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The League-ISCM is playing Waiting for Billy Floyd on Monday 17 June up at Miller Theater, which should be very cool. They’re doing the images as well, so that’ll be a nice thing. Mississippi in upper Manhattan!
Tony de Mare will be playing some of the Sondheim reworkings he’s commissioned on a concert in NYC on Sunday 12 May at 3 pm. It’s also being streamed, so you can check it out from wherever you are. My piece is a response to Happiness from Passion. It’s part of the WONDERFUL Tribeca New Music Festival: check out the whole series of concerts!
this Friday at 7:30, the excellent Mary Mackenzie will be singing three songs from the song cycle I wrote a few years ago with the composer Phil Kline called The Story of B. Click the image below for more info and tickets:
Mary Rowell and I will be participating in the Firehouse Festival at Sandra Sprecher’s amazing space on Saturday night 27 April. We’ll be doing some stuff you’ve never heard, along with some favorites. The whole lineup looks like big fun! Click the poster for more info and tickets.
On Thursday 18 April, the Voices of Ascension under the direction of Dennis Keene will be premiering a new commission for chorus and organ called Building the Bird Mound. Click the photo for tickets and more information:
Building the Bird Mound was inspired by a visit I made to Poverty Point, a pre-historic mound complex in Northeast Louisiana, while traveling down the length of the Mississippi River by kayak and bicycle in the fall of 2009. Poverty Point, which was built sometime between 3500 and 1500 B.C. is structured as a series of long concentric half-circles that radiate from a center mound which is in the shape of a winged bird. When I stood in the center of the mound that November afternoon, I had a glimpse of something very powerful, a sense of being sheltered — held — in the body of this giant effigy bird, and close to the ghosts of all the people who had scrabbled in the dirt to pile up and carry soil, basket by basket, to build this sacred place. I knew then that I wanted to write a piece of music about this place and the people who built it, and Building the Bird Mound is the result of that afternoon’s inspiration.
An all-new CD of River Project music is now exclusively available for purchase here! The second signed limited edition EP includes four pieces from The River Project in wonderful premiere recordings by BRIM, the Guidonian Hand, and members of Portland’s Third Angle Ensemble. A perfect gift, buy one today!
Even though we just finished up one series of concerts, there are more upcoming projects here in New York that continue the flow…
On 17 February, the Ekmeles Vocal Ensemble with Vicky Chow on piano and Ana Milosavljevic on violin will be performing a show we’re calling Songs from the River and Elsewhere on the Avant Music Festival, which is going to be a wonderful series of concerts, highly recommended.
We’ve already begun rehearsing the repertoire for the 17 February concert, and it’s really fascinating to be embedding RiverProject songs in and among songs from A Book of Days. While the journey down the river definitely changed me and my work, there are some themes that thread their way through all the pieces, and hearing them performed by these excellent musicians is really great.
Also upcoming (on 2 March) is a performance of The Sirens, or Pleasure, my Cagean (Cageish?) collaboration with Yvan Greenberg, by the duo Two Sides Sounding. come check out the bicycle roulette wheel doing its thing, you never know which crackerjack prizes it’ll choose!
Along with these performances, I’m starting work on Pump Music, a big new piece for violin, trombone quartet, and location recordings of hand pumps found in campsites along the Mississippi River, a Meet the Composer commission that will premiere later in the spring on the Tribeca New Music Festival. Stay tuned for news about date and venue, which should be firmed up very soon!
What a fun way to start the year! a series of RiverProject concerts at Abrons Arts Center, each one so different from the next, with an array of wonderful musicians, from Loadbang and the Guidonian Hand the first night, to Newspeak and Will Lang the next, and then the last night with Taylor Levine, Malcolm J. Merriweather, and special guest Ron Blessinger, who paddled all the way from Portland, OR to get here… and of course Mary Rowell with me every night, that’s a central part of the whole experience! I feel so lucky to work with all these wonderful musicians, who also happen to be excellent humans, which really makes it great!
Here are a few links to interviews and press about the festival; over the next few days and weeks we’ll be posting some live recordings and more fun stuff.
Stephen Taylor has made a very cool movie of Dither playing The Garden of Cyrus. That piece is so dear to my heart that it’s got my birthday slot in A Book of Days.
We’re hard at work getting ready for three concerts of River Project music at Abrons Arts Center in late January: wrangling rehearsal schedules for more than 25 people, making special arrangements and generating parts for River Project music for three different rosters of players, organizing tech riders, instrument movers, press releases, all that endless stuff that goes into doing shows, even before a single sound gets made. In a way I feel very far away from the river, and from the urges and pleasures that got me out there two years ago. but then I realize it’s all about the river, and the anxiety recedes and I can just keep paddling.
BRIM has released the first of what will be a series of recordings of River Project music, a limited edition of 250 signed CDs. It’s a four-song EP which you can get only while supplies last.
The Oregonian did both a preview article and a review for my RiverProject show with Third Angle, called One Mississippi. it was a totally wonderful experience to work with Ron Blessinger and the band, and I’m seriously considering a Columbia River project now. Why not?!?!
Monday morning, we left Pittsburgh early in order to get to Hyden, Kentucky, where Mary had set up a school presentation for BRIM at the Kentucky School of Bluegrass and Traditional Music. Mary had been there with ETHEL before, and has worked with Dean Osborne, who’s the director of this very cool school nestled in a hollow in the Appalachians.
I was fascinated to learn that there’s a rigidity and extreme traditionalism in the bluegrass world that rivals the classical music world. Doing anything different from the established norms is frowned upon, and yet all the greats of bluegrass were of course tremendous innovators who broke all the rules, from Bill Monroe to the Osborne Brothers themselves. So the school is devoted to finding that line of respect and devotion to the excellence of the tradition, while at the same time opening up to new ideas and approaches that will keep the art form alive.
It was a really meaningful experience to perform my music for these fellow travelers, I felt like we arrived from different places to a shared path, and I’m honored to have their company. They had lots of questions about how I put my music together technically, which was a bit of a surprise to me. When I do these kinds of presentations at conservatories, I don’t generally get asked detailed compositional questions. I found the whole experience refreshing and fascinating. I think there may be something really interesting to explore at the nexus of traditional bluegrass and new music…. Hmmmm….
Dean Osborne generously arranged to put us up at Mary Breckinridge’s house, Wendover, which was the site of the Frontier Nursing Service she founded in the late 20s, and which is still operating today. (I had only learned about this program a few weeks earlier, when I met Mary’s cousin Kristin, a cheese-maker, at the Craftsbury Farmer’s Market up in Vermont, who had participated in the program in the late 80s.) Mary Breckinridge was this amazing person. A privileged woman, she lost both her own children at an early age, so she decided to come to deeply impoverished Leslie County and start a nursing service for mothers and children. In the years that she ran this service, both maternal and infant health improved from perhaps the worst in the nation to better than the country as a whole, and all this work was done by a combination of professional nurses on horseback traveling up and around the hollows, and by young women volunteers, who came out to join the adventure. It’s a case of those much-maligned “ladies bountiful” doing something really meaningful and transformative with their time and talent and energy. Dean estimates that something like a hundred thousand people today owe their existence to Mary Breckinridge and the Frontier Nursing Service.
Saturday, we headed out in the rain and cold towards Pittsburgh, stopping at Shanksville at the newly unveiled Flight 93 memorial, which is quite well-done: tasteful and thoughtful in that National Park-ish way. It might be strange to say this, but I found the absence of any information or images of the four hijackers to be a lost opportunity, somehow. I guess I really believe that seeing the bad guys, engaging with their craziness, is a way to guard against craziness in oneself or one’s culture. I mean, isn’t that at least part of why we read and watch movies about Hitler or mass murderers or whatever? I’m not sure how that could or should be done at this memorial, but in my opinion, erasing them completely from the picture is a sanitizing that minimizes the actual authentic heroism of the forty folks who brought down the plane in this lonely field.
We arrived at my friends’ Rick and Kate’s place in time for dinner, and I could help marveling at how different our pace was from that 20 to 40 miles per day I did going down the Mississippi in 2009. No wonder I got so interested in 19th century (and earlier) history, I was traveling at a pre-20th century pace! That’s super-obvious the moment I think of it, but I only realized it fully doing that quick drive on Saturday: nothing to it to drive from New York City to Pittsburgh, it’s only a few hundred miles!
It was great to catch up with Rick and Kate. Rick is a wonderful poet, you can check out his work here and here, and Kate is a passionate birder, and I was really gratified that she liked the movie of In and Out of the Game, that really means a lot to me.
The night before heading out on our little mini-tour back to the Mississippi, I took Mary out for a sunset paddle on the Hudson River. I figured since we won’t be kayaking or biking on tour, we could at least start out with a paddle just to get off on the right foot or something.
Here are a few pictures from the paddle, which was just great. If you’re in NYC and are into paddling at all, this is an excellent little excursion, highly recommended!
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Mary Rowell and I as BRIM are doing a show at Millsaps College in Jackson, MS on 11 October as part of a little mini-tour we’ve set up. More info here. We’ll be traveling along the Ohio River to join the Mississippi, really looking forward to getting out on the road again!
Mr. Faiman also gave a lovely account of Eve Beglarian’s “Night Psalm” (2009), an appealing meditation in which velvety descending arpeggios morph into a quietly rumbling harmonic haze. Ms. Beglarian’s “I’m Worried Now, but I Won’t Be Worried Long” (2010), though composed only a year after “Night Psalm,” inhabits a different universe: electronic sound, a droning cello line and tactile, rhythmically solid harp writing form the backdrop for a soulful, almost folk-song-like soliloquy for the violin, played here with a rich, deep sonority by Miranda Cuckson.
Eve Beglarian uses more tactile, inventively morphing sounds in “Robin Redbreast” (2003), an odd but evocative setting of a Stanley Kunitz poem for tenor (Martin Bakari) and piccolo (Henrik Heide).
hi my friends,I'm delighted that Robin Redbreast, my setting of Stanley Kunitz's wonderful poem, will be performed this summer at both Banglewood AND Tanglewood. How sweet is that?!
But if you're not the type for woodsy climes in the summer, you can catch performances of Night Psalm and I'm Worried Now right here in NYC (at Riverside Church on 25 August.)
And coming right up, my friend Despina Sarafeidou is doing a free showcase performance of her Kassandra at KGB Bar on 27 July at 7 pm. (No music by me, but definitely worth checking out!)
I'll be heading back to the Mississippi River in September-October with the excellent Mary Rowell. We'll be performing my rivertrip-inspired music as BRIM. More about that very soon, I promise.
Stay cool and beautiful!
xoxox
evb
HI Eve!
Thanks for sharing your music on Tuesday. I'm sorry …
Eve Beglarian is a composer, performer, and audio producer whose music the Los Angeles Times has called "an eclectic and wide-open series of enticements."
, and Kate is a passionate birder, and I was really gratified that 
