It’s all too easy to assign a post minimalist label to Eve Beglarian’s wide-ranging body of work when, in fact, her free spirited, open minded aesthetic refuses to be pinned down. She plays the field from chaste counterpoint for acoustic instruments to the wildest sonic barrages where sampled sounds run amok yet leave clear paths in their wake. She manages both to get away with yet make a personal statement from juxtaposing the severest Chant and the sound of two people loudly copulating, or cobbling together brainy written-out rock and roll with the most frenzied sections of Beethoven’s Missa Solemnis.
While one often finds generous dollops of whimsy and playfulness in a Beglarian opus, serious research, preplanning and forethought informs her creative process. For example, her recent composition Sang (Farsi for “stone”), written for the Los Angeles Master Chorale and acclaimed Iranian-American musicians Manoochehr Sadeghi and Pejman Hadadi resulted from a year of intense study and close collaboration. “When working in other traditions,” Eve told CCi shortly before the work’s June 2007 premiere, “I’m no so interested in the sort of standard ‘We Are The World’ mode that others call collaboration, which is when somebody hears a fabulous drummer from someplace and says ‘oh wow, that’s really cool, will you play on my CD,’ and that fabulous drummer comes in and plays what that fabulous drummer has always done, but it’s merely slapped into a new context. That is less interesting to me than when both sides take a risk. What can we both do so that we learn from each other and stretch?”
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