I wrote this note for the premiere of Creating the World in 1996:
I had cut Miloszâ€™s poem â€œCreating the Worldâ€ out of The New Yorker when it was printed there several years ago, and when Paul Dresher called to ask me for a piece for his ensemble, I knew the time had come for me to take it on. Because the instrumentation of Paulâ€™s ensemble allows for the possibility of live performance and control of A LOT of pre-recorded samples, it seemed the perfect opportunity to create a world of hedgehogs and sopranos and urban intersections and Mozart.
At first, everything was big fun: I had a great time recording the text with the wonderful actor Roger Rees; I spent weeks collecting recordings of virtually every sound mentioned in the poem (including something like forty different settings of the word â€œgloriaâ€); I got obsessed with Tosca (which became the soprano sample) and saw about four different performances of it (both live and on video: NYC is a great place for creating the world(!)); studied the complete works of Joni Mitchell from the point of view of guitar tuning (which ended up not being incorporated into the piece at all)…
And then the abyss hit me.
I realized I could not knit all these wonderful samples into a piece until I had a way of making sense of the central contradiction of the poem: that all the creation in the world does not necessarily make meaning. And it really threw me.
I went back and read Milosz again, not only the poems, but also The Captive Mind, his analysis of the totalitarian mind-set, andÂ A Year of the Hunter, his journal from 1987 (around the time he wrote â€œCreating the Worldâ€), and things got even worse: all the horrors of the twentieth century came crashing down on me. The abyss of meaninglessness became the abyss of actual evil. The image of the Soviet soldiers standing outside the city watching the Germans destroy Warsaw for them became real for me, became my history.
Gradually I went back to the poem itself, to its feeble invocation of feasts of love as protection against the abyss, and I remembered a lullaby that my Bangladeshi friend Babu (M. Faslur Rahman) had sung for me this summer, a very private form of love feast.Â And I started thinking about the Dionysian feasts of love that pervade every human culture, and I figured that the brittle present-directed pleasure of house music is the current American embodiment of that protection. And so you will hear these feasts of love, and I hope they will protect you as they protect me.
For the original version of Creating the WorldÂ the drummer played the spoken word samples on drum set, and lots of other samples were performed on both MIDI keyboard and MIDI mallet controllers. I am happy to make versions for whatever controllers you have available, and some things can certainly be sequenced for practicality. The main live instruments you need are violin, bassoon (or bass clarinet), guitar, and probably two keyboards, although one might work.
Here is a score of the piece, and when you click the purchase button below, I will work with you to make a cool live version of the piece for your band! It’s more expensive than my other pieces, because I have to rejigger the samples and all that. If you think of it as a consulting fee rather than as a publishing fee, I hope it will feel reasonable. If you really want to play the piece, and you don’t have the money, get in touch and we’ll work something out.