Percussionist explores rhythms of his art

Percussion isn’t often the first instruments one would associate with classical music, not even contemporary classical music. In the past, a percussion concerto was even called a graveyard for compositional ambitions.

Colin Currie says this stereotype is no longer the case, at his recent collaboration with local musicians from Shanghai Symphony Orchestra. He expressed respect for the wild imagination and strong skills of contemporary composers, who explore the possibilities of rhythms, to help expand knowledge in players and audiences of percussion-focused music.

The 43-year-old Edinburgh native was the first percussionist to make it to the BBC Young Musician of the Year final in 1994. His recording of American composer Jennifer Higdon’s “Percussion Concerto,” which was written for him, won the 2010 Grammy Award for Best Classical Contemporary Composition.

He started learning classical music at the age of 5, with early memories filled by Bach and Mozart, and is now cherished as a catalyst of new music, citing influences from many composers, especially the minimalist music master and pioneer Steve Reich.

Under his influence, Currie founded the Colin Currie Group, dedicated to playing Reich’s music. He recently performed in the city with the ensemble and spoke to Shanghai Daily about his passion and ambition for what he calls the “most diverse, bold and adventurous of art forms,” his unique relationship with Reich, and the vast range of percussion music available today.

Q: You just came out of the rehearsal. How was it?

Currie: It is a very special occasion for the ensemble to collaborate with and share music by Steve Reich with local Chinese musicians from Shanghai Symphony Orchestra and its local choir.

The vocals in his music require a special way of singing. They need to perform more like instrumentalists than your typical singers. In most of his music, the singers are not doing texts. They are blending different sounds with other instruments, and have to do it very precisely, in tune and in patterns to be blending with percussion instruments.

Q: You founded an ensemble dedicated to playing music by him. How did it come about?

Currie: I first heard his music when I was about 12 or 13. It just set my imagination flying.

First I got to know some of his big pieces, like “Music for 18 Musicians.” But as I got to know more about him and his music, I also read a lot about his experience. I realized there are so many more pieces, and how an incredibly creative journey it was for him when he was a young man. He was inventing a new way of composing music. He was really reinventing classic music in a fresh way. And he is such a visionary music genius.

It’s been my privilege to devote part of my career to playing his music in a fresh way that reflects my respect.

Q: He has written some pieces for the ensemble. What is your relationship like? Does he give you advice?

Currie: The debut of the ensemble was in 2006 in London, presented for the BBC celebrating his 70th birthday. After the concert, I decided to devote more time and energy to playing his music, because it’s not the kind that you can just play. It takes a lot of experience and learning.

The chance to work with him finally came. I asked him if he could consider writing a piece for the ensemble, and he agreed. 

We premiered “Quartet for Two Vibraphones and Two Pianos” in 2014. He had been traveling with us, working with us at rehearsals and giving us advice. He’s like a father figure and a mentor for the group.

Q: Can you tell us more about “Quartet” and the following piece also written by him?

Currie: It’s really a unique piece by him which behaves very differently from most of his other compositions.

First of all, in most of his pieces, he uses a small amount of materials but with great focus and explorations of limited and concise ideas.

In “Quartet,” he uses lots of materials, changes key very often, and has many sudden shifts in the music, which are all very rarely heard in his works. The harmonies also use more notes than normal, making it extremely rich, and in a way, a very fast-paced piece in which a lot happens in a short period of time.

Interestingly, “Pulse for winds, strings, piano and electric bass” that was written directly after “Quartet” is a reaction back to the more traditional Steve Reich, while “Quartet” is more like a spike.

Q: Do you see rising numbers of composers willing to write for percussion music? Has the percussion community been expanding?

Currie: Very much so. I have worked with so many composers, who are very creative and write incredibly amazing music. These pieces have changed the percussion outlook because of the quality of the music.

I’ve premiered more than 30 concertos by many top-flight composers, and these pieces are just as good as the best music written for any instruments today.

I’m very proud of that and very happy that many young players, younger than I am, are picking up these pieces and playing in many parts of the world. Some of these pieces are probably played now every week somewhere by somebody.

It’s always been my ambition to make percussion music slightly more serious with better quality. And we are making some progress.

Q: Many percussion instruments originate from Asia, any Asian ones you are particularly impressed with?

Currie: I’m very fond of percussion instruments from Chinese operas, though I know very little about the tradition. I love gongs and wooden blocks, and the way they play these instruments, how they hold them together to make amazing sound. I love the sound very much and I have explore a little bit.

Ti Gong