photo credit: H. C. Porter
Eve Beglarian "is a humane, idealistic rebel and a musical sensualist."^ "One of new music's truly free spirits,"* and a "remarkable experimentalist,"+ she is a composer, performer, and audio producer whose music is "an eclectic and wide-open series of enticements."^
Much of her recent music has been inspired by a four and a half month journey she took down the Mississippi River by kayak and bicycle in 2009, which is documented on her RiverBlog.
Her chamber, choral, and orchestral 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, Relâche, the Paul Dresher Ensemble, Sequitur, loadbang, the Guidonian Hand, Newspeak, the Ekmeles Vocal Ensemble and individual performers including Maya Beiser, Sarah Cahill, Lauren Flanigan, Marya Martin, and Mary Rowell.
Highlights of Beglarian's work in music theater includes music for Mabou Mines' Obie-winning Dollhouse, Animal Magnetism, Ecco Porco, and Choephorai, 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, and David Neumann, and with visual and video artists including Cory Arcangel, Anne Bray, Vittoria Chierici, Barbara Hammer, Kevork Mourad, Shirin Neshat, and Judson Wright.
Performance projects include the new RiverProject band Brim, Songs from a Book of Days, The Story of B, Open Secrets, Hildegurls’ Ordo Virtutum, twisted tutu, and typOpera.
Recordings of Eve's music are available on Koch, New World, Canteloupe, Innova, CRI Emergency Music, OO Discs, Accurate Distortion, Atavistic, Naxos, and Kill Rock Stars.
(by the composer herself)
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 May 2nd in A Book of Days.
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)