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).
from The Village Voice, 1 June 2011
Wednesday, June 1 (tonight!); 8 p.m.
Eve Beglarian: Songs from A Book of Days
For over a decade, Beglarian has been working on this song cycle, which she describes “‘mulling over’ pieces, made in the spirit of commonplace books, collections of found thought that please me, and of medieval books of days.”
Whether she’s pivoting off Plato to create some early electro-percussive damage (circa 1985) that could’ve schooled Reznor, or turning Whitman’s “We Two” into a lovely duo for herself and Corey Dargel, she’s as intellectually erudite as she is deeply intuitive.
(Where else to hear Beglarian: On the New World-issued Tell the Birds CD, as well as the compilation Lesbian American Composers.)
then, next Wednesday 1 June, again at the Stone, I myself will be performing with fabulous guests Lydia Van Dreel, Mary Rowell, and Megan Schubert. works include the first performance of EinHorn for horn and electronics, and lots of other good stuff. Hope to see you there!
I have a new piece for multiple trombones up here, it’s called In and Out of the Game, and it’s another piece for the River Project. You can watch and listen to the video version (click for fullscreen):
I am really a very simple person is the first piece I wrote after completing a journey by kayak and bicycle down the Mississippi River. It was inspired by something the visual artist H. C. Porter said to me soon after we met, in Vicksburg in November 2009. This choral version uses solfège syllables as the lyrics for the piece, which perhaps will evoke thoughts of the old shape note singing traditions.
Here is a score of the piece in pdf format.
I am open to performances of the piece by any group of instrumentalists and/or singers. I can supply you with various different arrangements I have made, or with the Finale file so you can make your own arrangement. Please let me know when you perform the piece. And you are warmly invited to support this very low-key way of publishing:
On 3 March at the Greenwich House Music School in NYC, Margaret will be playing I will not be sad in this world on bass flute, along with music by Molly Thompson, Kaija Saariaho, and new works by Milica Paranosic, Kamala Sankaram, Elizabeth Hoffman, and Paula Matthusen.
Sounds like a great show, go here for more info.
And coming right up on 21 February, David Gerry will be playing the piece in Hamilton,Ontario. Go here for details (click Sundays at Three)
I’m happy to tell you that my flute and electronics piece, I will not be sad in this world, is available in a new anthology called Eight Visions, curated by Marya Martin and published by Theodore Presser. Please go here for more information.
I will not be sad in this world is June 28th in A Book of Days. I generally post a different performance of the piece each year: the 2017 version is a live performance by Tim Munro, recorded at New Music on the Point, in Leicester, VT.
Riches and glory,
everyone loves riches and glory.
But if you can’t get them the right way
They’re not worth winning.
Poverty and obscurity,
everyone hates poverty and obscurity.
But if you can’t get rid of them the right way
They’re not worth losing.
Not Worth has been recorded by Sequitur with Kristin Norderval singing; the disk is called To Have and To Hold and you can buy it here.
Here is a score of the piece in pdf format. I’m open to you arranging it for your ensemble; let me know what you have in mind.
For a full set of performing materials, you are warmly invited to support this very low-key way of publishing:
The title Osculati Fourniture comes from a mysterious query in a journal entry written by my mother, Joyce Heeney Beglarian, on 22 May 1981, while en route to Florence from Pisa. I cannot know why these two words came into her mind while riding along the autostrada, or what connection the phrase might have with shutters or Lucca, but it seems likely that the whole business has some obscure significance.
The music is a response to the gushe Zirkesh-e Salmak in the dastgah of Shur, part of the repertoire of Persian classical music. Its relation to all this is perhaps osculate in some sense.
Osculati Fourniture is January 24th in my ongoing project A Book of Days. You can hear my performance of the piece by going to that day. In addition, there is a cool video of a performance featuring Kevork Mourad’s live drawings. The piece is dedicated with love to Yvan Greenberg, who I imagine might enjoy this little cabinet of oddities.
[and by the way, my shutter photo was taken in Pescia, not Lucca — but you get the idea…]
Here are some performing scores:
When you click the paypal button below, we will send you the pre-recorded tracks needed to perform the piece. We can also supply you with a performing score in any transposition or clef you’d like.
Cave was commissioned by the St. Louis ensemble Synchronia for a program investigating the theme of America in Y2K. The text is by Eileen Myles. It is the third piece in the last year I have been asked to write on this subject*, and I’m noticing that I know less about the meaning of the millennium, or the future in general, the more I’m asked to write pieces about it. I have, however, had several excellent conversations about souls with Ansel Elgort, who is six, while I’ve been writing this piece, so I dedicate it to him with love and thanks for his friendship.
The piece was originally made for flute, clarinet, violin, cello, keyboard (or piano and vibes), spoken voice, and electronics. There is also an optional video by Clifton Taylor.
Here is a score of the piece, and here’s a set of parts. I’m open to you adapting it for your ensemble; let me know what you have in mind. If you wish to use the original DX7 patch, download this zip file of the patch in various formats that may be useful for re-creating the patch.
I will send you the pre-recorded track when you order the piece by clicking the paypal button below.