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. Commissioned by the Contemporary Art Center of New Orleans, LIGHTEN UP will premiere in March of 2018. Performed by the LIGHTEN UP quartet, this 80 minute concert combines 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.

Additionally, Sister Juanita Leonard offers residency activities that target children in settings such as homeless shelters, after school programs, and boys’ and girls’ clubs. A residency by Ms. Leonard can last three days to two weeks, and will invite the participating children to explore how our relationships can transform and be transformed by our communities, and how healing can happen through inclusive art-making.

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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.