more legato and lyric line, using wider musically delivered via that spacious interval. This use of textures and texture intervals, ascending to a major sixth, The longer, more lyric motive, the use of combinations is evidence of the way she melodically describing the elevation of a mixed modes and open fifths, typifies this enhances textual colors within a poetic line. dream. In Higdon’s words, she set the particular movement and colors the “dream.” While underneath the final “hush,” the underlay of this “with a gentle, boat rocking orchestration moves in roots by thirds–D-F- sensation.” She states this short poem What is customary about this in Hidgon’s A flat, a propensity of Higdon’s during three times because of its brevity, and overall style is that she starts out with a moments of peace, repose, consonance. symbolically, in her words “because it is the short motive, then expands it, develops it Figure 9. MM 174-181. third poem in the set.” This melody begins and alters it (the mode and corresponding in a pentatonic motive, adding tones later, melodic and harmonic material) as she using a subliminal harmonic device of simultaneously expands text. It is also

The second iteration of this poem repeats predictability, this Lydian mode is short- beat 3 of MM 191, progressing as follows: the main melodic motive, now with lived, descending on tones foreign to that B flat-A7-G-F-E flat-D flat-BM-A flat, sopranos and tenors in octaves. Texture mode, finding an E flat on the word “cello.” beneath the F Lydian mode, diffusing the choices here create the variety and Now a 7-tone melody, octatonic in nature, two modes while enhancing a morphine- enhance color in the motive and in this the specific number of tones Higdon favors like state. This descending, parallel iteration, the vocal line is now in Lydian in her extended melodies. progression is stepwise until the final two mode based on F–the B natural chords, which is a third-Higdon’s preferred distinguishes and characterizes the dream- The orchestra meanwhile consists of root movements for conveying an essence like state. To further diffuse harmonic descending, parallel chords, starting on of serenity. See Figure 10.

8 Music‐Text Relationship in the Choral Works of Jennifer Higdon As Represented In Her Large Form Choral Work, The Singing Rooms

In a lengthy orchestral section, Higdon again constructs this movement exchanged between the sopranos and developing materials from the previous to a highpoint then settles into repose. tenors, the altos entering to enhance color. In section, parallelism in chords is found in the However, an unusual trait of her work is this case, the sopranos begin; the tenors take upper “voices,” while the boat-rocking found here. The peak of this movement it from them then return it to the sopranos. essence is heard in the violin and trumpet occurs during the dream itself–during the See Figure 12. MM 211-215. solos, enhancing and contributing to this orchestral interlude–rather than in the dream-like state of the poem in Lydian choral section and then reposes into the Structurally another idiosyncratic trait of mode. See Figure 11. MM 204-206. This third iteration of the poem. Higdon’s writing emerges, as changing kind of underscoring in the orchestra, textures align with form. Here, counterpoint reinforcing the poetry, permeates this entire The third iteration of the poem has segues into homophony for the cadence, work. Underscoring can be seen in expanded into three-voice counterpoint, culminating in open fourths. A codetta Higdon’s accompanied small form choral intertwining the soprano, alto and tenor follows in the orchestra, using materials works as well, and musical bridges voices. We witness here another device taken from the interlude, then segues and frequently appear in chamber instruments that distinguishes Higdon’s work, now the evolves seamlessly into the fourth movement, (solo flutes, for example in O Magnum primary motive is set in alternating voices– Confession. The principle theme for this is Mysterium) between main sections of a form of voice-exchange (she will shown above in Figure10, while relevant to poetry and musical ideas where they often sometimes do this with words or syllables this article, the lengthy end of this movement use the ideas that preceded that interlude, alternated in different voices, in a quasi- is more than can be shown. The author refers referencing its dramatic mood. pointillistic fashion). The main motive is the reader to the score itself.

9 Music‐Text Relationship in the Choral Works of Jennifer Higdon As Represented In Her Large Form Choral Work, The Singing Rooms

Movement 4: frenzied melodic and emotional state. This literally demonstrating the opening of a Confession – 6’40” embodies the angst one might experience flower. (Figure 13. MM 266-267). She uses approaching and anticipating one’s the imitative entrances of male voices Movements 3 and 4 are linked directly by “confession.” Musical complexities in the followed by women’s voices to indicate the poetic ideas; the former referencing a orchestration instantly and increasingly flower “opening up,” by the ascending vocal dream-like euphoria, the latter beginning in heighten and evolve, intensifying the mood. additions. In this way, she is using the a dream-state of a very different nature, Higdon offers her basis for this movement’s expanded interval technique coupled with “Once I slept all night without dreaming.” setting, stating: “the fragility of handing over the texture of voice interchange and Before the poem is introduced, the a confession to another is sometimes counterpoint to create a visual-aural poetic orchestra puts us on notice to be prepared anxiety producing.” Represented in this 37- image, and even motion (this is a common for a very different emotional state, a measure preamble, includes dramatic device in her works, crafted to specific “dreamless” one. Higdon chose these two counterpoint, repeated and multiplied moments like this). In the descent of the poems to be closely connected with one stacked seconds and octatonic writing, all same phrase, the flower “encircles her,” another for this work. driven by incessant, agitated rhythms. and the voices now “fold” downward, As in the segue from movements 2 to 3, women to men, descending and ending on In anticipation of the entrance of the the word “warmth.” Musically, this “flower” the segue from movement 3 to 4 is chorus and the first line of this poem, “Once instantaneous. Confession commences embraces and folds around one warmly. An I slept all night without dreaming,” this orchestral interlude ensues, returning to the with a rhythmic, agitated, animated violin dramatic interlude thins out and relaxes, as solo, which begins on a two-note motive (E 16th note driving rhythms in lower if sleeping “within a small, summer flower.” orchestration, set now in Lydian mode and F natural) much like the second Two Higdon-esque things occur here–the movement. Using rapid 16th note patterns, based on B flat, reminding us we are in motive begins on a single note, expanding “confession.” See Figure 13 MM 264-272. it quickly expands to include another note, and adding voices, developing the melodic then two more, and so on, culminating in a motive via expanded intervals almost

In the next poetic phrase, “And I’ve The incessant 16th notes again present Lydian mode on E flat. Higdon’s use of modal taken tears from an earthen bowl,” themselves in an extended orchestral exchange is common, octatonic in nature, Higdon’s harmonic technique of stacked interlude. This harmonic device is seen creating colorful cross relations and textural seconds predominate and distinguishes now in women’s voices to the text “Once I effects in the music, here representing the this movement. She continues this dressed in luminous dust,” in descending, delirium of the “spinning” in the text up to the technique into the next phrase, starting in seconds, yielding to added note chords. constellation. added seconds, descending now in added When the text, “and set myself spinning in the tones (seconds) to the text “a basin born Pleiades,” appears, she sets this to a 6-note One sees in the example below, careful of rib and hip. I drank, and stand in sweet melody. In Higdon’s own words, regarding this selection of voices as the individual is set drunkenness.” Here, she uses parallelism constellation: “An interesting note, “Pleiades” is “spinning,” breathless, uttering in imitative at the conclusion of a section, with mentioned in the 3rd stanza…its meaning: an entrances “just to be seen,” arriving in resolution to a triad –“as I drank in sweet open star cluster in the constellation Taurus, homophony on the text “among the seen.” This drunkenness.” The tight harmonies which consists of several hundred stars, only 6 confession comes to peace on a G Major triad. (chords) descend in parallel motion, visible to the human eye. I found this particular In many of Higdon’s works, there is a “home” indicating the “sweet” stupor of one’s tidbit fascinating mostly because, before reading chord; a place of repose used often–in The condition, cadencing on a B flat Major the definition, I had written a 6-note figure for the Singing Rooms, that home chord is often G triad, resolving in consonance to a triad violin that occurs repeatedly within this Major, appearing in the midst of and at the follows the more dense writing that is movement.” The chorus also has a 6-note culmination of dense musical complexities, stylistically indicative of her writing. motive set in Lydian mode on F, then moving to counterpoint, harmonic dissonances and the like. See Figure 14. MM 301-306.

10 Music‐Text Relationship in the Choral Works of Jennifer Higdon As Represented In Her Large Form Choral Work, The Singing Rooms

The next section of Confession reveals it were. These chords reference Lydian emerges, pleading for grace, as at the another of the composer’s stylistic mode based on D, for the text “If I tell you beginning, a singular note in the altos, nuances, as she builds a section to a peak, these things now, you must hold them in expanding into the soprano line on often in polyphonic (or contrapuntal) your palms.” The culmination of this section ascending seconds in Lydian mode based textures, evolving into homophony at then segues from homophony to on F, “Give me such forgiveness as that.” It cadential moments. This section of music momentary, reflective contrapuntal lines, seems the ascending seconds are a plea to begins with the text, “I admit I’ve listened to moving from the women’s voices to the God for a sense of peace and relief, which the whistling of God,” with the chorus male voices on the words “cupped and has yet to arrive. It is an uplifting prayer, emerging out of the orchestral fabric, uncontained,” arriving on a D Major triad. colored by the appearance of the B natural, entering on octave unisons on D, The vocal textures in a descending motion but is yet unanswered; forgiveness as yet expanding into chords and ascending in indicate the “cupping” of one’s hands and unreceived, harmonically. Referencing the parallel fashion on the word “God.” The the “uncontained” nature of water being essence of forgiveness as “liquid, poured orchestral writing is independent of the held in one’s hands. out, un-condemned for being so clear,” it choral writing, on eight (8) chords, moves into a homophonic moment of descending in parallel motion. This segues The agitated violin passages return, the musical repose on a G Major triad in the into an extended “peak section.” Higdon angst of confession has not been appeased alto and tenor voices only, while the violin does not often offer one “peak moment” in in the “water that is cupped and dances in rhythmic arpeggios. Here, her works, rather, she writes lengthy peak uncontained.” As this poem has yet to harmony, textures (homophony and voice sections that are extended climactic come to conclusion, an orchestral bridge selection) articulate the essence of repose portions. In this case, it is accomplished ensues as the violin solo exhausts itself experienced after one’s confession. See using chords in parallel motion, planing as into a sense of repose. The chorus re- Figure 15. MM 354-363.

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An involved section of orchestral restlessness ensues, containing numerous that reflects the implicit nature of the seconds, complex, driving rhythmic figures, poetry. Such is the case here, the violin and parallelism in harmonic structures. begins Confession with the rhythmic motive Whereas in movement 3, the orchestral of angst associated with confession, used portion contained the peak, in movement 4, in the interlude, appearing again at the end the peak here is in the chorus, as of this section. This maintains an essence discussed above, as they sing the text: “I of energy and unsettledness that defines admit I’ve listened to the whistling of God.” this particular portion of the work and this See Figure 16. MM320. poem. The violin line is rhythmically augmented, relaxing, yet culminating into Higdon is constantly conscious of form the same minor second motives that began and continuity in her works, often framing a the movement that connected it to movement (and an entire work) with similar movement 3, yet bridges it to movement 5. material–musical bookends, if you will– These are almost leitmotivs in this work. providing unity and continuity. Regardless Figure 17. MM 223-225 and MM 398-402 of the development that ensued within the shows the violin motive at the beginning of movement, she will start and finish a movement 4, and at the end. movement with linked musical ideas, music

Movement 5: tenors, connected musically to previous support of the text. In the instance of History Lesson – 3’ movements. The use of that tone, in varied History Lesson, it appears that there is a rhythmic and melodic motives, is one high degree of instability present, given This is the shortest movement in the unifying principle in this work. This single- unpredictable rhythms in a single note work, lasting but three minutes. From Higdon’s note motive is offered on staggered, motive, with the orchestral overlay comments, it may well be inferred this was shifting beats in the tenor line that defy punctuating and coloring one, single intentional, as historical memory seems to be predictability–they are not symmetrical nor repeated word “How” for the chorus. so very short, rendering one hesitant to learn predictable–the utterances of tones and Higdon often couples quintal and secundal lessons from the past, and we are, therefore, rests continually vary, as does the writing to characterize a movement or a doomed to repeat such lessons. unpredictable progression of history. composition, which is the case here. It A field drum articulating an undulating takes 18 measures of such iterations Meanwhile in the orchestral strings, before a second word of text is even rhythm offers a bit of musical trepidation quintal and secundal writing occur in from the start. Again the use of a single, present. This opening is seen below, in separate rhythmic motives distinct from Figure 18. repeated note (E) is set it rhythmic motives what is given to the singers, as an in the percussion, subsequently uttered in a unsettling, cross-rhythmic underlay. This rhythmically staggered choral line in the enhances an element of uncertainty in

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The complete opening line of text, once chords in a comparatively lyric moment. For Once again, musical devices are utilized, “How brief the pause between example, for the text “how eternal,” a four- employed to affect a few words. For the despair and comfort,” here brief pauses are part male chorus sings E minor to F Major text, “How cold the wind,” altos are added ingeniously represented by the intermittent triads, expressing the “eternal.” The next to the voicing, rhythmic values are use of rests, and the repetitions of the motive returns to the use of the D natural to augmented, chordal, parallel writing are single word –“how”– demonstrates E natural for the phrase, “How small the used to characterize the bitter, blowing chill hesitations throughout history. Once it space between window and frame.” Set in of the wind. Here, textures, harmony, and progresses, this fragmented motive is a alternating notes a major second apart rhythmic augmentation are combined to narrow interval of only a major second (D broken with rhythmic interruptions, it emphasis small portions of poetry. See natural to E natural) anticipating the next musically illustrates the metaphor of the Figure 19. MM 425-431. section of poetry. Higdon uses textural narrow space between the window and changes, alternating fragmented rhythmic frame. See Figure 19. MM 421-424. motives with a succession of parallel

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One of the more riveting moments of her writing, and a peak of this movement, is when B Major and C Major chords are set for the chorus to express the text, “Teach me which of the stars have shifted,” physically shifting the stars in harmonically alternating motions as seen in Figure 20, and is a musically and a poetically stunning moment in the work. This demonstrates just how detailed her work is in this regard, ultimately delivering text in an intrinsically powerful, descriptive manner. Short motives placed within a brief movement, in Higdon’s own words, was done in such a manner as “an intentional decision to reflect on how we seem to remember the lessons of history for such short moments of time. Sometimes, a moment of choral chant delivers a large amount of text quickly (in recitative-like fashion), choral chant is used to deliver the phrase “Show me the overlooked weed, infection, accounting mistake. Adjust my glasses, hearing, fingertips.” rapidly Figure 20. Jennifer Higdon, The Singing Rooms, MM 434-435 articulated in parallel, relatively static harmonic motion seen below Music Copyright © 2007 by Jennifer Higdon [ASCAP]. in Figure 21. Poems Copyright by Jeanne Minahan

Higdon then moves to a broader, augmented, homophonic querying “when” lessons will be learned, in a brilliant use of moment, to a sub-peak in this movement. Somewhat indicative texture for word depiction, women’s voices are used to raise the of her compositional tendencies, in this short movement, it is question of “when” warfare will terminate, as males (who earlier built in two sections that ascend to two separate peaks: the first asked the question, “how,”) historically are more likely to wage peak moment contains root movements by thirds. This is war. The movement ensues, as “Rising gestures and falling followed by a parallel chordal progression to the text, “Point me gestures” (Higdon’s words) are seen here in short articulations to” (roots by thirds) “the abandoned faith” (descending, parallel set in female voices for the text, “…and when the day dims, light motion), the parallel chords that descend on “abandoned faith” is the largest fire, cliff high.” The treble voices ascend in parallel quite literal text painting, harmonically and melodically. motion with the arched contour of this phrase graphically indicating the rising flames of a warning fire. The intensity and After another orchestral reflection, we return to a reference of urgency of that flame is heard in added seconds, found on the opening motive set in the altos, a staggered, unpredictable specific words or short phrases. See Figure 22. MM 461-462. broken rhythm, on an F natural. This lasts for four (4) measures, as the word “when” (Figure 22. MM 456-457) replaces the word . “how” that opened the movement. This is a frustrated urging,

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The “history lesson” continues when the the third and final we are urged to learn This moves us instantly into the 6th female voices offer, “And when they tell the lessons of history “to spare others” the movement, A Word with God. The end of story of these sad times, Remember,” the calamities endured. The incessant, driving, the 5th movement and the beginning of the chorus implores us to “remember,” in broken rhythms in the music indicate that 6th are the most self-reflective, internally unison (not octaves, but unison), set in alto these lessons are ongoing, unresolved, as gazing moments of the work, as personified in and tenor parts asking us to learn from yet, unlearned and unstable. The the orchestra. Here we are we progressing history. We return then to the two-note, orchestration underscores all of this by from confession through unlearned lessons of whole tone phrase set in broken irregular augmenting, relaxing and concluding in history, into a conversation with our maker, as rhythms in a section of quick choral musical resignation and a cadential section indicated in the title. See Figure 23. recitative, to spare the other ships these that descends and ends with tritones in the treacherous rocks. melody–which is fairly unusual for Higdon– an unstable interval heard here for the The first section was set on the word unresolved lessons. “how,” the second section, “when,” and in

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Movement 6: horn). As expressed by Higdon, “For a musical idioms or ideas–but in terms of the A Word With God – 9’05” composer, it is intimidating to think of how text and “characters.”) one sets into music such a thing as This is the most extensive movement of speaking to God…But I love the idea of This soulful duet is the introduction to the the work, which begins with one of the staring it as an intimate conversation, so I return of the chorus, orchestra and final quietest, most transparent moments in the wrote a duet between the English Horn and poem. Starting in the soprano line, work, a ballet-like, free flowing conversation solo violin, which eventually evolves into a subsequently adding altos, tenors and between solo violin and English horn. This series of emotions and conversations, basses to the text “And finally, we ask extended duet, threading two lines of adding voices and varying degrees of ourselves, where did we spend our days.” a counterpoint together lasting 24 measures urgency.” (Note that Higdon references the profound poetic question that we indeed ask in an extremely slow, free flowing tempo is construction of this movement entirely by ourselves and ponder with whom, or what, an intimate, personal conversation between the sense of the poetry–not referencing her we perceive God to be. See Figure 24. an individual (the violin) and God (English

The mystical nature of the Three aural effect of one’s resignation, removed from home, family, familiarity, Windows: Two Versions of a Day recurs acceptance, or search for a degree of safety and security, is musically here in musical devices (leitmotivs) now tranquility. represented by polytonality, and the associated with this poem. The technique separation further enhanced by the gender- of descending voice assignments and A large, developmental peak serves as specific voicing. See Figure 25. counterpoint is a device we have seen the “peak movement” for the entire 40- throughout this work, bringing attention to minute work, this section is decidedly more A staggered, imbalanced rhythmic device certain words or phrases. In this case, the complex, extended, expanded and dense again appears, similar in effect to the one singers are soul-searching, breathing– than ever before. A poly-tonal section found in History Lesson. The text, “In a sighing–as the motives initially ascend then appears (the only time we find such writing quiet, not quiet,” is uttered a number of descend, evolving imitatively from higher to it in this work). Here, women’s voices are times in off-beat, staggered rhythmic lower voices. The texture and contours set to harmonies in direct tonal contrast to fragments, indicating restlessness, one’s here seem to indicate that we have come to those set for the men. This peak portion of search for peace and inner quiet that is the end of our desperate, futile attempts; the work begins with the statement, elusive in our quest for that still, “quiet” perhaps we are near the end of human “Standing on a far shore, uncertain of the voice. The composer sets this to varying understanding and striving, searching for hour or day...” with the women articulating rhythmic fragments in upper voices, on wisdom, (knowledge) grace, and internal a G-7 chord, against D-minor 9 in the male parallel chords adding gravitas as we peace. The descending motives, set in voices, moving to F-Major 7th against B approach the peak for this section of music. Lydian mode based on F, cascading voices flat, then D7 with G Major underneath. The See Figure 26. MM 529-532. from top to bottom, perhaps serving as an separation of one “standing on a far shore,”

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A melodic setting of text ensues, in a quasi-recitative motive set low in bass voices to the words, “I walk, I walk toward you,” as the basses almost literally “walk” towards someone, see Figure 25. MM 534-536. They are soon joined by the other voices once again set in poly-chords (a characterizing device for this movement), laced with added seconds and dissonance. The act of “walking towards God” is clearly fraught with anxiety and anticipation in this music. We lose our nerve, and “walk away;” the poly chords and seconds ensue, in the most thorny, dissonant choral writing in this composition. There are rogue contrapuntal lines found in altos and basses for this text, as we “walk away” from God, those rogue voices appear to represent our hesitancy and indecision. Again representing our ambivalence, “My feet pull me back,” is set to poly-chords, as the music builds to a peak in parallel chords, this phrase is repeated, arriving on a G Major triad as our feet have pull us back. The orchestration descriptively underscores this internal tension and dialogue not only an “accompaniment,” but constantly intensifying the drama as it unfolds, one that is implicit in the poetry. An extended bridge section with the violin solo soars and dances, representing my feet are “pulling me back” into the direction of God. See Figure 27.

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Amidst an already dense, intense, Showing the center of this profound, again uses the male voices in evolving, almost unraveling section of cataclysmic section of music, in one descending in counterpoint from the music, the peak section occurs as the sees parallel ascending chords in women voices, as they evolve chorus emerges from this wild arched contour uplifting referencing to downward indicating the gravity of orchestral passage on the text, “Wild God, set in homophony, Figure 28. MM “God,” as the “name among all names.” One, your magnetic love draws me, 578-580 shows the ending of the This is a weighty, profound section of polar eclipse and warm. You are the section, where Higdon once again music and text, and without question, paradox towards which I tend. You are employs voice separation and serves as the ultimate peak of this the ache, I don’t need to speak, you are counterpoint at the culmination of the entire work; where orchestral and choral the name of all names.” Lydian mode on line in descending voices, representing forces are gathered together. Figure 28. D is dominant here, for an uplifting, the gravity for the name of all names, MM 570-580. exhilarating section of music. culminating on a D Major triad. Higdon

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The ensuing orchestral interlude and violin solo is a repeated motive recurring throughout the work, dance-like, celebrative arpeggio-like motive, taking us to the end of this movement. The violin solo, Figure 29. MM 582, emerges from the fray, first representing the overwhelming essence of this moment, then moving to a more personal sense of resolve, ends in a descending, octatonic motive see Figure 30. MM 589-591. This kind of quasi-leitmotivic development, instrumental writing to underscore particular poetic essence coupled with musical ideas that unify the work, is a hallmark of Higdon’s choral music.

Figure 30. Jennifer Higdon, The Singing Rooms, MM 589-291 Music Copyright © 2007 by Jennifer Higdon [ASCAP]. Figure 29. Jennifer Higdon, The Singing Rooms, MM 582-583 Poems Copyright by Jeanne Minahan Music Copyright © 2007 by Jennifer Higdon [ASCAP]. Poems Copyright by Jeanne Minahan This segues into a poly-tonal section in parallel chords for the intention is clear: it is on the poetry, its inherent meaning, brought to orchestra, while altos articulate the text in an octatonic melody light and enhanced through her music. borrowed from the violin’s motive (see Figure 30. MM 593-604), set to the Irish proverb, “Your feet will bring you to where your The section begins with a unison alto line and voices are heart is.” subsequently added to 3-part women, and then male voices join the texture. There are three iterations of this line of text, adding According to the composer, “I wanted to carry the listener back voices in mid-phrase which underscores particular syllables of to the original room of three windows, now with a new view of the text, culminating peacefully with a G Major triad, on “where the day…at its end…and inevitably, your feet will bring you to where heart is.” See Figure 31. MM 604. your heart is.” (punctuation, italicization Higdon’s). Her musical

Movement 7: metrically from the first movement now close in the day of life…a return to the Three Windows: Two Versions of the set in 4/4 instead of 3/4 time, and original poem, but with wisdom gained Day – 4’37” quarter notes augment the original and all seen in a new light.” The setting, which was originally set in following example (Figure 32) shows There is a momentary pause, a silent eighth notes. Some things immediately the presence of descending, repose, at this point, the only time prolonged reminding us of the opening section of contrapuntal lines in the alto and bass silence occurs throughout this work. the work: the exact text, for example– lines that offer variety and change, The chorus re-enters, singing again but there are “two versions of the day,” when compared to the first movement. on the open fifths of the violin tuning and now, two “versions” of music, as Our perception of the day has changed, once more, Three Windows: Two well. In Higdon’s words, “The second at the close of this “day.” Versions of the Day, the second setting of this poem presents the second version of the day: a view at the More variations occur throughout this version, contrasting rhythmically and final section; tenors and altos enter into 19 Music‐Text Relationship in the Choral Works of Jennifer Higdon As Represented In Her Large Form Choral Work, The Singing Rooms

a contrapuntal dance to the text, “Inside, exchange and interplay. The musical found in the first movement. We have the blue falls across the small kitchen,” textures create an impression of growth, now entered the room together in spirit compared to the first section, these of change, of maturation within the and this poetry is now set in parallel were unison lines. The text, “And angles individual during the progression of this chordal structure, something we have into the living room,” is now set for “day.” The peak of this movement–and seen before in cadential sections of her sopranos and tenors, instead of a it is an understated peak–arrives in music. See Figure 33. unison tenor line: more voices have homophony, “both are here, though you been added, entering into voice cannot be,” this time without imitation as

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Higdon is ever-mindful of symmetry in her After all of the complexities of this work, a with solo percussion (crotales on the works, and this multi-sectional composition single line of text is extended, through timpani again), in a moving, haunting, concludes much as it begins. Simple, voice exchange, melting into the orchestral ethereal closing to an otherwise complex, choral lines begin this final section, in fabric: the sopranos, finally joined by complicated work of poetry and music. transparent voice layering, a hint of voice basses, then altos and tenors, subtly, on exchange of tenors to altos appear for the the vowel “ooo” from the word “blue,” the While the chorus delivers the poetry for final text of the poetry: “that heat, that long unison “oo” vowel and unison tone the work, it is the orchestra that has the first shade of blue.” The reader will recall the musically representing pure color and and last say to the piece, offering a prelude word “blue” occurring early in this work at a unification of light. The voices disappear, and a postlude for Minahan’s words. These climatic point, representing light and life: evaporate, melt into the serene tones of the orchestral “bookends” anticipate and then now it is the final word, at the final moment violin and percussion as the light of this day reflect upon the essence of the poetry. The of the “day,” now set quietly, in unison fades out, as this day draws to a close. The orchestration once again thins out, returning tones, reflective, unifying. final statement is in the violin on harmonics to the violin solo and ambient percussion to close the piece. See Figure 34.

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Summary of The Singing Rooms It is when melody, harmony, rhythm, Counterpoint and development work meter, structure, textures, counterpoint, together in sections of structure. Short The Singing Rooms is a powerful, development, and instrumentation motives are crafted, often expanding over profound, dramatic work of music and individually and collectively underscore, several measures, developed to a peak, poetry, representing the perception of color, and highlight meaningful poetry, that relaxed to a cadential section, and then spirituality in a given day; a metaphor for the magic that is Jennifer Higdon is felt and begun again. In almost every case, a the progression of the journey of life. It is appreciated. While stylistic tendencies can lengthier developmental section will evolve an involved, dense, complex musical be deduced by critical analyses such as is over some time to an extended peak (this is composition, revealing some aspects of the presented here, the overriding conclusion usually the high point of a work or mystery of life and spirit, what some deduced by this author is that each musical movement), which subsequently winds perceive as an essence of one’s time on element, and diverse combinations of them, down in a cadential formula. This structural earth and perhaps, beyond. The poetry by consistently and convincingly convey the element is seen in much of her music, yet Minahan was judiciously selected by text and its meaning, creating an unique is uniquely crafted in each piece There is Higdon for this transcendent journey. and profound impact for the listener. In not a “one-size-fits-all” pattern to this The music is at times purposefully short, consistent with her instrumental structural element. writing, Jennifer Higdon’s choral music amorphous, haunting, and mysterious. Melody: Other times, it is more dramatic, disturbing, speaks. In this case, the poetry of Jeanne demanding and powerful; often it is a Minahan also speaks, in unique and Customarily, Higdon crafts short melodic mixture of these elements. Distinct profound ways through Hidgon’s music. fragments (motives) set to similarly short utterance and clarity of the text is poetic phrases, or even single words or quintessential to the overall impact of the syllables. These develop and expand–often work, and is entirely supported by a STYLISTIC COMPOSITIONAL ASPECTS with expanded interval technique that complex coordination and convergence of begins in one voice, then adds vocal parts various musical elements; elements that Structure: as text and melodic motives are crafted and woven in ways that Structure in Higdon’s choral works is the correspondingly expand. Chordal writing underscore the evasive topic of the poems. one aspect most closely linked with Motet and choral chant is commonplace in these This work, a musical-poetic drama, scored style of the Renaissance period in music, works giving the clarity to the text, for large choral-orchestral forces combined where a new line of text almost certainly advancing it clearly. with a virtuosic violin solo, delivered in a spawns a new section of music, crafted for Lovely, lyric melodies are created for texts hugely dramatic yet intimately soulful way. that text. The creation of musical material From experiencing this composition and that are likewise lyric (calm, serene, floating parallels the adapting of text when words and soaring) in nature. These are not as her choral works at large, the question are altered by this composer: adapted, emerges: what is it that gives them such common as the shorter motives with repeated, and developed. Repetitions of contrapuntal development, or appear as profound impact? What is it that makes text are frequently coupled with quasi- them “speak,” what makes them “new,” frequently as the choral chant/chordal repetitions of music; quasi, because writing mentioned above. Therefore, when unusual, unique and effective? The answer Higdon, without exception, varies the lies somewhere in the complex, intricate they appear, their affect is one of loveliness musical material–sometimes radically–in and contrast to the others. web of techniques she employs and the repetition of text (or portions of text). coordinates, how she crafts and combines Yet the musical devices employed clearly There are a number of melodic motives in musical elements in her own, individual recall the earlier section of music with the her works that are built primarily on way, all of which are bent to interpret and repetition of text usually a “leitmotivic” seconds or, at times, 4ths, for example. reveal aspects of the poems. reference. These motives distinguish certain movements, and couple melodic colors The poetry speaks profoundly by itself, yet Sections of music, or movements within a Higdon’s representation of the poems (and modest melodic contours) coupled work, are individually crafted, given their with text. Octatonicism is commonly found, through her music, communicates own musical personalities using musical something of greater depth, of intense or implied. She often crafts melodic motives elements to characterize those pieces or that use but 6 or 7 tones, but she does not meaning that performers and audience movements. In some works, it might be the resonate with, identify with, and are sets them in any kind of strict whole-note motivic craftsmanship and melodic half-note alteration, rather, she uses tones subsequently deeply moved by. Taken development that is central to this, in individually, no single musical technique that might reference a mixing of two another, it might be rhythmic motives, or modes. Lydian mode occurs most often as with a bent towards text-painting would quasi-ostinatti that distinguishes the individuate this work or make Higdon’s a clear modal choice, especially with texts section. Again, a Higdon-esque trait, these that are uplifting, ethereal, and spiritual. choral music necessarily special. It is when are customarily “quasi-ostinatti” because the methods are perceived in consort with Mixolydian is found often as well; a very she, without exception, sets it up in what common scale for Higdon is to find Lydian one another, in combinations and appears to be a repetitive manner, only to collectively, that the impact is experienced. mode to a certain point in the phrase, then it vary it, creating at least one rogue voice, or switches to Mixolydian: we find the raised 4th It is the body of work, the unique altering rhythms enough to keep everyone combination of musical methods as they scale degree, soon after followed by a on their rhythmic toes, somewhat off lowered 7th scale degree. This is distinctly are constructed in consort with one balance. In still others, particular intervals– another, and as crafted to text that the colorful, momentarily altering the anticipation 4ths, 2nds, or root movements by thirds or of a given mode. overall impact is sensed. tritones–might be a central aural characteristic used.

22 Music‐Text Relationship in the Choral Works of Jennifer Higdon As Represented In Her Large Form Choral Work, The Singing Rooms

Harmony: Rhythm/Meter: Textures: Harmony is linked closely with the Asymmetrical and changing meters are Textures and changing textures are also discussion of melody, especially in modal used frequently, setting the scansion of the used closely linked with harmonic, melodic, configurations. Higdon’s thorniest, densest poetry and accentuation of syllables, or to and structural development. Often set to harmonic writing is normally reserved for elongate or shorten the duration of certain portions of texts for their unique indigenous the instruments. However, there is an words or syllables. Text appears to govern qualities present, women’s voices and abundance of secundal writing (stacked or meter choices. When a large amount of text men’s voices combine with poetry or added seconds), to paint a mood over a is to be delivered–much like recitative in an moods. To discuss textures in Higdon’s phrase or entire section of music. A static opera–choral chant or choral-recitative work, the counterpoint, homophony, harmonic rhythm is found frequently, in an appear in such phrases. It is not common chordal writing, melodic motives begun in almost Debussy-an quality, when there is to find changing meter for the sake of one voice and expanded by adding others an essence of the ethereal, or supernatural changing meter of a primarily musical (later retracting others), connected to in the mix. accord, rather, it is found to articulate and elements of structure all are pertinent here, emphasize the poetry. and have been substantially described It is fair to say (and accurate) that Higdon above. uses harmonic colors to paint a rather large Often, melodic motives are governed by the area of mood to create an atmosphere that rhythms of natural speech inflection, and are Jennifer Higdon is a proven, highly surrounds large sections of music. Melodic crafted with grace and lyric ease aligned with acclaimed composer of instrumental and motives are crafted sometimes in a quasi- poetic choices: the choral lines here are operatic works. In The Singing Rooms and pan-diatonic setting over normally short purified to an Art Song style. The enunciation other choral works that utilize instrumental sections of music to create effects. She of text and the shaping of the poetic line are accompaniment, her skills and knowledge varies homophonic and polyphonic textures joined rhythmically, melodically, and seen in her instrumental and operatic directly connected with sections of text; harmonically in such moments. compositions are immediately apparent. As homophony or chordal writing, or chordal she is an opera composer of renown, it chant, alternate with counterpoint Counterpoint/Development: makes sense that her instrumental writing (polyphony) that distinguish sections of Higdon is a master of counterpoint, Her works in choral works would be similarly linked music with text. are at times, dense with complex contrapuntal closely to the text; to the drama inherent in the lyrics. The instrumental writing does not Higdon uses planing (harmonic development, lines are intertwined, evolved, woven in a web, but are also contrasted with appear as “music-for-music’s-sake” in The parallelism) in chords with the chorus AND Singing Rooms, rather, it is crafted to the orchestra–not always in sync with one homophonic, chordal, or chant-like sections of music. Normally, homophony and chordal create an overriding atmosphere, a another–particularly as approaching a peak personality, an aura, that surrounds, of a phrase (for a short duration), or at the writing dominate, rendering the texts extremely clear. Counterpoint is used as a technique for pervades, reflects, embraces and even end of a section of music (for a longer enhances the poetry. duration). This technique heightens tension variety and evolving of music with expanding in the music arriving at a peak, and she text, creating new affects accompanying the A very important note for any choral also uses parallelism in the instrumental text, enhancing its meaning. Polyphony is most conductor: Higdon writes carefully and passages to underscore the voices. commonly found developing short motives to a intelligently for voices with instruments, the; Sometimes, these harmonic progressions peak, but peaks are then always found in instrumental writing is at its densest, most are rather extended, covering up to eight homophonic writing, emphasizing the complex, when voices are not, for the most (8) distinct chords underneath a relatively culmination of a line of poetry in such a texture. part, employed. In this regard, the crafting sustained chorus. Higdon’s works are deceptively complex in of these works is so very kind and supportive to the singers, to the poet, and Quartal chords exist sparsely, used to their characteristics. Even in sections dominated by homophony or chordal to the audience–they should rarely have to color certain words within phrases. strive to understand the singers or the Polychord writing exists–rarely in the small writing, one will perceive one or two “rogue voices” carrying on independently, creating words. This is not only intelligent writing; form works– it is found in a fairly extended this demonstrates the attitude of this period in The Singing Rooms. It is found far interest and intrigue. This often occurs when one perceives a section has composer, one of respect for and more often in her instrumental writing than appreciation of the words, their clarity, their in the choral parts. concluded, when we realize that there is something yet to be said. The composer meaning, and their dramatic effect. often uses the techniques of adding or reducing voices, especially at the beginning and ending of sections. This texturing is often seen in the middle of a syllable word, where one voice is added or subtracted for coloration.

23 Alphabetical List of Jennifer Higdon’s Choral Works

Title Scoring Text by Duration Sacred/Secular A Quiet Moment Set for: Jennifer Higdon 3 minutes Spiritual 1999 Version A: “In memory of Andrew Blue Higdon” TTBB Chorus Version B: SSAA Chorus Version C: SATB Chorus a cappella

Alleluia SATB Chorus Jennifer Higdon 4 minutes Secular 2016 a cappella

Deep in the Night SATB Chorus Jennifer Higdon 6 minutes Spiritual/Christmas 1997 a cappella

Hear My Voice 3-Part Mixed Chorus Jennifer Higdon 4 minutes Secular Piano Publisher: Hal Leonard

Invitation to Love SATB Chorus Paul Laurence Dunbar, for Ann Meier 4 minutes Secular 2016 a cappella Baker

Love Came Down Solo Soprano Christina Rossetti 4 minutes Sacred/Christmas 2015 SATB Chorus Harp

O Magnum Mysterium Version A: Sacred text 6 minutes Sacred/Christmas SATB Chorus 2 flutes, 2 crystal glasses, chimes Version B: SATB Chorus Organ Version C: SATB chorus a cappella

On the Death of the Righteous SATB Chorus John Donne 12 minutes Secular 2008 Orchestra: 3 (3rd also picc), 2, 2, 4,4, 5, 3 picc trpt., 3, 3, 1, timp, 1 perc, strings

Our Beautiful Country TTBB Chorus Gene Scheer 3 minutes 30 seconds Secular/patriotic 2015 (from the opera, Cold Mountain, Act II)

Ruminations SATB Choir Rumi, Translation by Coleman Barks 17 minutes Spiritual 2017 Chamber ensemble (total of 12 players) 1,1 (doubling bass clarinet),1,1,1,hp,1 perc, 2 violins, 1 viola, 1 cello, 1 contrabass

Sanctus SSAATTBB Chorus English and Latin 4 minutes Sacred 2001 a cappella,

Sing, Sing SATB Chorus Jennifer Higdon 3 minutes Spiritual/Christmas 1999 a cappella (universal) somewhere i have never SATB Chorus e.e. cummings 5 minutes Secular traveled, gladly beyond Piano, Vibraphone 2006

24 Alphabetical List of Jennifer Higdon’s Choral Works

Title Scoring Text by Duration Sacred/Secular Southern Grace SATB, SSAA, and Collection/cycle of 8 songs, can be 24 minutes Mostly secular, one 1998 TTBB Chorus done individually. sacred Solo quartet a cappella

Fiddlin’ solfeggio text 2 minutes Secular

Wildwood Flower SATB Chorus, 3 minutes Secular

Swing SATB Chorus 2 minutes Secular a cappella

My True Love’s Hair SSAA 3 minute Secular

The Fox 1 minute 42 seconds Secular

Riddle Song SSAATTBB Chorus Folk song: “I gave my love a cherry.” 2-3 minutes Secular a cappella,

Sourwood Mountain Version A: 2 minutes Secular SATB Chorus Version B: TTBB

Amazing Grace SATB and TTBB Hymn 7 minutes Sacred

Telegram SATB Chorus Jeanne Minahan 6 minutes Secular 2014 a cappella

The Singing Rooms Solo Violin Jeanne Minahan 37 minutes Secular/Spiritual 2007 SATB Chorus Orchestra: 2, 2 (2nd also Eng. hn) 2, 2, 4, 3 (1st also picc. tpt) 3, 1 hp timp, 2 perc strings

Voice of the Bard TTBB William Blake 4 minutes Secular 2005 a cappella

What Was His Name? Two Versions: Gene Scheer 2 .5-3 minutes Secular/patriotic 2015 1. TTBB & Piano (from the opera, Cold 2. Solo Soprano Mountain, Act I) Solo Alto TTBB

Ordering information: All works published by Lawdon Press To order, e mail: [email protected] Website: www.jenniferhigdon.com