EVOLUTION • Svjetlana Bukvich

From the Composer:

1. Before and After the Tekke is inspired by Mesa Selimovic's book about an 18th century dervish in Bosnia, my visit to an 18th century Tekke - dervish monastery - in Herzegovina at the karstic Buna river spring, Bosnian Christian Orthodox and Islamic music idioms, and the sounds of New York City. The piece features tuning of my design woven with tempered intonation in a suite of imaginary dances informed by deconstructivism.

Text taken from "Death and the Dervish" by Mesa Selimovic:
"Without you, the distant, foreign lands hurt more, and the empty roads, and the strange dreams that I have even when I'm awake, that I can't chase without you."

Cornelius Dufallo, violin
Tony Levin, electric upright bass, electric bass
Svjetlana Bukvich, piano, drum tracks, narration, SFX, synthesizers and voice

The piece was originally commissioned by violinist Ana Milosavljevic.


2. Inspired by Mordy Ferber's fusion jazz, Goran Bregovic's film music, and Brian Eno's nineties electronica, You Move Me brings together sounds of the Adriatic propelled with the sensibility of prog rock and American experimental music. The piece is about the journey within, and the space where the promise of a new love hovers.

Lyrics: "S-v-e   s-t-o   zz-n-a-m   o   t-e-b-i   j-e   s-t-o   zz-n-a-m   o   s-t-r-a-vi."

Translation: “Wh-a-t   I  kn-o-w   a-b-ou-t   y-ou   i-s   wh-a-t   I   kn-o-w   a-b-ou-t   a-we   a-n-d   w-o-n-d-er.”  

Mordy Ferber, electric guitar
Susan Aquila, electric violin viper
Nikola Radan, alto flute
Tony Levin, electric upright bass, electric bass
Svjetlana Bukvich, lyrics, drum tracks, narration, SFX, synthesizers and voice


3. There is a point of levitation in a thoroughbred Arabian horse's run when the rider needs to adjust the velocity of her gaze and find the still point on the horizon. The word in my mother tongue which describes this moment is "jezditi" which means "to touch the stars on a horse". The experience of this moment of kinetic and spiritual freedom is at the core of my inspiration for Sabih's Dream. Essentially a (sympho-rock) tone poem, the piece features tuning of my design woven with tempered intonation. 


Lyrics:
'Cause I get broken in days of hunger
I hear the voices in waves of thunder
And all the people who lost and stumbled
It's time
Sanjam (I'm dreaming)
Binjadzija, binjadzija (horse whisperer)
Whisperer, whisperer

Leonardo Suarez Paz, violin
Martha Mooke, electric and acoustic viola
Ha-Yang Kim, cello
Tony Levin, chapman stick, electric bass,
Svjetlana Bukvich, lyrics, drum tracks, narration, SFX, synthesizers and voice

The piece was originally commissioned by the American Festival of Microtonal Music.


4. Over Water Over Stone is a meditation on the human voice, urban life, and self-love.  It features the voices of Tim Norris of Boston University who also wrote the text, and of my father recorded one month prior to his passing in Sarajevo on 9/11. Motives from the Christian Orthodox liturgical chants are used in this fantasy play of darkness and light. The piece features tuning of my design woven with Carnatic and tempered intonation.

Tim Norris: "In an age when too much is
said and there is little to say?

Is it about a dark silence that surrounds music and the word? The
newness of the voice that floats away, like Webern's music, into
silence?

I just don't know, or rather feel speaking about it speaks it away.
It's not Cage. But think of Cage's voice and the chance meaning of
words as with his Harvard lectures. Voice. No it is not Cage. Oddly it
must be about the enigma of the voice that hovers over every word --
caught-up in its own lyrical death. But no, that is too nostalgic, this
is my fear."

Gareth Flowers, trumpet
Ha-Yang Kim, cello improvisation
Tim Norris, text, narration
Risto Bukvic, voice
Svjetlana Bukvich, piano, synthesizers and voice

The piece was originally commissioned by the Revolving Museum in Boston. For the full poem used in the piece please contact the composer.

5. Legends teach us that nothing can harm those whose love guards Cupid. Six Letters weaves a story in which love falls pray to the vestiges of war, the passage of time, and faint-heartedness. The spoken text featured in the piece is taken from the letters sent to me from Mustafa Cengic during the siege of Sarajevo in 1993. Other spoken text is from the piece I created with South Boston youth during my artist residency there in 1999.

Lyrics:
Spoken (man reads his words):
I see us in the light of the future
The noise of the station receeds behind us
As we slowly walk home

There, I will take a bath
And wash off all the dirt that has gathered on me
In this war

Then, clean, and at ease
I won't fly my lips all over your face, kissing you wildly
Nor will I be ripping your clothes from you pressing you tenderly to my body

On the contrary
I will sit on the edge of the bed on which you have put clean sheets
Stretch my legs apart
And put my elbows on my knees to think

Verses (woman sings her thoughts):
Here comes love
It comes to me from the past
From you to me

In your garden I remember
The sweet fragrance in the sun
And peacefulness
Those moments

Then came war
I was gone
You didn't follow
Why, oh why

Spoken (woman reads man's words):
From the days you left these horizons I began to fear the distance
Because I believed the old people when they said
Out of sight out of mind

I thought this was an old truth impossible to avoid
To many separated couples distance means nothing
Because it is the dark thoughts, fears, and doubts in one's beloved
That make the distance ominous

To us, the distance and the passage of time can not harm
The unfinished process of our love
Therefore, I think that the saying out of sight out of mind was made up by people
For whom the process of love has already stopped
For, where the heart is, also is the soul

Verses (woman sings her thoughts):
Here comes love
Blinds me with temptation
Something we were good at

Mmm, to my mind
You're a vision of a time
And of all things we had

I feel sad na-na-na
I feel sad na-na-na
I feel sad I don't love you anymore
 

Martha Mooke, electric viola
Todd Townsend, french horn
Johnny Reinhard, bassoon, bass bassoon
Mustafa Cengic, South Boston youth - GStatus, text, narration
Svjetlana Bukvich, lyrics, MAX, narration, synthesizers and voice

The piece was originally commissioned by Vanessa Page Dance.