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.

My Feelings Now

The lyrics of My Feelings Now are adapted from various things the Indonesian dancer and choreographer Hartati said during a residency we both had in Los Angeles in the summer of 1996. I wrote the song in Wyoming while in residency at Ucross in August of 1996. (Thanks to both Judy Mitoma and the Ford Foundation for the APPEX program that brought all of us together, and to the Ucross Foundation for the residency time that freed me to write the piece.) My Feelings Now is dedicated to Tati with love.

For the twisted tutu version of the piece, Kathy Supové and I performed against a quiet taped background of Robin Lorentz on violin, mixed with an electronically manipulated recording of Indonesian flute and vocal music performed by Sawir St. Mudo and Mira Tanjung.

My Feelings Now is part of my ongoing project A Book of Days. You can hear twisted tutu’s version of the piece on August 12th. It’s also available on twisted tutu’s CD Play Nice.

If you want to perform the piece this way, please contact me for the pre-recorded tracks. But there are many ways to flesh out the song, and I am very open to you making whatever versions you feel will work effectively. Similarly, you should feel free to transpose it to reflect your vocal style and range. If you need a transposed score, please get in touch with me.

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Here is a score of the piece in pdf format.

And you are warmly invited to support this very low-key way of publishing:

Landscaping for Privacy

Landscaping for Privacy was written in August-September 1995 for twisted tutu (Kathleen Supové, keyboards and Eve Beglarian, vocals) while we were in residence at the Bellagio Center in Italy under the auspices of the Rockefeller Foundation. The poem is by Linda Norton. The keyboard part was written to be played using the arpeggiator function of a synth keyboard, sort of like a new convertible with an automatic transmission. I tried to capture the fragile elation urban types feel at driving out of the city on a beautiful Saturday morning in spring.

Landscaping for Privacy

Make a pagoda of thyself!
–Herman Melville

Ultima multis
–inscription on a medieval sundial

The hedges along the parkway, the trees, the trees–
They sashay, they nearly genuflect, they breathe.
It’s good to breathe; it’s good to get away in summer,
It makes you feel clean. The city, the squalor, the mess,
That’s what’s killing us. Did I tell you about the rat
I saw in the subway last night? It had a swollen belly
And no fear, it went right for a transvestite in heels!
Enough; I know; not here, not now; I should relax,
Shut up, let go. Oh, yes, Long Island’s very fresh and nice;
Do they have rats out here, or just field mice? And I forget,
What do people do with themselves in the suburbs?
The streets are empty, the lawns unused. If I lived here,
I’d spread out, I’d hang a hammock, I’d keep sheep,
I’d dig a well. I’d build hummocks to my own
Specs, I’d be positively pastoral.

But you’re right, of course. Of course, you’re right.
I couldn’t keep sheep, there’s probably an ordinance,
They’d shoot me for ruining property values.
But what’s property, anyway? Years ago
I read about a pillar of roses in an English garden
And so I own it, I have the deed by heart.
Speaking of which, pull over, look,
Here’s a surprise for you. Check out my bicep.
Do you like my new tattoo?

What do you mean, “What is it, did it hurt?”
It’s a miniature gazebo! Of course it hurt!
Note the incredible detail, the wicked craftsmanship.
See–it’s a garden pagoda for me and you,
With ivy, and grass, and a snake in the grass.
Hey, what are you doing? Oh yes, that’s good,
Yes, kiss it and make it better. Because
It did hurt a bit. In fact, it hurt like hell
(Remember that night when you touched me
And I yelled?)

OK, let’s drive, let’s tour the hydrangeas
And the lawns. What could be more suggestive
Than a grassy mattress? Maybe that TV glowing
In a darkened den, shades nearly drawn.
Slow down, slow down–that’s strange: a sick room,
A suburban tomb, on a day like this,
With the clouds all starched and bustling
In a Disney sky. Look, they have a gazebo, too,
Jam-packed with rusted rakes and trash.

If I had their lawn I’d soak it and sun bathe on it,
I’d sleep out under the stars, I’d walk to the mall
And strap a sack of fertilizer to my back and hike
All the way home. We’ve lived in the city far too long,
Yes, that’s what’s killing us. That, and this monument
To love we lug, this brick inscribed FOREVER.
Let’s let it sink. Let’s kiss. Give me the wheel,
I’ll drive so you can look at clouds.

“All clouds are clocks,” bulldozing time.
Do you remember who said that?
A pauper? A philosopher?
Well, he was right,
Those pretty clouds are bullies–

Bouffant armada,
Fluffy but cruel,
Ushering last days for many.

–Linda Norton

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There are three versions of the piece: the original version for narrator plus the PC88 keyboard’s arpeggiator; a version for narrator with acoustic piano and playback; and an ensemble version (voice, alto flute, bass clarinet, vibes, marimba, and piano.)

A recording of Landscaping for Privacy is on my CD Tell the Birds and also on the compilation CRI Emergency Music.

Landscaping for Privacy is May 30th in my ongoing project A Book of Days.

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score of piano (plus playback) version –> (.pdf)
score of all-acoustic ensemble version –> (.pdf)
score of original arpeggiator version –> (.pdf)

And you are warmly invited to support this very low-key way of publishing:

Miranda’s Kiss

Miranda is a signing chimpanzee James Merrill meets early on in his visionary trilogy, The Changing Light at Sandover.

Miranda’s Kiss is both a programmatic piece describing their meeting (Miranda’s exuberant but hesitant approach, and their kiss, which like most first kisses, wavers between concentrating on the experience itself and one’s excitedly nervous awareness: Yes! I am (finally) kissing her!) and also an evocation of Merrill’s merging of two worlds:

Between one floating realm unseen powers rule
(Rod upon mild silver rod, like meter
Broken in fleet cahoots with subject matter)
And one we feel is ours, and call the real,

The flat distinction of Miranda’s kiss
Floods both. No longer, as in bad old pre-
Ephraim days, do I naively pray
For the remission of their synthesis.

Miranda’s Kiss was written for and premiered by Tony de Mare. It was begun at the Leighton Artist Colony in Banff, Alberta and completed in New York City.

Miranda’s Kiss is part of my ongoing project, A Book of Days. You can listen to Barry Salwen’s live recording of the piece by visiting April 1st.

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Here is a score of the piece in pdf format. It’s on my list to make a computer-engraved copy of this autograph score. If it will make it easier for you to program the piece, do let me know, and I’ll make the time to do it soon.

And you are warmly invited to support this very low-key way of publishing:

Lament

Lament was originally written for a production of Terry O’Reilly’s play, Animal Magnetism, directed by Lee Breuer. The piece was originally played on an abandoned, very out-of-tune piano. If you have access to one of those, it would be great to use it.

It is possible for an actor to perform a text in conjunction with the music, as it was performed in the original production. If you find a new text that you wish to perform in counterpoint to a performance of this piece, please let me know what you have in mind.

Lament is part of my ongoing project, A Book of Days. You can listen to a live performance by the musicians of Orchestra X by visiting March 30th.

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You can purchase the performing version for bass clarinet and piano via the paypal button below. If you would like a transposition that works for another instrument, just let me know your needs.

And thanks for supporting this low-key way of publishing!

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:

Do Not Be Concerned

Do Not Be Concerned is the first piece I wrote specifically for my ongoing project A Book of Days. At the time, I was imagining writing a piece for every preset in the General MIDI spec: this piece uses the Calliope Lead (patch #83) to accompany a recitation of a line from the Gospel of Thomas.

A live performance of the piece on synth requires a MIDI echo effect: I have a version implemented already in MOTU’s Digital Performer. If you need it in some other program, I can give you the specifications for the effect so you can set it up yourself.

You can perform the piece as a solo, reciting the text as you play, or you can do it as a duo: one person plays while the other speaks.

Do Not Be Concerned is part of my ongoing project A Book of Days. Please visit February 21st to listen to the piece along with my pre-911 slideshow of images of Soho.

And this is Nick Griffiths’ 2014 live performance on piano with no processing. It’s a very different take on the piece, and I’m delighted by it!

 

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Here is a score of the piece in pdf format.

And you are warmly invited to support this very low-key way of publishing:

LIGHTEN UP

LIGHTEN UP is a new, evening length multimedia song cycle created by New York composer Eve Beglarian and Louisiana video artist Matthew Petty. This 80 minute concert combines live music and video projections with lighting and set elements that invoke the force and imagery of the visual artists it honors.

Initially inspired by the life and work of Houston’s Flower Man, LIGHTEN UP explores the visions of visual artists whose life and work re-shape the American Dream in imaginative, powerful, and healing ways. While sometimes called “outsider artists,” these artists’ work springs from sources deep in the ground of the places they live, and inside their deepest selves.

LIGHTEN UP is more a fantasia on the work of these visionary artists than a conventional documentary. Matt Petty’s videos include footage of the work of Cleveland Turner, aka the Flower Man, Pastor Juanita Leonard, Prophet Isaiah Robertson, Jeff McKissack (the Orange Show), Kenny Hill (Chauvin), Dr. Charles Smith, and others. Eve Beglarian’s music sets texts by Louise Glück, Ezekiel, and Reverend Milton Brunson as well as the artists themselves. The piece also explores the way Eve’s and Matt’s lives have been transformed by their relationships with these artists and their work.

The music is performed live by the LIGHTEN UP quartet comprised of James Allen (keys and vocals), David Steele (clarinets and other reeds), Matt (trombone and vocals), and Eve (vocals and electronics).

Eve and Matt began working on LIGHTEN UP in the spring of 2015, under the auspices of the Marion International Fellowship for the Visual and Performing Arts. This year-long development and travel grant culminated in a workshop showing of a first version of LIGHTEN UP performed by the quartet of Eve, James, David, and Matt at the Alley Theatre in Houston, TX in June 2016.

For the premiere, the quartet will create original music and color guard choreography to be performed by students of an under-resourced school band program in the Greater New Orleans area. Along with the high school residency, younger children will work with Pastor Juanita Leonard, one of the visionary artists featured in LIGHTEN UP, to create visual environments from found materials. These artworks will be featured as set elements in the live performance.

Touring performances of LIGHTEN UP can optionally include a two week residency during which the quartet works with the band program in a local high school to master original live music and and color guard choreography. The student marching band will perform their segment alongside the quartet of Eve, James, David, and Matt at the local venue.

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Please click on the titles below to experience three of the existing pieces in LIGHTEN UP.

Dust

footage: Prophet Isaiah Robertson’s home and church,  Niagara Falls, NY | Aug 2015 • text: Ezekiel • music & vocals: Eve Beglarian • video: Matt Petty

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All U Got 2 Do

footage: parishioners at Juanita Leonard’s Church, Montgomery, LA & St. Matthew’s MB Church, Houston | Oct & Dec 2015 & May 2016 • text: Reverend Milton Brunson • music: Eve Beglarian (and Beethoven’s Missa Solemnis) • clarinet: David Steele • video: Matt Petty

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Enter In To My Heart

footage: Kenny Hill’s Chauvin Sculpture Garden, Chauvin, LA | Dec 2015 & Mar 2016 • music: anonymous harmonica player in New Orleans | Dec 2015 processed and mixed by Eve Beglarian and Matt Petty • video: Matt Petty

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LIGHTEN UP: Artist Biographies


According to the Los Angeles Times, composer and performer Eve Beglarian “is an idealistic rebel and a musical sensualist.” She was awarded the 2015 Robert Rauschenberg Prize from the Foundation for Contemporary Arts for her  “innovation, risk-taking, and experimentation.”

Beglarian’s current projects include LIGHTEN UP, a multimedia music-theater piece about visionary visual artists in America;  a new collaboration with writer/actor Karen Kandel about women in Vicksburg; the long-term undertaking A Book of Days, text/music/visuals, one for each day of the year; and BRIM, the ensemble she has created to perform the repertoire she has created in response to her 2009 journey down the Mississippi River by kayak and bicycle.

Beglarian’s concert music has been commissioned and widely performed by the Los Angeles Master Chorale, the American Composers Orchestra, the Bang on a Can All-Stars, the Chamber Music Society of Lincoln Center, the California EAR Unit, the Orchestra of St. Luke’s, the Paul Dresher Ensemble, Third Angle, Contemporaneous, loadbang, the Guidonian Hand, Newspeak, and many individual performers.

Highlights of Beglarian’s work in music theater include music for Mabou Mines’ Obie-winning DollhouseAnimal Magnetism, Ecco Porco, Choephorai, and Shalom Shanghai, all directed by Lee Breuer; Forgiveness, a collaboration with Chen Shi-Zheng and Noh master Akira Matsui; and the China National Beijing Opera Theater’s production of The Bacchae, also directed by Chen Shi-Zheng.

She has collaborated with choreographers including Ann Carlson, Robert LaFosse, Victoria Marks, Susan Marshall, David Neumann,  and Take Ueyama, and with visual and video artists including Cory Arcangel, Anne Bray, Barbara Hammer, Kevork Mourad, and Shirin Neshat.

Recordings of Eve’s music are available on ECM, Koch, New World, Canteloupe, Innova, Naxos, Kill Rock Stars, CDBaby, and Bandcamp.

New York Times profile

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Sister Juanita Leonard was born at the Huey P. Long Charity Hospital in Alexandria, Louisiana and has been a Louisiana resident all her life. She currently resides in Montgomery, Louisiana (population 795) where she owns and operates Closer to Christ Ministries, a roadside church located off of Highway 71, that she built herself from salvaged materials. Sister Juanita focuses on serving the homeless, sick, and poverty- stricken members of the community, as well as released prisoners, and at-risk children. She provides daily free meals from her home and healing services for those in need, and has done so since 2001.

As an artist, Sister Juanita has been painting since she was 17 years old. Her artwork has expanded into other forms including sculptures, architecture, quilting, hat-making, and basket weaving. Her work has been featured in numerous shows and museums across the state of Louisiana, as well as the The Pennsylvania Museum of Art, in Erie, PA; The Morris Museum of Art in Augusta, GA; and Roff Graves’ Gallery in Lodi, CA. She has been awarded the title of Recognized Tradition Bearer by the State of Louisiana in 2016, and has also appeared in two books including Juanita Leonard’s Hard Times Bus by Jason Neville, and When the Spirit Speaks: Self-Taught Art of the South by Margaret Day. Additionally, Sister Juanita has appeared in publications by Louisiana Public Broadcasting, CBS, Raw Vision Magazine, The Folk Art Messenger, SPACES Archives, and The American Folk Art Museum.

Raw Vision profile   |  Folk Art Society of America profile

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Matt Petty is a multi-instrumentalist, composer, and video artist based in Natchitoches, Louisiana. He is a graduate of Northwestern State University, where he received degrees in Music Education and Trombone Performance. Matt Petty uses low-fi gear to create music-based multimedia productions involving sound, video and live performance. Matt is an alumnus of New York’s Watermill Center, where he worked as a performing artist, collaborator, and technical assistant; and was influenced by artists such as theater director Robert Wilson, filmmaker Jim Jarmusch, and the American freak-folk band CocoRosie. He is also a founding member of the experimental-Americana ensemble Kisatchie Sound, with clarinetist and co-founder, David Steele; a group that creates music with a sense of place.

As a collaborative artist, Matt has worked with numerous visual artists and musicians across the U.S. performing concerts and making video pieces. He has screened experimental video in Louisiana, Texas, Arkansas, California, New York, and Vermont. Additionally, Matt is the creator of the feature documentary, Sacred as Folk, about the life of Louisiana artist, Brother Michael David Elvestrom. Most recently, Matt is traveling across the country working with and documenting visionary artists for a grassroots multimedia collaboration with composer Eve Beglarian titled LIGHTEN UP—a project that promotes diversity and healing through art as a social practice. Additionally, Matt was one of 25 international artists selected as Lucas Artist Fellows in Music at Montalvo Arts Center, in Saratoga, CA. Matt currently serves as Adjunct Professor of Music and Fine Arts at Northwestern State University in Natchitoches, Louisiana. For more information, visit Matt’s Vimeo page.

ADDITIONAL COLLABORATORS

James Allen is the music director and organist at First St. Matthew’s Missionary Baptist Church in the Third Ward of Houston, Texas. A singer since the age of three, he graduated from Madison High School of Houston in 2003, and from Alcorn State University in Mississippi in 2008 with a Bachelor of Science in Music Performance. His home church is Jerusalem Missionary Baptist Church. James has performed as a musician and collaborator with Eve Beglarian and Kisatchie Sound as part of LIGHTEN UP’s workshop performance at The Alley Theater in Houston, Texas, in the Summer of 2016. Additionally, James works as a lifeguard and swim coach at the YMCA of Houston.

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David Steele
, a native of Houston, Texas, has been part of the music faculty at Northwestern State University since August 2012 where he teaches clarinet, woodwind methods, and fine arts. He is also a founding member of the chamber ensemble, Kisatchie Sound. While clarinet is his primary instrument, David plays the chalumeau, various woodwind instruments and several folk instruments. He plays an active role as a director, instructor, choreographer, and visual technician throughout the Louisiana/Mississippi Color Guard and Percussion Circuit for area marching bands and color guards. David studied at Northwestern State University, the University of New Mexico, and the University of North Texas. He has worked for Popejoy Hall, New Mexico’s premiere performing arts venue, in the Education and Outreach Department. His teachers include Dr. Malena McLaren, Mr. Keith Lemmons, and Dr. Kimberly Cole Luevano.

While at Northwestern State University, David performed with the university’s Wind Symphony, Symphony Orchestra, and Jazz Orchestra. He has played principal clarinet with the University of New Mexico’s Wind Symphony and Symphony Orchestra. While attending the University of North Texas, David performed and recorded with the U.N.T. Wind Symphony as principal clarinet under the direction of Dr. Eugene Corporon. Additionally, David has performed with several professional groups such as the New Mexico Symphony Orchestra, Roswell Symphony Orchestra, Shreveport Symphony Orchestra, Texarkana Symphony Orchestra, South Arkansas Symphony Orchestra, the Many Chamber Orchestra, and the Northwestern Faculty Quintet. He has also performed as a musician, color guard performer, and visual artist at the Alley Theater in Houston, and as a woodwind specialist and technician in the pit-orchestras at Long Lake Camp of the Arts in New York. He is a recipient of the McCutchens Award for Musical Excellence, the Magale Award for Musical Excellence, the Bess McNeely Award for Outstanding Musical Performance, and the Albuquerque Community Education and Outreach Award.

As a recording artist, David has recorded with renowned brass players Joe Alessi, Sam Pilafian, Marshall Gilkes, and J.D. Shaw. He has recorded with composer, Eve Beglarian, and the chamber ensemble, Kisatchie Sound. David’s playing is featured in the sound track of the documentary film, Sacred as Folk. His playing and color guard choreography is featured in the multimedia production of LIGHTEN UP

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Christina Giannelli is a Houston-based lighting designer. Her work in Opera and Ballet lighting design has taken her around the world and gained her national recognition.  She has been the Resident Lighting Designer for Houston Grand Opera, Cleveland-San Jose Ballet, Texas Ballet Theater, Houston Ballet and most recently for the Metropolitan Opera. Firmly committed to furthering the growth and development of the Arts in Houston, Ms. Giannelli has served on the Boards of Zocalo Artists Yard, Infernal Bridegroom Productions, the DiverseWorks Artists Board and is the founder and president of Dance Source Houston, a service organization that supports and promotes Contemporary Dance.  She is also the co-proprietor of a guest house for visiting artists and innovators located in EaDo.

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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:

Fireside

Fireside was commissioned in 2001 by pianist Sarah Cahill in celebration of Ruth Crawford Seeger’s centennial. The piece sets a poem Ruth Crawford wrote when she was thirteen years old. The harmony is a response to her fifth prelude. Fireside is dedicated to women composers of the future, who will undoubtedly be making devil’s bargains of their own.

Here is the text of Ruth Crawford’s poem.

Fireside Fancies

When I sit by the side of the blazing fire
On a cold December night,
And gaze at the leaping and rollicking flames
As they cast their flickering light

I see what I would be in future years,
If my wishes and hopes came true,
And the flames form pictures of things that I dream,
Of the deeds that I hope to do.

One tall yellow flame darts above all the rest,
And I see myself famed and renowned,
A poetess I, and a novelist too,
Who is honored the whole world around.

That flame then grows dim, which to me seems to say,
That my first hope must soon die away,
Then another one darts on a great opera stage,
The most exquisite music I play.

And then, after many flames rise, and die down,
The first burns even and slow,
And I see myself singing to children my own,
On the porch of a small bungalow.

Oh, I dream, and I dream, until slowly the fire
Burns lower, grows smaller, less bright,
Till the last tiny spark has completely gone out,
And my dreams are wrapt up in the night.

Ruth Crawford, age 13

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Here is a score of the piece in pdf format.

Fireside is part of my ongoing project A Book of Days. You can go to December 30th to hear my demo recording.

And you are warmly invited to support this very low-key way of publishing:

Lullaby

Lullaby is for solo voice, female chorus, piano and optional vibes. It can also be done by women’s chorus where the solo part is done by the altos and the chant is done by the sopranos.

The text is a poem by Janet Lewis.

Lullee, lullay,
I could not love thee more
If thou wast Christ the King.
Now tell me, how did Mary know
That in her womb should sleep and grow
The Lord of everything?

Lullee, lullay,
An angel stood with her
Who said, “That which doth stir
Like summer in thy side
Shall save the world from sin.
Then stable, hall and inn
Shall cherish Christmas-tide.”

Lullee, lullay,
And so it was that Day.
And did she love Him more
Because an angel came
To prophesy His name?
Ah no, not so,
She could not love him more,
But loved Him just the same,
Lullee, lullay.

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Lullaby is part of my ongoing project A Book of Days. You can go to December 25th to hear my demo recording. The piece is also one in a series called ReThinking Mary.

Here is a score of the piece in pdf format.

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And you are warmly invited to support this very low-key way of publishing:

All Ways

All Ways was commissioned by Frederick and Alexandra Peters for a project called Songbook for a New Century, an evening of songs about the millennium. I chose this text from Stephen King’s novel It, because I felt I didn’t know anything about the new century.

You don’t know you don’t always

I was right about that.

All Ways is November 27th in my ongoing project A Book of Days. You can hear my live performance of the piece there.

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The piece was originally written for voice and piano. The piano/vocal score is here. And here is a draft copy of a score which lays out all the conceptual parts. I can orchestrate it to your specifications, just let me know what you’d like.

And you are warmly invited to support this very low-key way of publishing:

Machaut in the Age of Motown

Machaut in the Age of Motown (2005) is a transcribed mashup of two pre-existing works: The Bells, written by Marvin Gaye (1970) as sung by The Originals, and Tels rit from the Remede de Fortune (1340) written by Guillaume de Machaut as sung by the Project Ars Nova Ensemble. It’s the fifth piece in a series called Machaut in the Machine Age, which I have been making every now and then since 1986 in response to the music and poetry of Guillaume de Machaut, the fabulous 14th century French composer.

Originally scored for soprano sax, clarinet, violin, bass, bells, vibes, piano, and drumset, I am happy to adapt the piece for your forces. You can download the score and listen to a live performance:

And you can listen to the original mashup of Marvin and Machaut on 7 November in A Book of Days.

Farther from the Heart

Oh, I’m sad for never knowing courage,
And I’m sad for the stilling of fear.
Close to the sun now and farther from the heart.
I think that my end must be near.

>I linger too long at a picnic
’cause a picnic’s gayer than me.
And I hold to the edge of the table
’cause the table’s stronger than me.
And I lean on anyone’s shoulder
Because anyone’s warmer than me.

Jane Bowles

I have been mulling over this 1942 poem by Jane Bowles since I first encountered it in 2000. I think the poem is unbearably sad: the embodiment of a specific kind of mid-20th-century female unhappiness. I do not live this life, but I am very conscious of having escaped it.

The song showed up unannounced one day while I was in residence at Ucross in the spring of 2016.

Farther from the Heart is part of my ongoing project, A Book of Days. You can listen to my recording by visiting 3 November.

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Here’s the vocal score at the transposition that works best for me. I am happy to supply you with a different transposition, just let me know what you need when you order the materials below.

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And thank you for supporting this low-key way of publishing.

Walking Music

Walking Music was originally written for an opera based on a Stephen King story called The Man in the Black Suit. This music accompanies a boy’s walk to the stream where he unexpectedly meets the devil. It’s a decorated arrangement of an old hymn of the sort the boy might have been humming as he walked. The hymn, called The King of Love, is a reworking of Psalm 23, set to an old Gaelic tune.

Several years after making the piece, I made an arrangement that can be played as part of the River Project. Thankfully, I did not meet the devil on my journey down the river(!) But I feel that the music captures something of the innocence I sometimes felt on the journey.

Walking Music is part of my ongoing project, A Book of Days. You can listen to a live performance by BRIM and the Guidonian Hand visiting May 11th.

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The original version of this piece is for two singers, two guitars, chorus, string quartet, and optional stream ambience. The BRIM and Guidonian Hand version is for singer, violin, guitar, trombone quartet, and piano. You can download a score of that version here. If you would like a version that works for your ensemble, just let me know your needs.

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Machaut in the Machine Age I: Douce dame jolie

Machaut in the Machine Age I: Douce dame jolie is the first of a series of pieces that use the music of Machaut as a jumping-off point for various juxtapositions of his art with mine. This one was originally written in 1986 for Daniel Druckman (percussion) and Alan Feinberg (piano) as an opener for their duo recitals.

The Tisch School of the Arts commissioned an arrangement of the piece for flute, Bb clarinet, violin, cello, piano, percussion in 1990 so that choreographer Monica Levy could use it for a dance work.

Machaut in the Machine Age I: Douce dame jolie is part of my ongoing project, A Book of Days. You can listen to the ensemble version by visiting March 17th.

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Here are scores for the two different versions of Machaut in the Machine Age I.

original duo version (pdf)

chamber ensemble version (pdf)

When you order the performance materials by clicking the button below, please let me know which version you need. The instrumentation can be changed beyond the two versions above, so talk to me if you have specific needs for your ensemble.

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Play Like a Girl

I’ve posted a new piece called Play Like a Girla set of eight keyboard variations on the Bulgarian Women’s Chorus standard, Kaval Sviri. Some work well on grand piano, others on toy piano or celeste or harpsichord or other “girly” instruments, as you like. The variations can be played simultaneously or successively in any combination for a total of eight factorial versions of the piece. I am posting twelve different versions of the piece in A Book of Days, on the 13th of each month. You can listen to those to get a sense of the possibilities.

Play like the girl you are (or sometimes wish you were!)

Enough Holes

Enough Holes was written for the French pianist Nicolas Horvath to perform on a concert of hommages to Philip Glass. The piece is a response to one that Glass wrote with Foday Musa Suso for a 1989 production of Jean Genet's play The Screens. My piece is inspired by an error-filled computer transcription of the original recording, further edited and transformed manually. I hope it has enough holes.

The piece is part of my ongoing project, A Book of Days. To listen to a recording, please visit May 2nd.

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THE MOTHER: Take the blanket.

LEILA (pointing to a blanket): That one?

THE MOTHER: No, not that one. It hasn't enough holes.

THE GENDARME (to THE MOTHER): Giving her the one with the most holes?

THE MOTHER: What interests her is the holes. The more there are, the better she likes it.

Genet: The Screens (1961)

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Here is a score of the piece in pdf format.

If you perform the piece on public concerts for which you are paid, it'd be great if you would purchase a copy of the piece. Click the button below:

Cave: for spoken voice, mixed ensemble and playback

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.

* see the continuous life for another
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Cave is part of my ongoing project A Book of Days. Please visit July 3rd to hear a recording.

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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.