As SFCMP prepares to perform I’m Worried Now But I Won’t Be Worried Long, we asked composer Eve Beglarian about the piece:

It’s hard not to fall in love with the title of the piece we’ll be hearing tonight, and it seems that it’s part of a current running throughout a number of your compositions in which the titles deal with anticipation or acknowledging a distance of time or space in these strangely specific and personal yet ultimately ambiguous ways – How I Like That Time, I Am Writing To You From a Far-Off Country, I Will Not Be Sad in This World are some that seem to share in the game of I’m Worried Now, But I Wont Be Worried Long. Could you talk about the connections (if there are any) between these pieces and perhaps offer some insight towards how this current flows in your very large body of works?

It happens that in the last two pieces you mention, along with Worried Now, I’m using source material from traditional Armenian music, though in very different ways in each piece. The titles themselves come from a range of different places: How I Like That Time is a line from an interview about sex, I am writing to you from a far-off country is the title of the Belgian surrealist Henri Michaux’s poem that I set in the piece, I will not be sad in this world is the title of the Armenian song I am working with in that flute piece, and I’m worried now but I won’t be worried long comes from Charley Patton’s Down the Dirt Road Blues. I think it might be meaningful that all the titles are quotations from other people, not my own invention. While I always aim to make my work emotionally available to the listener — that’s why I’m writing it, after all — I am not exactly a confessional artist. It’s not really about me.

One of the most interesting things about pieces for a solo instrument and electronics is that it often becomes very easy to tell which “player” the sound is coming from, and in tonight’s piece one of the roles of the electronics seems to be that of an entirely distinct accompinamental ensemble. What is the relationship between the violin and the electronics in I’m Worried Now But I Wont Be Worried Long?

The original recording of leaky pipes in a bathroom at the Beijing Conservatory is the basis of the whole piece. The rhythm and sonorities grew from that material. Along with transformations of that bathroom recording, there are counter-melodies in the pre-recorded track that flesh out a sort of hazy quartet that accompanies the live violinist. Sometimes some of those parts are performed live. The delay on the live violin lines up with the delay on some of the pre-recorded tracks as well, so perhaps the relation of live vs. recorded in this piece is malleable.

Approaching your music from a fairly broader angle, you’ve been identified a number of times as a post-minimalist composer, and it’s not difficult to hear qualities associated with the music of Steve Reich or Philip Glass in I’m Worried Now But I’m Not Worried Long. How do you place yourself in terms of the legacy that this title implies? How do you approach the minimalist language when writing music?

Lately, I’ve been mulling over Robert Alter’s analysis of the structure of repetition in the Psalms. Repetition isn’t just simple parallelism, but a growth and transformation, a deepening of the idea that’s nominally repeated. There’s a through line in Worried Now that for me is quite different from the purity and clarity of classic minimalism. But that’s true of the later music of Reich and Glass as well, of course. Purity and clarity only take you so far, then everything gets messy again.

I’m Worried Now But I Won’t Be Worried Long will be performed on Monday, February 25th at 8pm (more information).