CONCERTO FOR PERCUSSION AND ORCHESTRA

Commissioned for Scottish percussionist Colin Currie (on the
recommendation to Jennifer Higdon from Marin Alsop) by the Philadelphia,
Dallas and indianapolis Orchestras, this concerto is meant to show off
the percussion section generally, with no particular significance
otherwise, as Higdon has said of her concertos generally.  It certainly
does that spectacularly.  Currie performed this concerto most recently
with the Milwaukee Symphony, with Christoph Campestrini conducting, this
past weekend.  Before the performance I heard Saturday, Currie spoke for
a half-hour in a large lounge, interviewed by the MSO's timpanist Dean
Borghesani, about the commission and his career as an international
percussion soloist (one of very few, you can be sure).  Among other
things he said that it was his suggestion that led to the inclusion of
a piano and harp for the large orchestral accompaniment.  Since his own
preferred instrument is the marimba, Higdon featured that especially.
The soloist plays on 32 percussion instruments and the four-person
percussion section (including timpanist) plays on another 21 (at least),
some of which I have never heard of before.  I noted that one of the
percussionists had an exceptioanlly vigorous part toward the end.  I
shall not name all these instruments, unless on request.  The twenty-five
minute concerto begins pianissimo, on an especially large marimba played
solo with four mallets.  Next to it --front stage--was a vibraphone, and
on the other side of the conductor, a big drum set and cymbals.  (Currie
said that he travels with his own cymbals).  As one might expect, the
ending is loud.  The cadenza was on snare drums, cymbals and kick-pedal
bass drum, mostly.  I can't really say much, after a single hearing,
about the orchestral part, though it was noticeably melodic at times.
The visiting conductor, Campestrini, impressed me in the Beethoven and
Tchaikovsky that comprised the rest of the program, in his careful
phrasing that let the music breathe, even--indeed especially in the
finale of Tchaikovsky's 4th Symphony.  If anyone here is familiar with
this conductor I would welcome hearing impressions of his work.

CONCERTO FOR VIOLIN AND ORCHESTRA

This is nearing completion, I am reliably informed, and is a commission
for Hilary Hahn by the Indianapolis, Toronto, Baltimore and Curtis
institute orchestras.  I for one am really looking forward to hearing
this.

Jim Tobin

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