Trombonist Timothy Higgins is set to premiere his latest composition, ‘Market Street, 1920s,’ with the San Francisco Symphony this weekend at Davies Symphony Hall.
Inspired by San Francisco’s defiance of Prohibition during the 20th century, Higgins’ piece draws parallels between historical resistance and contemporary political discourse.
The world premiere is part of a program that includes Tchaikovsky’s Symphony No. 5 and Grieg’s Piano Concerto featuring Javier Perianes, all conducted by Spanish maestro Gustavo Gimeno.
Higgins describes ‘Market Street, 1920s’ as possessing a “vintage vibe and sound” reminiscent of the cable car videos showcasing San Francisco.
He aims to highlight a time in America characterized by intense arguments, particularly surrounding the Volstead Act of 1919, which implemented the national liquor ban during Prohibition.
While other cities strictly enforced the ban, San Francisco’s government adopted a more relaxed stance, instructing police to overlook speakeasies and bootlegging.
This spirit of defiance sparked Higgins’ creativity while composing the piece, as he appreciated the city’s bold attitude of doing as it pleased.
In developing ‘Market Street, 1920s,’ Higgins crafted two distinct musical themes: one following traditional compositional styles and the other embracing a jazz-like freedom.
The piece unfolds as a musical argument between these two themes, which start to blend as they interact, mirroring the current state of political affairs in America.
Higgins acknowledges that although he did not initially intend for his composition to resonate with contemporary issues, it reflects a reality of ongoing political strife.
He observes, “Whatever your political persuasion is, we’re all just jockeying for attention and arguing with each other, and oftentimes I feel there is common ground that we just blow right past.”
While he wishes for audiences to perceive his work as a farcical commentary, Higgins hopes it also encourages self-reflection among listeners.
He expresses a desire for people to step back from being influenced by algorithms and politicians, highlighting that we share an identity as Americans.
“Maybe we can all take a step back and stop being guided by algorithms and politicians,” he says.
“Market Street, 1920s” isn’t Higgins’ first collaboration with the San Francisco Symphony.
In November 2021, he delivered a memorable performance as the soloist for the premiere of his Trombone Concerto.
A member of the San Francisco Symphony since 2008, Higgins credits his rapport with fellow orchestra members as a significant asset during the composition process.
He states, “In writing the work, I was able to lean into those strengths: the versatility of the ensemble, the ability for it to switch styles and adjust and switch sounds so clearly and quickly.”
Higgins emphasizes the exceptional precision of the orchestra, noting that, “I knew that when I was putting down on the page the orchestra will get it quick, and they’ll understand what I’m trying to get across.”
As he prepares to travel to Chicago for his new role as principal trombone with the Chicago Symphony Orchestra, following the San Francisco Symphony performance, Higgins reflects on his fondness for San Francisco.
He describes the city as one that fosters authenticity, allowing individuals the freedom to be themselves.
“I found it to be a city without judgment,” he shares.
“Be who you want to be, do what you want to do, just don’t get in the way of your neighbor, and celebrate who you are. I love that about the city.”
Audiences can catch Timothy Higgins’ ‘Market Street, 1920s’ along with Tchaikovsky’s Symphony No. 5 at the San Francisco Symphony on Oct. 3-4 at 7:30 p.m. and Oct. 5 at 2 p.m.
Tickets are available for $30-$185 by calling (415) 864-6000 or visiting sfsymphony.org.
image source from：piedmontexedra
