Jennifer Higdon on Performer-Centered Music and Authentic Communication
For Jennifer Higdon (Composition ’88), music begins with those who perform it.
Throughout her more than three decades as a composer, she has cultivated close collaborations with leading artists, writing works for performers including Hilary Hahn (Violin ’99) and Yuja Wang (Piano ’08)—partnerships that have shaped some of her most celebrated works, including her Pulitzer Prize–winning Violin Concerto.
Today, Higdon—a former longtime Curtis composition faculty member—is one of the most frequently performed living American composers, with more than 200 performances of her music heard annually around the world.
In our discussion below, Higdon reflects on collaboration, communication with audiences, and how representation on stage can shape possibilities for future generations of women in the field.
You’ve been writing music for more than 35 years—and are one of the country’s most frequently performed composers. What continues to drive and inspire you to compose?
My motivation truly comes down to the performers. I try to think about their process when they learn a new piece. If a musician believes in what they’re doing, they’ll convey this naturally to the audience. But if communication isn’t authentic, the music won’t move people in the same way. This comes from having performed and coached others: It allowed me to gain a strong awareness of what musicians go through.
How do you ensure this vision of centering the performer in your work comes to life?
Before I start composing, I have a conversation with the musician I’m writing for: We explore what they like, don’t like, and their preferences. Then, based on these initial discussions, I write the piece and send it to them for feedback. It becomes this collaboration where we build something meaningful for their specific style and taste. When I wrote my violin concerto for Hilary Hahn, for example, we started with what she wanted for the piece. Her input ultimately helped define what it became.
Your music is often described as emotionally accessible, allowing listeners from all backgrounds to connect with it. Why has accessibility remained an important value for you as a composer?
Communication is the purpose of all of my music. This stems from having performed myself and knowing how important it is to connect with audiences. In some cases, I’ve also performed with the musicians I write for, and that’s pretty special. It’s just different when you know and understand the person: There’s an empathy you can infuse in the music.
As a woman composer, is there a moment or milestone in your career that has stuck with you? Why?
When Hillary Hahn performed my violin concerto with the Baltimore Symphony Orchestra, the conductor was also a woman. After the concert, people came up to us and expressed how meaningful it was to see three women performing on stage together. We were shocked— don’t think any of us realized until that moment how significant this was. I don’t usually think in terms of being a woman; I just try to make the best music I can.
How do you hope this visibility can shape possibilities for other women in classical music?
An important way we learn is by seeing other people do things. Playing with the Baltimore Symphony, I realized people in the audience felt like, “I saw you all on the stage, and I could do this, too.” Having an example—being able to see yourself in something—is everything.
Learn more about Jennifer Higdon, her work, and impact as a composer.
