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: