An Introduction to the New Mantovani Percussion Concerto, 'Allegro Barbaro'

“An orchestral work of this power cannot be brought to a complete standstill, and I am relishing putting it into action at a later date - the work is co-commissioned by Radio France and the Tonkunstler Orchestra. Brace yourselves!” Colin Currie

On Thursday 2nd April, Colin was due to perform the world premiere of a new percussion concerto written for him by French composer, Bruno Mantovani with the Orchestre Philharmonique de Radio France and conductor Mikko Franck. Allegro Barbaro was co-commissioned by Radio France and the Tonkunstler Orchestra. This important new premiere has sadly been cancelled due to the Coronavirus pandemic.

Here Colin reflects on the work which he has been preparing for in recent months:

“Today marks what would have been the World Premiere of one of the most significant and extraordinary percussion concertos to date - Bruno Mantovani’s Allegro Barbaro. A monumental score, of great colour and energy, it also has a ferocious aspect and is wildly dramatic.”

When asked why Colin requested a new concerto from Mantovani, he responded:

“I have always been greatly compelled by Bruno's buzzing, bristling orchestration, and his percussion pedigree is of course deeply placed, having written perhaps our grandest virtuoso marimba solo, in the form of “Moi, jeu…” which I have been playing (and continually practising!) for years.” Colin Currie

Colin describes the use of percussion in the new work:

“The percussion rig is unique in the repertoire, in that it is assembled entirely of ‘un-pitched’ instruments - so no keyboards or melodies in the traditional sense. All the material and musical lines are rather spread very cleverly over drums, cymbals and woodblocks for the most part. There are also great moments of excitability focusing on the snare drum - perhaps the most effervescent effect in the arsenal. Many gestures are doubled in the orchestra, so a tom-tom flurry will get spiked by the brass, or a bass drum rumble shored up by the double basses.” Colin Currie

Recording of Higdon Percussion Concerto Inducted into National Recording Registry

Colin’s recording of the Jennifer Higdon Percussion Concerto conducted by Marin Alsop with the London Philharmonic Orchestra, has been inducted into the National Recording Registry. The National Recording Preservation Board (NRPB), combined with nominations from members of the public, select 25 recordings per year, of which Colin's recording is one for 2019. Alongside the Village People’s Y.M.C.A. and Whitney Houston’s rendition of the Dolly Parton classic, I Will Always Love You., the purpose of the registry is to demonstrate the breadth and richness of America's audio legacy. An initiative that began in 2002, the registry also ensures the recordings have an assured long-term preservation for generations to come.

Colin has said the following of the recording and the composer:

“The recording with the London Philharmonic Orchestra is one of those perfect musical storms, thankfully documenting a perfect match-up of Marin Alsop, who devours this style, and an orchestra completely and passionately honed to task… what you hear is a pure concert, a one-take one-off, and that vivid edge is wonderfully suited to the music. I have remained great friends with the composer who is a marvellous spirit, full of humour, curiosity and enthusiasm for all types of music and art. Her Percussion Concerto unleashed a new level of energy into our repertoire, and I salute Jennifer once again on her astonishing achievement with this music.” Colin Currie, March 2020

Composed for Colin, Higdon's Percussion Concerto was commissioned by The Philadelphia Orchestra. The composer's desire for the concerto was to maintain the relationship between the soloist and the orchestra, but has an added musical relationship between the percussion soloist and the percussion section in the orchestra. Higdon wrote for the soloist to play a large amount of percussion instruments, including the vibraphone and marimba (Colin's favoured percussion instrument). 

Colin and Jennifer Higdon after the world premiere with Philadelphia Orchestra

Of the concerto the composer said the following:

" Not only does a percussionist have to perfect playing all of these instruments, but he must make hundreds of decisions regarding the use of sticks and mallets, as there is an infinite variety of possibilities from which to choose. Not to mention the choreography of the movement of the player; where most performers do not have to concern themselves with movement across the stage during a performance, a percussion soloist must have every move memorized. No other instrumentalist has such a large number of variables to challenge and master." Higdon, Program notes: "Percussion Concerto"

Watch Colin perform the concerto in an encore following a performance with the Seoul Philharmonic Orchestra: