the bus driver didn’t change his mind

02.11.02

Hi Bus Driver Visitors:

One of many emotions that has come up for me post 9/11 is an intense form of feminist rage, something I feel quite uncomfortable about, if I can be honest, having always thought myself quite beyond all that. But when I got this Bang on a Can commission, the first thing I thought of was this poem by the Bangladeshi troublemaker Taslima Nasrin. (She had a fatwa issued against her in the mid-90’s and seems to have pretty much disappeared from public life.) Originally I was going to set it in the piece, but I decided not to. Here’s how it goes:

Character

You’re a girl
and you’d better not forget
that when you step over the threshold of your house
men will look askance at you.
When you keep on walking down the lane
men will follow you and whistle.
When you cross the lane and step onto the main road
men will revile you and call you a loose woman.

If you’ve got no character
you’ll turn back,
and if not
you’ll keep on going,
as you’re going now.

The harmonic language is mostly built of diminished seventh chords, in reference to that cool climax in the first movement of Mahler’s Second, which I was listening to because I’d been hanging out with Berio’s Sinfonia because of the “keep going” connection between the Beckett/Berio and the Nasrin text.

The pre-recorded material is constructed solely from samples of the pipa, a Chinese instrument that is conventionally played by cultivated young ladies performing elevated music for the delectation of the upper classes.

The title of the piece comes from something I read yesterday in a profile of the American troublemaker Al Sharpton in this week’s (2/18-25/02) New Yorker:

“The bus driver didn’t change his mind, Rosa Parks changed hers.”

The piece is dedicated to the memory of Samia al-Rumn.

Eve Beglarian

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the bus driver didn’t change his mind is part of my ongoing project, A Book of Days. You can hear the Bang on a Can All-Stars premiere performance by visiting August 22nd.

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Here is a score of the piece in pdf format, and here’s a set of parts. I’m open to you reorchestrating it for your ensemble; let me know what you have in mind.

As part of your process in learning the piece, I urge you to listen to my sketch of the piece, where I sing the Nasrin text that later became the clarinet part. It will tell you many things that can’t be embedded in the score.

In order to play the piece, please order a copy of the backing track by following the paypal link, and thank you for your interest in the bus driver didn’t change his mind.

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All U Got 2 Do

All U Got 2 Do was inspired by a sermonette by Reverend Milton Brunson which appears on a 1990 release called Black Gospel Explosion.

all you got to do is
stand still
study yourself
be real

and god’ll give you the power
won’t he do it?
somebody know what I’m talking about?
won’t he give you
power?

power to live right
power to think right
power to speak right
power to do right

god’ll give you
power
Reverend Milton Brunson

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Along with the Brunson text, the piece uses a transformed recording of the introduction to the Benedictus of Beethoven’s Missa Solemnis. The live player tries to follow the Reverend’s advice by playing as few notes with as much attention as possible. The piece was originally written for Hammond organ, but it has been played on violin and on clarinet. Other instruments might work as well, I’m open to you trying it. The score is minimally notated: you will want to shape the expression of the piece in your own way. The best performances will create a fragile balance between immobility and hope.

All U Got 2 Do is part of my ongoing project A Book of Days. You can hear David Steele’s clarinet version at 3 August, along with the video by Matt Petty, which is part of our multimedia show, Lighten Up.

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Here is a performing score in pdf format.

After you click the donation button below, you’ll get all the necessary materials to perform the piece.

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Robin Redbreast

Robin Redbreast was commissioned by Mary Sharp Cronson for an evening celebrating the poet Stanley Kunitz. I chose his poem of the same name, which I think is a small, brutal masterpiece. I asked my mother, who I was caring for at the time, to draw me a picture of a robin. The drawing above is what she made for me.

It was the dingiest bird
you ever saw, all the color
washed from him, as if
he had been standing in the rain,
friendless and stiff and cold,
since Eden went wrong.
In the house marked For Sale,
where nobody made a sound
in the room where I lived
with an empty page, I had heard
the squawking of the jays
under the wild persimmons
tormenting him.
So I scooped him up
after they knocked him down,
in league with that ounce of heart
pounding in my palm
that dumb beak gaping.
Poor thing! Poor foolish life!
without sense enough to stop
running in desperate circles,
needing my lucky help
to toss him back into his element.
But when I held him high,
fear clutched my hand,
for through the hole in his head,
cut whistle-clean . . .
through the old dried wound
between his eyes
where the hunter’s brand
had tunneled out his wit . . .
I caught the cold flash of the blue
unappeasable sky.

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The piece has been recorded by Corey Dargel and Margaret Lancaster and is available on my CD Tell the Birds.

Robin Redbreast is part of my ongoing project A Book of Days. You can hear a recording of the piece by Margaret Lancaster and me by visiting March 27th.
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Here is a score of the piece in pdf format. To purchase the pre-recorded track for live performance of the piece, please click on the paypal button below:

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Atque Semper

ATQUE SEMPER (2006) for flute, horn, electric guitar, bass, and piano

Atque Semper is a meditation on the early medieval hymn Ave Maris Stella. The guitarist plays a free version of the melody while the other instruments try very hard to mess it up. The pianist is torn between supporting the guitar and hanging out with the troublemakers.

Atque Semper was commissioned by the young guitarist Dylan Allegretti for Santa Fe New Music and is dedicated to him with many thanks.

Atque Semper is part of a project called ReThinking Mary, which also includes Lullaby, Wonder Counselor, Take Your Joy, and Be/Hold. Atque Semper is also part of my ongoing project A Book of Days. You can listen to a live performance by the Cal State University New Music Ensemble, under the direction of Alan Shockley, by visiting January 7th.

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Here is the score of the original arrangement. I am open to people making arrangements of the piece for different instrumentation, so if you have ideas about this, please feel free to get in touch with me at eve at evbvd dot com.

For a set of parts, please click the donation link below, with my thanks for your support of this very low-key way of publishing:

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It Happens Like This

It Happens Like This sets the recitation of a poem by James Tate against an adaptation of a traditional Persian chaharmezrab melody and dance rhythm. Perhaps the cyclical embroiderings of the chaharmezrab echo the successive embroiderings of the narrator’s tale of the goat.

It Happens Like This was commissioned by Mary Sharp Cronson and Works and Process, Inc. for a celebration of James Tate at the Guggenheim Museum. Many thanks to Greg Hesselink for help and advice with the cello notation, and Mary Rowell for ideas and advice for the two-instrument version.

It Happens Like This was written while in residence at the Civitella Ranieri and is dedicated with affection to Diego Mencaroni, who once loved a goat.

I was outside St. Cecelia’s Rectory
smoking a cigarette when a goat appeared beside me.
It was mostly black and white, with a little reddish
brown here and there. When I started to walk away,
it followed. I was amused and delighted, but wondered
what the laws were on this kind of thing. There’s
a leash law for dogs, but what about goats? People
smiled at me and admired the goat. “It’s not my goat,”
I explained. “It’s the town’s goat. I’m just taking
my turn caring for it.” “I didn’t know we had a goat,”
one of them said. “I wonder when my turn is.” “Soon,”
I said. “Be patient. Your time is coming.” The goat
stayed by my side. It stopped when I stopped. It looked
up at me and I stared into its eyes. I felt he knew
everything essential about me. We walked on. A police-
man on his beat looked us over. “That’s a mighty
fine goat you got there,” he said, stopping to admire.
“It’s the town’s goat,” I said. “His family goes back
three-hundred years with us,” I said, “from the beginning.”
The officer leaned forward to touch him, then stopped
and looked up at me. “Mind if I pat him?” he asked.
“Touching this goat will change your life,” I said.
“It’s your decision.” He thought real hard for a minute,
and then stood up and said, “What’s his name?” “He’s
called the Prince of Peace,” I said. “God! This town
is like a fairy tale. Everywhere you turn there’s mystery
and wonder. And I’m just a child playing cops and robbers
forever. Please forgive me if I cry.” “We forgive you,
Officer,” I said. “And we understand why you, more than
anybody, should never touch the Prince.” The goat and
I walked on. It was getting dark and we were beginning
to wonder where we would spend the night.
james tate

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Here is the traditional chaharmezrab on which the piece is based:

It Happens Like This is part of my ongoing project, A Book of Days. To hear a live recording of the duo version by BRIM, please visit July 6th.

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The instrumental part has been done on cello, on mandolin, and on guitar. Here is a score of the original cello plus actor version. And the piece has also been done as a violin/viola duo, and as a mandolin/guitar duo.  Here is the violin/viola version of It Happens Like This. For a set of parts, please order by clicking the donation link below (and let me know if you need different transposition or clefs.)

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Night Psalm

Night Psalm was inspired by Psalm 77, particularly verse 20:

Your way was through the sea,
your path, through the mighty waters;
yet your footprints were unseen.

The melody of the piece is based on a chant found in a late sixteenth century antiphoner from Augsberg Cathedral in Germany. It is not known why this book would have been made so late, given the liturgical politics involved.

Night Psalm is dedicated to Paul Kahn on the occasion of his becoming a deacon. The piece is part of my ongoing project, A Book of Days. You can hear Vicky Chow’s live recording (accompanied by a video I made off the back of a towboat on the Mississippi) by visiting March 10. And you can see an excerpt of me performing the piece on a Launchpad here.

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Here is a score of the piece. If you are paid to perform it in public, I would deeply appreciate you paying for the score:

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The Island of the Sirens

The Island of the Sirens (2011) is a piece about defective transcription and the failures of translation.

I started with a recording of a warning siren I heard in Plaquemine, Louisiana, while I was traveling down the Mississippi River in the autumn of 2009. I sliced the warning siren into eight layers of partials and then asked the computer to transcribe those eight recordings into musical notation. Because the computer’s transcription algorithm was confused by the sounds, the resulting scores were quite strange. I recorded eight women singing these transcriptions, and mixed them in quasi-unison against the eight layers of electronically transformed siren. I then made three separate submixes of the electronics, which are fed into three sets of headphones for the backup performers, who can be instrumentalists or singers. The backup chorus is asked to perform in real time what they are hearing in their headphones, a task at which they will invariably fail to fulfill entirely successfully, creating yet more quasi-unison layers that deviate from the actual sound of the transformed siren.

The lead vocal, a setting of Rilke’s poem about the impossibility of describing an experience to those who haven’t shared it, is the only notated music in the piece. It also incorporates elements I heard in the siren recording, filtered through my own biases and limitations.

When his hosts would ask him late in the evening
to tell of his voyages and the perils they brought,
the words came easily enough,
but he never knew

just how to convey the fear and with what startling
language to let them perceive, as he had,
that distant island turn to gold
across the blue and sudden stillness of the sea.

The sight of it announces a menace
different from the storm and fury
which had always signaled danger.
Silently it casts its spell upon the sailors.

They know that on that golden island
there is sometimes a singing–
and they lean on their oars, like blind men,
as though imprisoned

by the stillness. That quiet contains
all that is. It enters the ear
as if it were the other side
of the singing that no one resists.

Rainer Maria Rilke, from New Poems
Joanna Macy, Anita Barrow, translators

The Island of the Sirens was written for the New York ensemble loadbang, and is dedicated to the band with vast affection. The piece is part of my ongoing project, A Book of Days. You can hear a live performance from the New Music on the Point festival on December 10th in A Book of Days. loadbang’s premiere studio recording of the piece is available here.

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In order to perform The Island of the Sirens, you need a lead singer who sings this score, along with three instrumentalists or singers, who listen to individual headphone tracks and imitate what they’re hearing as well as they can. The piece is set up already in Ableton Live, and after you click the donation button below, I’ll send you all the materials you need to perform the piece using Ableton or the DAW of your choice.

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Pump Music

Pump Music is inspired by a series of hand pumps I encountered in campsites while traveling down the Mississippi River in 2009. I recorded this pump at a campsite called Wanagan’s Landing, which was the place we stayed after the very first day of paddling, on 1 August 2009. It’s maybe ten miles down from the headwaters of the Mississippi River, in northern Minnesota.

I was struck not only by the raucous noise of the pump, but also by the unearthly melody of the afterglow as the water recedes back into the earth when you stop pumping. The melody is not a simple overtone series as you might expect, but some curious phenomenon emerging from the length and diameter of the pipe that I don’t have enough physics to understand.

Pump Music was commissioned for the Guidonian Hand and Mary Rowell by Meet the Composer/Commissioning Music USA, and is dedicated to them with vast affection.

Pump Music is part of my ongoing project, A Book of Days. To hear the premiere performance (at Roulette on 1 June 2012), please visit August 1st.

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Here is a score of the complete piece in pdf format.

After you click the donation button below, you’ll get all the necessary materials to perform the piece.

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You can also read this blog post about 1 August 2009 of The River Project.

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