Sabbatical Final Report 16

SPRING 2016 TYPE A SABBATICAL LEAVE

FINAL REPORT

Kurt Erickson Professor of Music Cosumnes River College October 1, 2016 ONE PAGE ABSTRACT

During the spring 2016 semester, I was fortunate to be granted a Type A sabbatical to pursue uninterrupted work on a unique composing project to create a large scale work for soprano and orchestra to be premiered in subsequent seasons by lead orchestra Central Ohio Symphony and a consortium of orchestras across the country. During the sabbatical I selected a set of poetic texts to set to music by Syrian expatriate poet Maram al-Masri - living in Paris, she is widely viewed as the female voice of the ongoing Syrian conﬂict. To shepherd this project along, I have worked with Central Ohio Symphony Executive Director Warren Hyer, Ohio based soprano Laura Portune, Dean Artist Management VP Alison Pybus, and soprano Heidi Moss.

My project has expanded in scope and timeline, with orchestras interested in performing the new work in a series of rolling premieres during the 2017-18 and 2018-19 seasons. The piano vocal score has been completed and is being rehearsed with soprano Heidi Moss. Prior to these large scale performances, portions of the work will be performed in a soprano/piano format on December 9, 2016 on the Fall 2016 CRC Guest Artist Recital featuring soprano Heidi Moss (I’ll be accompanying her on the recital).

In addition, my sabbatical leave provided me with an opportunity to complete work that fell in additional areas related to the development of my career as a professional composer: created additional new musical compositions, created specially designed arrangements of pre-existing works for public performances, planned and created an evening recital of works for voice and piano with soprano Heidi Moss, took part in public performances and/or premiere performances of my work, traveled to San Jose to witness rehearsals and performances of the contemporary opera Streetcar Named Desire by acclaimed composer Andre Previn at San Jose Opera, and a performance at Dorothy Chandler Pavilion in Los Angeles.

In unexpected fashion, I also discovered that the sabbatical break afforded me the opportunity to develop a completely new approach to the classroom (unexpected only because the primary focus of my sabbatical leave was for professional development reasons and not pedagogical refocusing).

My sabbatical leave results and new works will be shared with the the CRC community in a multiplicity of ways: in talks with music majors, in talks with the CRC Composers Ensemble members, public performances of the works on the December 12th and 13th performances of the CRC Composers Ensemble, in performance December 9th on the CRC Guest Artist Recital Series while performing with soprano Heidi Moss, in performances on a January 27, 2017 Erickson / Mozart Birthday Fest Concert at San Francisco’s Noe Valley Ministry Concert Series, and through assorted social media postings of audio and video from performances. NEW WORK FOR SOPRANO AND ORCHESTRA: A RED CHERRY ON A WHITE TILED FLOOR - POEMS BY SYRIAN EXPATRIATE POET MARAM AL-MASRI

Creative Work My Spring 2016 sabbatical focused on writing a new 11-minute work for soprano and orchestra, using poems by acclaimed Syrian expatriate poet Maram al-Massri. The new multi-movement work will be premiered by a consortium of approximately 10-15 orchestras from within the US and internationally. Performances of individual movements of the work in a soprano/piano arrangement will occur in Sacramento and San Francisco during the 2016-17 season, with rolling premiere performances by the orchestras expected during the 2017-18 and 2018-19 seasons.

Syrian poet Maram al-Massri writes disarmingly sensual and evocative verses that captivate a worldwide audience. For my orchestral set I chose poems from her groundbreaking book A Red Cherry on a White Tiled Floor, selecting and setting the following poems:

“She Bequeathed” “I am the Thief of Sweetmeats” “Like Grains of Salt they Shone” “They’re all Hers”

Working at the piano, my process for writing this piece consisted of spending countless hours improvising accompaniments and setting the texts to music while creating multiple handwritten drafts. Keeping a journal while score studying similar works in the voice and orchestra genre helped to coalesce my thoughts as I worked out the form and structure of the piece, both on the micro and macro levels. Playing samples of the work for and with soprano Heidi Moss as she sang along from the handwritten scores allowed me to hear the work in real time, making adjustments according to what I heard.

The poems of Maram al-Masri are short, epigrammatic, and confessional. The challenge was to create a uniﬁed set of pieces to match the grander, more epic scale of the orchestra.

With orchestral performances scheduled for the 2017-18 and 2018-19 seasons, I will have additional time to further edit and modify the works based on the experiences of the soprano/ piano performances during the 2016-17 season. The opportunity to live with the piece and allow the work to grow and expand after many performances is a great gift, as the creative process is in many ways predicated on such experiences.

The works and project have garnered a signiﬁcant amount of interest - I am currently in discussions for performances with Oakland East Bay Symphony, Central Ohio Symphony, Livermore Amador Symphony, Central Wisconsin Symphony, South Bend Symphony Orchestra, Plymouth Symphony Orchestra, Clermont Philharmonic, and Hamilton Fairﬁeld Symphony Orchestra (additional orchestras have yet to be approached). Additionally, soprano Karen Slack based in Lexington, Kentucky is interested in performing the work during the 2017-18 season in a social-justice themed recital Wisconsin. I anticipate that more singers will program the work once a recording is made available after the Sacramento and San Francisco performances. Administrative Project Management Soliciting conductors and executive directors of orchestras to join a consortium of ensembles from across the country for performances 2-3 years in advance takes planning and assistance from a diverse set of collaborators. To help bring this project to fruition, I’ve received great help from the following collaborators: Warren Hyer (Central Ohio Symphony Executive Director), Laura Portune (soprano soloist based in Ohio), Heidi Moss (soprano soloist based in the San Francisco Bay Area), Alison Pybus (VP of Dean Artists based in Toronto, Canada), and Nancy Quinn (proprietor of Nancy Quinn and Associates Arts Management).

The idea for the consortium stemmed from a desire to create a new work that could be shared by a multiplicity of orchestras. The sabbatical leave provided me with the time to write the work and the decision to not ask for commissioning fees from the orchestras involved has drastically lowered the bar to participation.

The work deals with a timely subject matter, namely Syria and the rights of women in the Middle East. Consulting with San Francisco arts consultant Nancy Quinn (Nancy Quinn and Associates), we came up with a plan to market the piece to ﬁt the following programmatic themes:

• Music from and Inﬂuenced by the Middle East • Music of Love and Desire • Celebrating Women • 20th Century and Contemporary Melodic Composers • Music to Resist Repression and Tyranny • Music Inspired by Poetry & Literature

ACTIVITIES , RESEARCH, AND TRAVEL DURING SABBATICAL

Additional Works Created During Sabbatical While the bulk of my work focused on my orchestral commissioning project, the Spring 2016 semester sabbatical leave provided me with the time and energy to work on additional creative projects. As such, I had the opportunity to start and finish new compositions, finish half-written works previously attempted, make new arrangements of existing works for specific performers, and completely revise the scores and notation of works in inferior conditions.

A sampling of works completed includes the following:

We Three Kings - Completed new 3-minute a cappella treble chorus work to be premiered at Davies Symphony Hall (2,700 seat hall) on December 19, 2016 by the Grammy Award winning San Francisco Girls Chorus

The Procuress - Created a new 5-minute work for tenor Rufus Muller, to be performed during the 2016-17 season at Bard University (NY)

Jagermeisterlieder: A Song Set for Manly Men - Created a new 12-minute arrangement for tenor Rob Chaﬁn, to be performed in New York at the 92nd Street Y, November 2016 Jagermeisterlieder: A Song Set for Manly Men - Created a second 12-minute tenor arrangement for tenor Chris Nichols, to be performed in San Francisco in February 2017 on the Lieder Alive! concert series at Noe Valley Ministries

Jagermeisterlieder: A Song Set for Manly Men - Created a 12-minute baritone arrangement for baritone Zachary Lennox, performed on August 31, 2016 in Portland, OR and in Portland location TBA September 2016.

Food Porn 15-minute song set for baritone voice and piano to be completed winter 2016. Approximately twelve separate singers from across the US and Europe have requested copies to perform on upcoming recitals. • It Will Last Longer - 3 minute work completed during sabbatical • For Adults of Average Build - 2 minute work completed during sabbatical • Eat your Colours - 3 minute work completed during sabbatical • Some Fall in Love with Tuscany - 4 minute work completed during sabbatical • Spanish Pork Sausage - 3 minute work completed during sabbatical

CALENDAR OF ACTIVITIES

January 2016 witnessed the premiere performance of my new work for soprano, chorus, and orchestra to celebrate the 50th Anniversary of the Berkeley Community Chorus and Orchestra. The 12-minute work used texts by Pulitzer Prize winning poet and former US Poet Laureate Robert Haas (pictured here along with soprano Heidi Moss), Caroline Kizer, and Frank O’Hara.

February 2016 saw the premiere performance of my new work When Numbers and Figures No Longer. Written as part of my composer residency with San Francisco’s Lieder Alive!, the work was premiered by violist Paul Yarbrough (Alexander String Quartet), Anthony Striplen (SF Opera Orchestra), mezzo soprano Kindra Scharich, and pianist Jeff LaDeur on the Noe Valley Ministry Gala Concert.

PERFORMANCE AT DOROTHY CHANDLER PAVILION IN LOS ANGELES In April 2016, internationally acclaimed countertenor Brian Asawa passed away after a long illness. Brian and I worked together starting in 2012 when he gave the commissioned premiere performances of my song set Four Andalusian Love Songs (see attached feature article in The Hufﬁngton Post). Mr. Asawa sung on the world’s leading operatic stages and his obituary was featured prominently in The New York Times. I was one of only 3 performers invited by the Asawa family to perform - soprano Heidi Moss and I performed Split My Heart, one of the songs Brian commissioned from me and performed to great acclaim. After the Memorial service, a video of our performance from the 2014 Napa Music Festival was incorporated into a tribute video that was shared on all the major opera web sites.

STREETCAR NAMED DESIRE REHEARSAL AND PERFORMANCE PARTICIPATION WITH SAN JOSE OPERA In April 2016 I spent a week attending closed rehearsals and performances of Andre Previn’s opera Streetcar Named Desire. Spending hours watching this contemporary tour-de-force work come to life provided me with an immersive experience living in the music style and language of a composer that provided me with much inspiration during the composing of my work for soprano and orchestra. Previn’s work is infused with complexity and contains elements of his long history writing for jazz ensembles as well as work in the classical arenas.

CREATION OF FULL RECITAL WITH SOPRANO HEIDI MOSS

As part of the process of writing a new work for my frequent collaborator soprano Heidi Moss, we have created and rehearsed two separate recitals (70 minutes of music, total) for upcoming performances. Our ﬁrst performance will be on December 9, 2016 with Heidi Moss as an invited Guest Artist on the CRC Guest Artist series. On this recital we will perform some of the works I created during my sabbatical leave. A second concert on January 27, 2017 on the Lieder Alive! Concert Series will be given and include guest artist Paul Yarbrough (violist with the Alexander String Quartet). Billed as a Mozart / Erickson Birthday Fest, the concert is a kind of retrospective of my works created over the past ﬁve years (Mozart and I share the same birthday on January 27th). An additional concert is being planned in Scotts Valley, CA during the second week of January 2017. Ms. Moss and I will present works by composers Gabriel Faure, Richard Strauss, Mozart, and Kurt Erickson.

METHODS OF SHARING THE RESULTS OF THE LEAVE

Individual movements from my orchestral song set A Red Cherry on a White Tiled Floor will be performed December 12, 2016 in the CRC Recital Hall as part of the CRC Guest Artist Recital featuring Heidi Moss (I will accompany her on the piano). We will also perform individual movements and other works on December 8 and 9, 2016 on the CRC Composers Ensemble concerts. Discussions of the work and project will be given to students in my music classes, as well as to the members of the CRC Composers Ensemble. January 27, 2017 will see performances of the movements on the Lieder Alive! concert series Erickson/Mozart Birthday Fest concert in San Francisco, CA. Premiere performances of the orchestral version of the piece will take place during the 2017-18 and 2018-19 seasons. CRITIQUE OF LEAVE

As a composer, the gift of uninterrupted free time to work for long stretches is a luxury that I am not afforded during a busy semester filled with teaching as many as seven separate classes. As such, my spring 2016 sabbatical leave was focused almost exclusively on professional development goals that I cannot accomplish during the regular school year. In my most productive hours I discovered that giving myself short goals within a limited time period was the best way to maximize my efficiency (one such goal would be the task of inputting all of the musical notes into the computer of a short piece once I had already finished the actual composing of said work).

Writing a new musical composition requires countless hours improvising and searching for ideas, countless hours playing through the piece and revising, countless hours translating the sounds of the piece into our standard notation system, and countless hours revising multiple drafts to ensure the visual presentation and layout of the piece is as accurate to the original musical ideas as possible (no easy task). Add to this the fact that there are many false starts where the material created is not successful and/or does not warrant further development. Consider also the simple fact that inspiration is fleeting and changes of scenery are sometimes needed to refresh the brain and get back into peak creative flow. I found stimulation during my sabbatical through the act of listening to new and unusual musics (research) as well as by listening to Humanities based podcasts and talks (Malcom Gladwell is and remains a favorite). On a personal level, regular exercise and structured fitness regiments provided increased vitality, while travel gave me fresh perspective.

UNEXPECTED PEDAGOGICAL BENEFITS

My sabbatical leave focused almost entirely on professional development goals, creating new works and honing my skills as a composer through an ambitious multi-year project. Curiously, what I found upon my return to teaching in the fall 2016 semester was that my approach to teaching had changed dramatically. More than just simply feeling rejuvenated after a break, I’ve found that my organizational skills have increased tenfold. I’ve also discovered that my class discussions have been slowed down considerably, and I am taking more time and really delving into topics in a way that I had not done so in the past. It is as if the time spent away from teaching gave me the opportunity to transform myself as a professional, which in turn radically changed the way I approach both the content of the classes and my students in general.

I’ve always had a great comfort level in the classroom, and I take pride in the fact that my students view me as a positive inﬂuence. What I’ve found this semester is that students will wait for me after the class has completed to shake my hand and thank me for a “great lecture”. I’m aware that my comfort level has increased dramatically, but it is hard to wrap my head around reactions such as these.

SUMMATION

I am extremely grateful for the unique opportunity to be awarded a Type A Sabbatical leave. My time spent away from the college during the Spring 2016 semester was a resounding success both from the fact that I successfully completed my main project and also completed many important additional projects. I am extremely grateful for the opportunities that Cosumnes River College and the Los Rios Community College District provide to professors like myself to revitalize our teaching and pursue projects that make us better instructors and more accomplished professionals. Thank you again for this opportunity.

ATTACHMENTS: • Guardian article on Syrian poet Maram al-Masri • Brian Asawa Memorial program, Dorothy Chandler Pavillon • Brian Asawa Hufﬁngton Post article with Kurt Erickson • When Numbers and Figures No Longer Noe Valley Ministries Gala Concert ﬂyer • Portland Jagermeisterlieder program • Score Samples: We Three Kings, Like Grains of Salt, She Bequeathed, Eat Your Colours, When Numbers and Figures ! ! Voices above the chaos: female war poets from the Middle East The carnage in Turkey and Syria has led to a blossoming of poetry – with women at the forefront. Here, two of them, one Syrian and one Kurdish, tell their stories Ed Vulliamy

Sunday 4 September 2016 04.30 EDT The Syrian city of Aleppo crumbles into rubble, assailed by Russian bombs, government artillery and chemical weapons. In the heat of battle, Turkish troops and Kurdish fighters turn on one another, fighting their age-old war, though both are supposed to be fighting a common enemy, Islamic State (Isis), advancing on the battered, tortured civilians of Aleppo and other Syrian and Kurdish communities in a murderous pincer movement. So the Middle East continues to implode – but amid the chaos emerges a further force, perhaps incredibly, a poetic and literary one. It comes in defiant journalism, like the story televised last week of a gardener in Aleppo who was killed by bombs while tending his roses and his son, who helped him, orphaned. And it comes in the verses of two female poets, part of an emergent school of verse, much of it written by women: Bejan Matur and Maram al-Masri – Kurdish and Syrian respectively. Matur and Masri are the two most illustrious and cogent of this new generation of female poets; their verse combines to create a devastating but richly composed verbal landscape that it is at once epic and intensely human. Raw and lyrical, of the moment but seeped in the memories of their people, immediate and for ever. The two women write very differently. Masri’s poetry vividly encapsulates the frailty of our human condition in a brutal society. It can flay you at first reading. It is fair to see Masri as a love poet whose verse spares no truth of love’s joys and mercilessness, to whose work war then came, as it tore her native Syria apart, and overwhelmed it, and her. Matur’s verse is more mystical: it sublimates the political and politicises the sublime; it locates her people’s wandering within a philosophical meditation on both the meaning and emptiness of being. While Masri’s verse is modern, and modern war poetry of the cruellest order, Matur’s evokes the Romantics, Coleridge and Emily Brontë. Both record, with power and sentient https://www.theguardian.com/books/2016/sep/04/female-poets-of-syrian-war-turkey-middle-east?CMP=share_btn_fb Page 1 of 7

Voices above the chaos: female war poets from the Middle East | Books | The Guardian 9/4/16, 6:24 AM humanity, the vortex of war in our world today, and the millions these wars scatter and shatter across it, not least to Europe’s shores. ‘For me, only through writing poetry can I reach my own horizons,” says Matur. We’re talking in a cafe by the river Lee in Cork, after a discussion of her work in the city library. During the discussion, she had confronted the fact that all her poetry until now was written in Turkish, rather than her native Kurdish, the banned, therefore private language of home and family. But in the library, she had read aloud her first Kurdish poems. “My mother corrected me,” she told the audience. “She pointed out, for instance, the different Kurdish words for ‘to turn around’ and ‘to return’ – I had used the wrong one. So there was my mother, who cannot read, becoming my editor!” Now Matur reflects on these origins. “We lived a happy life, but it was always confined; even as a child I was aware of this. I’m Kurdish, and you learn early that others do not regard or accept the land in which you are born as your own.”

Brian Asawa Premieres Erickson's Four Arab Love Songs | Huﬃngton Post 10/4/16, 9:48 PM

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Donald Trump Is In Serious Trouble, Judging From Post- As one of the world’s preeminent countertenors, Brian Asawa has been a fixture on Debate Polls the opera circuit for two-decades. The Los Angeles native’s career had jump- started as the first countertenor to become the Grand Prize Winner of the Read Live Updates Metropolitan Opera National Council Auditions in 1991. Other top honors ensued. From The Vice Presidential Debate His professional life launched at the Santa Fe Opera in 1993 and the singer has seldom looked back, or had time to. He has conquered North American stages in Los Angeles, San Francisco, Houston, Seattle, Toronto, Washington D.C.’s Lincoln Watch What Happened http://www.huffingtonpost.com/rodney-punt/brian-asawa-premieres-eri_b_4455380.html Page 1 of 6 Brian Asawa Premieres Erickson's Four Arab Love Songs | Huffington Post 10/4/16, 9:48 PM

Center, and New York’s Metropolitan Opera, and enjoyed equal success in the When A Food Truck In NC Refused To Serve international houses of Sydney, Cologne, Brussels, Lyon, Amsterdam, Bavaria and Gays London’s Covent Garden.

Between these dizzying peregrinations, Asawa has called the Bay Area home. This Michelle Obama Trolls Trump By Tapping Her month, for a combination of family and professional reasons, he has relocated to Microphone During Epic his native city. This ﬁrst recital after his permanent return was in the pleasant Takedown sanctuary setting of the West Los Angeles United Methodist Church last Sunday afternoon. Located in the tidy if modestly appointed Sawtelle district of West L.A., Hurricane Matthew its members are by tradition Japanese Americans, as is Asawa himself. The Prompts South Carolina church’s exterior grounds have gently evocative memorials sprinkled about in the To Evacuate 1 Million style of Japanese gardens. The recital itself was a fundraiser for a congregation that includes the singer’s mother and family.

And a very ﬁne program it was. A trio of selections each by Alessandro Scarlatti, SUBSCRIBE AND G.F. Handel, and Franz Schubert began the program, which was rounded out later FOLLOW with sacred and secular holiday songs from around the world. Between these, a Get top stories and blog posts emailed to me new work by San Francisco based composer Kurt Erickson, Four Arab Love each day. Newsletters may oﬀer personalized content or advertisements. Songs, inspired Asawa’s and pianist Mark Salters’ most moving, also most novel, Learn more performances. Its world premiere tour had begun in Long Beach on October 26 [email protected] and will conclude early next year with recitals in San Francisco and Washington

State. This was its second performance. Subscribe Now 

Erickson’s songs form a mini-cycle of medieval Arab poems from Spain’s  1.09 M  128 K Andalusia region dating from 900 to 1100 AD. Their poets — with lapidary names like Ibn Hazm, Al-Asad Ibrahim Ibn Billitah from Toledo, Yusf Ibn Harun Al-Remedi  444 K  Podcast from Cordoba, and Bakr Al-Tartushi from Eastern Andalusia — are near-lost identities from Islam’s Golden Age. (Erickson told me in a later telephone Add us on Snapchat conversation that he discovered the obscure texts in a used-book store.)

In their confessional humanism and indulgent humor, these epigrammatic songs reveal an Arabic sensibility far removed from the religion-drenched dogmas of today’s Middle East and North Africa. Their sinewy vocal lines, ably conveyed by Asawa, have clever onomatopoeic counterparts in the piano’s atmospherics, fully exploited in the interplay between Salters and his singer: exaggerated strutting motifs in “The Rooster”, an erotic-neurotic soundscape, at turns barbaric or quixotic, in “Split My Heart”, buzz-cut rhythms for the shaved-head exploitations of “Slave Boy”, and an obsessive one-note repetition of the word ‘you’ in “Absence.” The devices captured the spirit of the poems and established a lineage of emotional tone-painting that Erickson has inherited from the songs of Franz Schubert.

Music lovers are generally more familiar with Domenico Scarlatti, Alessandro’s keyboard specialist son, than his opera-composing father. Baroque opera revivals have brought Alessandro’s name back into public view, and, on the basis of the

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three arias that opened the recital, with good reason. Asawa took the audience on a lyric journey from the promise of the sun’s gilded rays at morning to love’s suﬀering and later the mortal blows of a lover’s glance. His assured, pleasing trills were shown to good advantage in “Son tutta duolo” and his rich lower register in “Se tu della mia morte.”

If there is one composer to whom today’s countertenors are most indebted, it is George Frideric Handel, whose Italian opera career in London was eclipsed during his lifetime by his later output of English language oratorios. Today’s revival of the Baroque master’s operas are the core of the countertenor repertoire. On this occasion, Asawa featured selections from both genres. Handel’s familiar ‘Where e’re you walk” can, in lesser singers, become cliché; here Asawa beautifully reimagined it as a fresh and spontaneous outpouring. “Sparite, o penseiri” found him equivocating between two lovers. Likewise, he brought out, in a bumptious rendition, the temporizing humor of “La tigre arde di sedeno,” the text comparing hot love to a tiger’s anger or, if losing that lover, to a turtledove’s sorrow.

Schubert’s own uncanny ability to conjure subtle moods was explored in the next set. In “Liebesbotschaft,” the ﬁrst of his Schwanengesang (Swan songs), the physical distance between Salters’ fast-rippling piano piano and Asawa’s delivery of the song’s dense poetry on stage may have compromised precision in their joint execution. “Im Abendrot” made up for it with its paean of glowing sunset gratitude to the deity, notable for Asawa’s impressive breath control, allowing his voice to easily caress the song’s exquisite, long-breathed serenity. Goethe’s “Rastlose Liebe”, in an oppositional mood, conveyed the breathless energy of young and restless love.

Nodding to the holiday season, a set of four works — the French traditional “Il est né, le divin enfant,” Britten’s “A New Year Carol,” Vaughn Williams’ “Wither’s

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Rocking Hymn” and Hugo Wolf ‘s Ach des Knaben Augen” — focused on the birth of the Christ child. Concluding the afternoon was lighter fare: the secular “Drummer Boy” and “A Christmas Song” followed by Adolphe Adam’s “Oh Holy Night.”

The varied program had showcased Asawa’s youthfully bright voice, ﬁne technique and impressive range. Asawa doesn’t just stand and sing; he instills each of his selections with a veteran stage actor’s ability to convey a song’s emotional climate and unique character. His versatile piano collaborator, Mark Salters (opera co- director and vocal coach at nearby Cal State Fullerton), maintained a close empathy while revealing his own ﬂuid virtuosity. The church’s acoustic was full and mostly free of distracting reverberation.

As lovely as the Christmas themed dénouement was, it was the millennium-old poetry from Islam’s Golden Age that haunted this listener and, in a signiﬁcant way, captured the urgency of the universal human condition. In our troubled age, the songs of those Arabic poets of so many years ago chimed with this holiday season’s renewing hope for human compassion, tolerance and inclusiveness.

—-ooo—-

What: A Solo Christmas Recital Who: Brian Asawa, Countertenor — Mark Salters, Piano Where: West Los Angeles United Methodist Church When: Sunday, December 8, 2013, 2 pm

Top photo of Brian Asawa by Marco Borggreve is used by permission of the artist. Bottom photo of Salters and Asawa at WLA United Methodist Church is by Rodney Punt and used by his permission. Punt can be contacted at: Rodney@artspaciﬁca.net

Follow Rodney Punt on Twitter: www.twitter.com/RodneyPunt

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Kurt Erickson

2016

KURT ERICKSON MUSIC • kurterickson.com ii WHEN NUMBERS & FIGURES NO LONGER for mezzo-soprano, clarinet, viola, and piano

Kurt Erickson

2016

KURT ERICKSON MUSIC • kurterickson.com

iii WHEN NUMBERS AND FIGURES NO LONGER

A companion piece to my earlier work The Over Journey, When Numbers and Figures No Longer uses a 19th Century poem by Novalis to express a quintessentially Romantic, anti-Enlightenment ideal - the overthrow of cold reason in favor of the irrational vagaries of the human spirit. The work is very happily dedicated to the Lieder Alive! Chamber Ensemble for whom it was written.

“Wenn nicht mehr Zahlen und Figuren” “When numbers and ﬁgures no longer”

Wenn nicht mehr Zahlen und Figuren When numbers and figures no longer Sind Schlüssel aller Kreaturen, Are keys to everything created, Wenn die, so singen oder küssen When those who sing or kiss Mehr als die Tiefgelehrten wissen, Know more than the learned scholars, Wenn sich die Welt ins freie Leben When the world returns to a free life Und in die Welt wird zurückbegeben, And to the world, Wenn dann sich wieder Licht und Schatten When then once more light and shadow Zu echter Klarheit wieder gatten Will couple to produce genuine clarity, Und man in Märchen und Gedichten And people will recognize that the true histories of the Erkennt die wahren Weltgeschichten, world Dann fliegt vor einem geheimen Wort Lie in fairy tales and poems, Das ganze verkehrte Wesen fort. Then at a single secret word This whole wrongheaded existence will fly away.

www.kurterickson.com

iv When Numbers and Figures No Longer Novalis Kurt Erickson

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8 Mezzo b b b 5 j 2 #œ #œ ˙ 5 & b b b Ó Œ #œ 4 nœ. #œ ‰ #œ œ œ. nœ 2 . J 4 Sind Schlüs - sel al-ler Kre - Ja - tur - en 8

B Cl. b b b ˙. 5 2 5 & b b Œ 4 ! 2 ! 4

8 Vla. b œ & b bbbb #œ ˙ Œ 45 ! 2 ! 45 8 " b n ˙ & b bbbb nn#œœ œ# ˙˙ Œ 45 ! 2 ! 45 Pno.

b #œ #œ n˙ ? & b bbbb Œ 45 ! 2 ! 45

11 Mezzo b œ & b bbbb 45 ! 2 Ó Œ œ ‰ j œ œ ‰ œ. nœ œ œ œ Wennœ die, soœ sing - en œo-derœ Kus J 11 B Cl. œ œ ˙ b bbbb 5 œ œ nœ 2 Ó ! ! & 4 œ 5 2 11 Vla. b œ œ œ ˙ b bb b 5 Œ ‰ j œ . 2 Ó ! ! & b 4 nœ œ 2 11 œ œ œ œ œ b b b 5 nœ œ œ œ œ 2 œ œ & b b b 4 œ œ œ œ 2 Œ Ó ! ! Pno. œ

œ œ nœ ? ? b b b 5 & œ 2 œ œ Œ Ó ! ! b b b 4 œ œ œ œ œ œ 2 When Numbers and Figures No Longer 3

15 3 Mezzo b U j & b bbbb œ nœ œ œ ‰ œ œ. œ j œ œ j ! 45 œ sen Mehr als die Tiefœ. œ - nœ. gel-ehr - tenœ wisœ. - sen.œ ˙ 15 B Cl. œ b bbbb ! ! ! œ œ nœ 5 & œ 5 4 15

Vla. œ bbbb b ! ! ! Œ ‰ j œ œ. 5 & b nœ œ 4 15 b b b œ 5 & b b b ! ! ! œ œ œ œ œ œ œ 4 Pno. œ œ œ nœ ? œ œ œ œ 5 bb b b ! ! ! œ œ & 4 b b œ "

19 Mezzo b & b bbbb 45 ! 46 ! 4

19 B Cl. œ œ œ. aœ w b bbbb 5 œ œ nœ 6 J 4 & 4 œ 5 4 4 19 Vla. b ˙ œ œ ˙ #˙ b bb b 5 ‰ j œ 6 #œ nœ 4 & b 4 nœ œ 4 4 19 œ œ œ œ œ œ #œ b b 5 œ œ œ œ œ œ 6 # œ nœ œ #œ œ 4 & b b bb 4 œ œ nœ 4 #œ #nœ nœ œ œ œ 4 Pno. ##œœ n œ aœ aœ aœ f n œ N# œ œ bb b b 5 œ œ 6 nœ ? #œ œ 4 & b b 4 œ œ œ œ œ œ œ œ 4 #œ œ nœ œ #œ aœ 4 nœ nœ 4 When Numbers and Figures No Longer

21 Mezzo b . & b bbbb 4 Ó ˙ Ó ˙ ! Œ œ œ nœ Wenn Wenn Wenn sich dieJ 21 B Cl. w ˙ ˙. w b b b 4 & b b 4 Ó Œ

21 p Vla. œ œ. œ ˙ ˙ bbbb b 4 Œ ‰ j œ œ. J Ó ! & b 4 nœ œ 21 P œ œ œ œ œ œ œ œ œ œ œ bbbb b 4 œ œ œ œ œ œ œ œ œ Ó ! & b 4 œ œ œ œ œ œ œ Pno. œ œ œ P œ ? 4 œ œ œ œ œ œ œ bb b b 4 œ œ œ & œ œ œ œ œ Ó ! b b œ œ œ œ "

25 Mezzo b j U & b bbbb ˙ ‰ œ œ. nœ nœ œ Œ ‰ j ˙ ‰ j 46 Welt ins fre - ie Leœ. - benJ Undœ inœ. dieœ Welt wirdœ zuœ - rüchœ. - beœ-geœ - ben,œ 25

B Cl. ˙ b b b 6 & b b Ó ! ! ! 4

25 Vla. b & b bbbb ! ! ! ! 46

25 b b 6 & b b bb ! ! ! ! 4 Pno.

b ? & b bbbb ! ! ! ! 46 When Numbers and Figures No Longer 5

29 Mezzo b & b bbbb 46 ! 4 ! ! 45

29 U , B Cl. œ ˙ w b bb b 6 œ nœ œ œ 4 œ. J 5 & b 4 œ œ 7 œ 4 4 29 p # 3 , Vla. U bbbb b 6 ‰ œ nœ œ 4 w w 5 & b 4 j œ œ 3 4 4 œ nœ œ 29 p œ # U œ œ œ # nœœ nœ b b b 6 nœ œ œ œ œ œ œ 4 # # œœ œ œ œ œ œ œ # œ œ#œ œ. a œ 5 & b b b 4 œ œ œ œ 4 nœ nœ œ n œ nœ œ . J 4 Pno. œ p # nœ ? 6 œ œ 4 U ? 5 bb b b 4 & œ œ œ œ œ 4 nœ œ nœ œ 4 b b œ œ œ œ #œnœ œ œ œ œ #œnœ œ œ œ œ

32 Mezzo b & b bbbb 45 ! 4 ! 45 ‰ j œ. nœ œ Wennœ dannœ. sichœ wei - derJ 32 U B Cl. ˙. b b b 5 4 œ 5 & b b 4 ‰ j œ œ 4 œ œ 4 ! œ œ œ œ œ œ 3 32 P 4 U Vla. b b b 5 4 ˙ 5 & b b b 4 œ 4 œ œ 4 ! œ œ œ 32 P ˙ œ œ œ œ U , œ œ œ œ œ œ œ œ œ œ œ bb b b 5 œ œ œ nœ œ œ 4 5 ! & b b 4 œ œ œ œ 4 4 Pno. œ œ P U œ œ nœ œ œ œ œ ? b b b 5 & œ œ 4 Aœ œ œ œ 5 ! b b b 4 œ œ œ œ œ 4 4 6 When Numbers and Figures No Longer

35 Mezzo b œ œ œ œ & b bbbb ‰ j œ. nœ œ 4 Ó ‰ j 46 œ. nœ œ œ œ œ 4 œ. œ œ ‰nœ Lichtœ undœ Schat - tenJ Zuœ echœ.- terœ Klar J - - - heitJ wieJ - 35

B Cl. b b b 4 6 4 & b b ! 4 ! 4 ! 4 !

35 Vla. b & b bbbb ! 4 ! 46 ! 4 !

35 b & b bbbb ! 4 ! 46 ! 4 ! Pno. b & b bbbb ! 4 ! 46 ! 4 !

39 Mezzo b & b bbbb œ œ œ œ œ. 2 w 45 ! 4 - der gat -J ten 39

B Cl. U U b b b 2 #˙ œ #œ œ 5 nw œ 4 & b b ! 2 4 4

39 p Vla. b U U & b bbbb ! 2 ‰ j 45 ‰ j 4 #œO ˙O. œO wO 39 p U b b 2 # n œ œ œ Uœ 5 œ œ œ œ œ œ œ œ 4 & b b bb ! 2 # œ nœœ nœ #œ 4 nœ œ bœ œ œ 4 Pno. p nœ œ U b b 2 U ? 5 œ ? 4 & b b bb ! 2 nœ œ 4 œ & œ nœ œ œ œ œ 4 #œ nœ œ œ œ œ When Numbers and Figures No Longer 7

42 Mezzo b & b bbbb 4 ! ! !

42 U U U B Cl. #˙ ˙ œ œ ˙ b bb b 4 #œ #œ #œ œ œ nœ œ nœ bœ nœ & b 4 3 3 3 3

42 3 U 7 U 3 U Vla. b b b 4 n˙. & b b b 4 #œn˙. œ œ œ œ n˙. œ œ nœ œ nœ nœ œ n˙. 42 #œ œ b #œ U œ œ œ œ U œ œ œ œ Uœ & b bbbb 4 n œ #œ n#œ œ œœ œ œ œ nœ œ bœœ n#œ #œ nœ bœ nœ bœ Pno. U U #œ #œ œ œ Uœ nœ #œ #œ nœ œ nœ œ œ œ œ nœ œ ? b b 4 #œ œ b b bb 4 nœ œ œ nœ

With restrained excitement, 45 almost conspiratorially Mezzo b j & b bbbb ! 46 ! 4 ‰ œ œ. œAœ œ Œ Und man in Mär - chen 45 U B Cl. œ œ nœ œ ˙ ˙ ˙ b b b œ œ 6 œ 4 & b b ‰ 3 4 Œ 3 4 ! 45 o o o U œo ˙ ˙ ˙ Vla. b b b œ œ ˙ 6 4 & b b b ‰ œ 4 Œ 3 4 !

45 U U b b œ œ œ œ œ 6 œ œ œ œ œ œ œ 4 & b b bb nœ bœ nœ bœ 4 nœ bœ nœ bœ nœ bœ 4 ! Pno. bUœ U œAœ œ œ œ ? b b nœ œ 6 œ œ œ ? 4 ! b b bb œ 4 œ & œ œ œ œ 4 œ œ 8 When Numbers and Figures No Longer

48 Mezzo nœ nœ U b b b œ j œ. œAœ œ œ œ œ œAœ œ. œ & b b b Œ œ. œ œ Œ ‰ œ œ. œ J Œ 3 œ. œ œ und Ge-dich- ten Er - kennt die wah - ren Welt - ge - schich - ten,J 48

B Cl. b b b & b b ! ! ! ! !

48 Vla. b & b bbbb ! ! ! ! !

48 b & b bbbb ! ! ! ! ! Pno.

? b b bbbb ! ! ! ! !

53 3 3 , Mezzo b n & b bbbb ‰ j j ‰ n nnnn 86 Dannœ fliegtœ vorœ einœ - emœ geœ - heiœ - menœ Wortœ Dasœ ganœ - zeœ verœ - kehrœ -teœ Weœ -senœ fort.œ 53

B Cl. b b b n n# 6 & b b ! ! n n # 8

53 Vla. b b b B n n 6 & b b b ! ! n n nn 8 53 b b n n 6 & b b bb ! ! n n nn 8 Pno.

? b n 6 b bbbb ! ! n nnnn 8 When Numbers and Figures No Longer 9

VERY slow & deliberate, with a Faster . . . 55 slow and steady accelerando

Mezzo & 86 ! 85 ! ! 42 ! 86

55 B Cl. # b # 6 bœ. 5 2 6 & 8 œ. 8 #œ. nœ œ. nœ 4 œ #œ 8 55 p P Vla. B 86 bœ. nœ. 85 bœ. nœ œ. bœ 42 Nœ bœ 86 p P 55 bœ. ‰ 6 œ 5 #œ. nœ œ. bœ 2 Nœ 6 & 8 bœ bœ nœ œ 8 #œ #œ bœ bœ œ œ 4 bœ #œ #œ 8 Pno. p P ? 6 bœ nœ 5 Nœ Nœ œ bœ 2 Nœ Nœ 6 8 bœ bœ œ nœ 8 bœ nœ #œ œ œ bœ 4 Nœ bœ 8

And Faster . . . Steady accelerando until m. 66 59

Mezzo & 86 ! ! !

59 B Cl. # b # 6 Œ. Œ. #œ œ. & 8 Nœ. #œ. . 59 F F Vla. 6 Nœ. B 8 Œ. œ. Œ. Nœ. bœ. F F 59 #œ. œ. 6 Nœ. bœ #œ. œ bœ Aœ & 8 #œ œ #œ œ #œ #œ Nœ œ Pno. " p bœ p 7 F F œ. bœ F œ. bœ bœ œ ? 6 ? bœ ? #œ. œ. 8 Nœ. & œ. & Nœ. bœ. 10 When Numbers and Figures No Longer

Mezzo & ! ! ! ! 89

62 B Cl. . b # œ. bœ. Nœ. #œ. a˙ 9 & # nœ. #œ. 8

62 Vla. B 9 œ. #œ. Nœ. bœ. œ. œ. b˙. 8

62 œ. bœ. Nœ. #œ. Nœ. œ. bœ. nœ. œ bœ #œ œ œ Nœ œ œ & œ œ #œNœ œ bœ œ #œ 89 Pno. bœ. œ. bœ. bœ. Nœ. #œ. Nœ. œ. ? 89 œ. #œ. œ. bœ. Nœ. œ. bœ. œ.

Mezzo & 89 ! 86 !

66 B Cl. ˙. #œ. œ. #œ. b # 9 6 & # 8 8

Vla. B 89 86 #œ. ˙æ. bœæ. œæ. æ

66 " œ.bœ œ.œ #œ.œ œ.bœ #œ.œ & 89 bœbœ œ œ œ œ œ œ œ œ œ œ œ œ œ 86 bœ bœ œ œ œ œAœ œ œAœ Pno. 7 7 7 7 7 ? 9 #œ. œ. nœ. 6 8 8 bœ. #œ. Nœ. Nœ. bœ. œ. Nœ. When Numbers and Figures No Longer 11

Fast and brilliant 68

Mezzo & ! ! !

68 bw B Cl. # ˙. b & # !

68 f Vla. bw B ˙. Nw ! fEmphatic 68 (") #œ.bœ œ. œ bœ bœ #œ œ #œ œ & AœAœ œ œAœ AœAœ œ œAœ bœ bœ nœ œ œ Pno. 7 7 ƒ œ ? aœ. aœ. &bœ œ Nœ. Nœ. Nw

Mezzo & ! ! !

71 B Cl. # b & # ! ! !

71 Vla. B ! ! !

71 bœ bœ œ nœ Aœ œ #œ bœ & nœ Aœ bœ œ œ #œ œ bœ bœ œ nœ Pno. bœ œ œ F ?bœ œ bœAœ & bœ 12 When Numbers and Figures No Longer

Mezzo & ! ! !

74 B Cl. # b & # ! ! !

74 Vla. B ! ! !

74 bœ œ & bœ œ #œ bœ bœ œ Pno. Nœ bœ bœ œ bœ bœ bœ Aœ #œ ? Nœ Nœ Nœ bœ bœ œ œ

Mezzo & ! ! ! 4

B Cl. b # 4 & # ! ! ! 4

Vla. B ! ! ! 4

77 4 & bœ œ œ bœ œ œ bœ 4 Pno. bœ œ œ bœ œ œ bœ œ œNœ œ œ œ œ ? Nœ #œ Nœ œ bœ œ œ bœ 4 When Numbers and Figures No Longer 13

Moderato-like tempo 80

Mezzo & 4 ! 86 ! ! 128

B Cl. b # 4 6 12 & # 4 ! 8 ! ! 8

Vla. B 4 ! 86 ! ! 128

80 bœ 4 ‰ bœ 6 bœ bœ bœ bœ bœ bœ bœ œ œ 12 & 4 bœ bœ bœ nœ œ 8 bœ bœ 8 Pno. p bœ ? 4 86 ! ! 128

bw Dreamlike & with lots of pedal molto rit. a tempo (not too fast) 83

Mezzo & 128 ! 86 ! ! 89

B Cl. b # 12 6 9 & # 8 ! 8 8 b n˙. ˙. 83

Vla. B 128 ! 86 ! ! 89

83 bœ b>˙. 12 bœ bœ 6 bœ bœ bœ bœ œ 9 & 8 bœ bœ œ œ œ 8 bœ bœ œ bœ 8 Pno. P bœ bœ œ œ bœ ? 128 86 ‰ ! 89 bœ 14 When Numbers and Figures No Longer

Mezzo & 89 ! ! 86 ! 89

B Cl. b # 9 6 9 & # 8 Œ. b˙. œ. 8 ˙. 8 ˙. 86 Vla. 9 b˙. œ. 6 ˙. 9 B 8 ! ˙. œ. 8 ˙. 8 86 9 b˙.bœ bœ œ œ. œ bœ. œ. œ œ 6 b˙ 9 & 8 œ bœ J 8 bb ˙˙. 8 Pno. ‰ bœ . F œ bœ bœ œ bœ bœ bœ œ ? 89 ! ‰ œ ‰ 86 ‰ œ 89 bœ bœ

Mezzo & 89 ! 4 ! ! 86

B Cl. b # 9 4 6 & # 8 ! 4 nw bw 8 89 f Vla. 9 4 6 B 8 ! 4 bw bw 8 w w 89 f bœ 9 4 b œ ˙ bœ ˙ œ 6 & 8 b˙. œ. 4 Œ bœ ˙ œ ˙ œ œ 8 Pno. f bœ bœ bœ œ œ bœ œ bœ bœ œ œ œ ? 9 bœ 4 bœ ? 6 8 ‰ bœ bœ bœ 4 & œ bœ bœ bœ 8 bœ bœ bœ When Numbers and Figures No Longer 15

92 Mezzo 6 & 8 ! ! ! !

92 B Cl. # b & # 86 ! b˙. ˙. Œ. #œ œ 92 p p œ Vla. B 86 ! b˙. b˙. ! b ˙. ˙. 92 p 6 . . œ . bœ. . & 8 bœ. bbœ. bb˙. ‰bbœ œ. bb˙. Pno. b˙. bœ p bœ œ bœ bœ bœ œ bœ bœ œ bœ #œ œ #œ ? 6 ‰ ‰ ‰ bœ œ ‰ 8 bœ œ Nœ Nœ

a tempo 96

Mezzo & ! 89 ! 86 ! 128

96 B Cl. # œ œ. œ œ œ. b & # j 89 Œ. Œ J 86 J 128 #œ #œ œ œ 96 œ P Vla. 9 j 6 j 12 B ! 8 bœ œ ˙. 8 œ bœ œ. 8 œ bœ ˙. œ œ œ. 96 P j ! 9 Œ bœ œ j 6 bœ. œ œ 12 & 8 bbœ œ œ œ. 8 bbœ. œ œ 8 Pno. œ #œ J P U bœ bœ Nœ œ œ œ œ ? #œ œ ? 9 œ bœ bœ œ 6 œ bœ 12 & 8 œ 8 J 8 bœ bœ 16 When Numbers and Figures No Longer

molto rit. 99 Mezzo 12 6 & 8 ! 8 ! ! !

99 4 bœ U˙ B Cl. # ˙. œ. nœ bœ . b # 12 Œ. 6 Œ bœ bœ & 8 8 nœ nœ 4 99 p p Vla. o o Uo 12 w. 6 b˙. ˙. ˙. B 8 w. & 8 99 p p 4 " bœ bœ 12 . . 6 . . bœ & 8 bbœ. b˙ Œ 8 Œ bœ bœ Œ ! Pno. b ˙. œ œ p p " bœ œ U ? 12 bœbœ œ œ œ œ U 6 bœ bœ. 8 ‰ ‰ bœ œ œ œ 8 œ bœ Œ. & Œ. Œ. bœ # KEM-1039 $10.00 I Canti della Sera….………………..F. Santoliquido (1883-1971) (The songs of the night) Sack Lunch Concert 1. L’assiolo canta (The horned owl sings) Come, the forest shines serene. The summer’s night and the horned owl sings. Old Church Concert Hall I want to say what I have never said. And on the path flourishes the stars: magical flowers. We move together and in the thick I’ll tell you why I cried one sad night Portland, OR when you were not there. We move forward together. A mystery invited us. Listen! The horned owl sings. 2. Alba di luna sul bosco (Moondawn in the woods) Look, the moon is born all red, like a flame with frost in heaven. The pond reflects and the water moves by the wind, the ice cringes. The immense peace, the forest asleep. It is reflected in the pond. What silence around! Tell me! Is it a sunset or sunrise for love? 3. Tristezza crepuscolare (Twilight sadness) It’s the evening. From the wet earth rises the smell of dead leaves. It is the hour of the bells. The hour of a vain scent of past love. And I dream and cry. A night full of bells, of scents, of memories and of sad death. Weep, weep bells of the night. Fill up the sky with melancholy. Weep again. This is the time of memories. In which ancient flames ascend the desperate hearts and burn. Bells, smells of dead leaves. Sadness unearthed. 4. L’incontro (The meeting) I don’t remember the first time we met anymore. But for certain, an evening long ago, Zachary Lenox - Baritone Imbued with pale sorrow along a benign sea! To us they came from far away, the sounds of bells and flocks. And a strange peace came from the sea. This I remember. Evan C. Paul - Piano What we said that day, do you remember? I no longer do. But who cares? My heart flourishes with the sweet passion of that time long ago. And to me it is sweet, to press into mine, your white hand, and to speak of love. But maybe today, you love me a little. Wednesday, August 31st, 2016 You do not smile, your hand trembles. If today, you give me your beautiful lips, we will no longer forget this sweet hour of love. 12pm Let’s drink then according to their desire. Jägermeister Lieder: A Song Set For Manly Men…K. Erickson Let’s drink then, all our life, embalm ourselves before death. How sweet is the balm! 1. Jägerlied (Hunting song) 3. Madrigal Dainty is the bird’s step on the snow when it wanders on the mountain. You are as beautiful as an angel, sweet as a little lamb; Daintier is my love’s dear hand writing a letter to me from a distant land. He has no heart, Jeanette, who doesn’t submit to your charms, In the air high a heron soars where neither arrow nor bullet can fly, But a girl without breasts is like serving partridge without orange. A thousand times as high and so swift are the thoughts of true love. 4. Invocation aux Parques (Invocation of the fates) 2. Single Men I sear to you, as long as I live, to love you Sylvie; One collects stones, one acquires stamps, a third plays chess, and one Fate, who in your hands holds the thread of life, lurks at night in the park. One learns Russian, one reads Shakespeare, Elongate, as long as you can, mine, I pray you. one writes letter after letter, and one drinks red wine in the evening, 5. Couplets bachiques (Covered couples) otherwise they do nothing else. I am often throughout the day, sad and playful in turns. They drink, read, lurk, purchase, the men are alone at night. When I see a flask without wine, I am sad. They write, learn, play, collect, every man for himself after work. If it is full, I am playful. One visits an operetta, one listens to Bach, one guards a secret. When my wife takes me to bed, I behave the whole night. Like a dog on a chain he runs night after night along the alleys. If a trollop takes me to bed, I am playful. Ah, Beautiful hostess, pour me some wine, I am playful! 3. Morning Always at six comes the milkman. 6. L’offrande (The offering) After seven the newspaper woman limps up to the house. One day, a virgin offers a candle to the god of love, At eight I come to myself. Hoping to obtain a lover. On the table still is the wine-bottle from last night The god hears the request, and says to her, and the glass, empty. “Beauty, while waiting, you can always use your offering.” And there are also the letters: Always yours, sincerely. Get up, walk around, read. Pray at eleven. 7. La belle jeunesse (The pretty young woman) The light is sweet to the eye, and the sun is delightful to behold. We used to only love each other and hardly ever marry. We must make love without priests and notary. Chanson gaillardes (Bawdy songs)……..F. Poulenc (1899-1963) Stop, sirs, being marriers! Aim only for the cashboxes, turrets, and the hearts. 1. La maîtresse volage (The fickle mistress) Why marry, when the wives of other men will stop praying to become ours, when their ardors and favors search My mistress is fickle, my rival is happy: our cashboxes, turrets, and hearts. If he got her virginity, it’s because she had two. And so sails the ship, as long as it can sail. 8. Sérénade (Serenade) With a hand so beautiful, that offers so many charms, 2. Chanson à boire (Drinking song) You must, God knows, handle a weapon well! The kings of Egypt and Syria wanted their bodies to be embalmed And when that infant is sad, wipe well its tears. so that they would last a long time when they were dead. What folly! WE THREE KINGS for a cappella treble chorus

Kurt Erickson

2016

KURT ERICKSON MUSIC • kurterickson.com ii WE THREE KINGS for a cappella treble chorus

Kurt Erickson

2016

KURT ERICKSON MUSIC • kurterickson.com

iii We Three Kings

Nearly every December, Christmas sneaks up on me far too quickly, busy as I am with end-of-semester grading and ﬁnal exams. I’m an admittedly nostalgic guy who unabashedly loves Christmas music, and every year I think to myself ‘I really should have written a Christmas piece this year’. Christmas 2015 followed a similar pattern, except for the fact that I received a much needed break from academic life in the form of a sabbatical during the 2016 spring semester. Suddenly ﬁnding myself with the freedom to explore and compose, I opened up a Christmas music book and spent nearly the entire month of February improvising on Holiday music.

This arrangement of We Three Kings was a joy to write and ﬂowed effortlessly onto paper. Using only the original lyrics, my setting creates an expectant mood that underscores the solitary plight of this mystical trio as they journey across the desert to welcome the birth of Christ.

We three kings of Orient are; Bearing gifts we traverse afar, Field and fountain, moor and mountain, Following yonder star.

Born a King on Bethlehem plain, Gold I bring to crown him again, King forever, ceasing never, Over us all to reign.

Star of wonder, star of night, Star with royal beauty bright, Westward leading, still proceeding, Guide us to thy perfect light.

Glorious now, behold Him arise, King and God, and sacriﬁce! Alleluia, Alleluia

www.kurterickson.com

iv We Three Kings Kurt Erickson Slow and static Solo or small solo group of three q = 46 P Soprano 1 # œ & 42 ! ! œ œ #œ. œ œ Nœ œ. ‰ We three kings ofJ O - ri - ent are;

Soprano 2 # 2 & 4 ! ! ! ! ! ! p " Alto 1 # & 42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ We three kings, We three kings, We three kings, We three kings, We three kings, We three kings, p " Alto 2 # & 42 Weœ threeœ kings,œ Weœ threeœ kings,œ Weœ threeœ kings,œ Weœ threeœ kings,œ Weœ threeœ kings,œ Weœ threeœ kings,œ

# 2 ! ! œ œ #œ. œ œ œ Nœ ˙ & 4 J Rehearsal Piano p " # 2 & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

7 S 1 # œ & œ. œ œ ˙ œ. ‰ œ Bear - ingJ gifts weœ traœ - verseœ œa far, Field and

S 2 # & ! ! ! ! ! !

A 1 # & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ We three kings, We three kings, We three kings, We three kings, We three kings, We three kings,

A 2 # & Weœ threeœ kings,œ Weœ threeœ kings,œ Weœ threeœ kings,œ Weœ threeœ kings,œ Weœ threeœ kings,œ Weœ threeœ kings,œ 7 # & œ. œ œ œ œ Pno. J œ œ œ œ ˙ ˙ # & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

13 S 1 # œ. œ & #œ. œ J œ #œ œ ‰ Nœ œ œ #œ œ ˙ foun - tain,J Moor and moun - tain, J Fol - low - ing yon - der star.

S 2 # & ! ! ! ! ! !

A 1 # & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ We three kings, We three kings, We three kings, We three kings, We three kings, We three kings,

A 2 # & Weœ threeœ kings,œ Weœ threeœ kings,œ Weœ threeœ kings,œ Weœ threeœ kings,œ Weœ threeœ kings,œ Weœ threeœ kings,œ 13 # #œ. œ œ. œ œ aœ. Nœ œ œ ˙ & J J J #œ œ Pno. # & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Entire section 19 , S 1 # j j j & ˙ œ. œ œ. œ œ œ œ œ. ‰ œ. œ Born a King on Beth - le - hem plain, Gold I

S 2 # j & ! ! ! ! ! œ. œ Gold I

A 1 # & œ œ œ œ œ œ œ œ œ We three kings, Weœ threeœ kings,œ We three kings, Weœ threeœ kings,œ We three kings, Weœ threeœ kings,œ

A 2 # & Weœ threeœ kings,œ Weœ threeœ kings,œ Weœ threeœ kings,œ Weœ threeœ kings,œ Weœ threœ kings,œ Weœ threœ kings,œ 19 # , j j j & ˙ œ. œ œ. œ œ œ œ œ. ‰ œ. œ Pno. # & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ We Three Kings 3

25 S 1 # j & œ œ œ #œ œ œ ˙ ! œ. œ œ œ ‰ bring to crown him a - gain, King for - evJ - er,

S 2 # j j & œ œ œ œ œ #œ ˙ ! œ. œ œ œ ‰ bring to crown him a - gain, King for - ev - er,

A 1 # & œ œ œ œ œ œ œ œ œ We three kings, Weœ threeœ kings,œ We three kings, We three kings, Weœ threeœ kings,œ #Weœ threeœ kings,œ

A 2 # & œ œ œ œ œ œ œ œ œ We three kings, #Weœ threeœ kings,œ We three kings, We three kings, Weœ threœ kings,œ Weœ threeœ kings,œ 25 # #œ œ j j & œ œ œ œ ˙ ˙ œ. œ œ œ ‰ Pno. # & œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ

31 , f S 1 # œ. & œ bœ œ œ œ œ ‰ œ œ œ œ œ ˙ ˙ œ ceas - ing nev - er, J O - ver us all to reign. Star ofJ , f S 2 # j & bœ œ œ œ œ œ ‰ œ œ œ œ #œ ˙ ˙ œ. œ ceas - ing nev - er, J O - ver us all to reign. Star of f A 1 # j & œ œ œ Nœ œ œ œ œ œ œ. œ bWeœ threeœ kings,œ We three kings, Weœ threeœ kings,œ #Weœ threeœ kings,œ We three kings, We three kings, Star of f A 2 # j & œ œ œ œ œ œ œ œ œ œ. œ Weœ threeœ kings,œ We three kings, Weœ threeœ kings,œ Weœ threeœ kings,œ We three kings, We three kings, Star of 31 # , j œ œ œ œ œ ‰ œ œ œ œ ˙ ˙ œ. œ & bœ œ J œ œ #œ œ. œœ Pno. f # & œ œ œ œ œ œ œ œ œ ! bœ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ 4 We Three Kings

38 , P , S 1 # œ œ. œ. œ œ œ œ. œ & J œ œ. ‰ œ. œ #œ œ œ œ #˙ J œ won-der, Star ofJ night, Star withJ roy - al beau-ty bright, West-ward lead-ing, still pro - , P , S 2 # j j & œ œ. œ. œ œ. ‰ #œ. œ œ œ œ œ ˙ œ œ œ œ. œ œ wonJ -der, Star of night, Star with roy - al beau-ty bright, West-ward leadJ -ing, still pro - , P , A 1 # j j j & œ œ. œ. œ œ ‰ j œ œ œ œ ˙ œ œ œ œ. œ won-der, Star of night,. #Starœ. withœ #royœ - alœ beauœ -tyœ bright,˙ Westœ -wardœ leadœ -ing,œ. stillœ proœ - , , A 2 # j P & œ œ j ‰ j j . œ. œ œ. #œ œ œ œ ˙ œ œ œ œ. œ œ won-der, Star of night, #Starœ. withœ royœ - alœ beauœ -tyœ bright,˙ West-ward leadœ -ing,œ still pro - 38 j # . œ. j j œ œ. œ œ œœ. œ. œ œœ. ‰ œ. œ #œ œ œ œ #˙˙ œ œ œœ œœ. œœ œ & œœ œ . œ. œœ œ . #œ œ œ œ œ œ ˙ œ œ J Pno. #œ. œ #œ œ œ œ ˙ œ œ œ œ. œ œ # ? # œ. œ ˙ œ œ œ œ. œ œ & ! ! ! J œ œ œ œ J

47 S 1 # œ. œ. œ & œ œ œ ‰ œ. œ œ œ œ œ ˙ ‰ ! œ. œ œ J ceed-ing, J Guide usJ to thy per-fect light. Glo - ri-ous now, be - " S 2 # j j & œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ bœ. œ ceed-ing, Guide. us to thy per-fect light. We three kings, We three kings, Glo - ri-ous now, beJ - " A 1 # j j & œ œ œ ‰ j œ œ œ œ œ œ œ œ œ œ œ. œ œ œ. œ ceed-ing, Guide#œœ. usœœ to thy per-fect #light.˙ We three kings, We three kings, Glo - ri-ous now, be -

A 2 # & j‰ j ‰ ! œ œ œ œ. œ œ œ ˙ œ. œ œ œ œ œ ceed-ing, Guideœ. usœ toœ thyœ per-fect light. œ Glo - ri-ous now, be - 47 . j j # œ œ œ ‰ œ. œ œ œ œ œ ˙ œ Œ ! œ. œ œ b˙ & œ œœ œœ #œ. œ œ œ œ œ #˙œ œ œ œ. œ œ ˙ Pno. ˙ œ " . œ œ œ #˙ ? # œ œ œ œ. œ œ œ œ ˙ J ‰ J & œ œ œ œ œ œ ! œ œ œ We Three Kings 5

55 S 1 # œ & œ œ œ ˙ œ œ œ bœ Nœ œ œ œ œ ˙ hold Him a - rise, King and God, and sac - ri - fice! Al - le - lu - ia

S 2 # & œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ ˙ hold Him a - rise, King and God, and sac - ri - fice! Al - le - lu - ia

A 1 # & œ œ œ holdœ Himœ œa - rise˙ bKingœ andœ God,œ andœ Nsacœ - œri - fice!œ #Alœ - leœ - luœ Alœ -leœ-luœ - iaœ We three kings,

A 2 # & ˙ œ œ œ holdœ bHimœ œa - Nrise˙ bKingœ andœ God,œ andœ Nsacœ - œri - fice!œ Alœ - leœ - luœ alœ - leœ-luœ - iaœ We three kings, 55 # œ bœ Nœ œ œ œœ œœ œœ œ œ œ & œ œ œ ˙ bœ œ œ œ N œ œ œ #œ œ œ œ œ œ Pno. bœ œ N˙ b œ œ œ œ Nœ œ œ œ œ œ # & ! ! ! ! ! !

61 S 1 # œ œ œ & ˙ œ œ œ#œ œ Nœ œ œ œ#œ œ œ Nœ œ œ œ œ œ œ œ œ Al - le - lu - ia Al - le - lu - ia Al - le - lu - ia Al - le - lu - ia

S 2 # #œ œ Nœ & ˙ œ œ œ œ œ œ nœ œ œ œ œ œ #œ œ œ œ #œ œ œ œ Alœ - le - lu - ia Al - le - lu - ia Al - le - lu - ia Al - le - lu - ia

A 1 # & œ œ œ œ œ œ œ œ œ œ œ We three kings, Alœ #œ - œ leœ N- luœ - iaœ Alœ Nœ - œ leœ N- luœ - iaœ Alœ -N leœ - luœ -N iaœ

A 2 # & œ œ œ œ #œ œ œ Nœ œ œ Nœ œ œ Nœ œ œ Nœ œ Nœ We three kings, Alœ œ - œ leœ - luœ - iaœ Alœ œ - œ leœ - luœ - iaœ Alœ - leœ - luœ - iaœ 61 # œ œ œ œ #œ œ Nœ œ œ #œ œ œ œ Nœ œ Nœ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ nœ œ œ œ #œ œ œ œ #œ œ œ œ Pno. œ œ œ œ œ œ œ œ œ œ œ œ # ? œ #œ œ Nœ œ Nœ œ Nœ œ Nœ œ Nœ & ! œ œ œ œ œ œ œ œ œ œ œ œ 6 We Three Kings

68 S 1 # j & #œ œ #œ. œ ˙ Al - le - lu - - - ia

S 2 # j & #œœ œœ #œœ. œœ ˙˙ Al - le - lu . - - - a

A 1 # & j Alœ - leœ - luœ. - - - œia ˙

A 2 # & j œ œ œ. œ ˙ Alœ - leœ - luœ. - - - iaœ ˙

68 # j & #œœ œœ #œœ. œœ ˙˙ Pno. œ œ œ. œ ˙ ? # œ œ œ. œ ˙ J KEM-1044 $2.25 Like Grains of Salt from Red Cherry on a White Tiled Floor Kurt Erickson Wild & Out of Control

Soprano & 4 ! 42

4 ® œ ® œ ® œ ® œ 2 & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 Piano f -. - - -. - - ? 4 #œ œ œ œ œ œ 2 4 4

S & 42 ! 4

& 42 ® œ œ œ œ œ ® œ œ œ œ œ 4 Pno. œ œ œ œ - #œ- #œ œ ? 42 ‰ J 4

3 S 4 & 4 !

3 bœ œ œ " 4 bœ œ œ œ œ œ œ œ œ œ Aœ œ œ & 4 ® œ œ œ œ ® œ œ œ œ ® ® œ œ œ œ Pno. #œ- - - #œ- ? 4 & #œ #œ #œ 4 - œ- 3 J

S & !

4 (") #œ œ œ # #œ #œ œ œ nœ bœ œ œ œ œ œ œ Nœ œ œ & ®#œ œ ® œ œ ® œ œ ® œ œ œ œ Pno. > " #>œ #œ > a>œ #œ #œ- & 3 J

S & ! 5 (#) œNœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & ® œ œ ® œ œ ® œ œ ® œ œ Pno. (") ##œ>œ œ>œ œ>œ œ>œ œ>œ & 3

6 Flowing and smooth q. = 84 S & ! ! 86 ! 6 (#) œ œ œ œ œ œ œ œ œ U & ®œ œ œ œ ®œ œ œ œ ®œ œ œ œ Œ Ó ‰ œ œ 86 Œ. œ œ Pno. œ œ (") p ##œ>œ œ>œ œ>œ œ>œ œ>œ œœ œœ œœ #œ œ#œ Œ ? œ œ œ J ‰ Œ 6 œ J ‰ ‰ & 5 3 œ 8 œ Like Grains of Salt 3

9 P S 4 6 œ. j j œ & ! 4 ! 8 Œ. ‰ œ œ. œ œ œ Like grains of salt they shone 9 œ 4 6 œ & œ œ œ œ 4 8 Œ. #œ œ œ œ œ œ Pno. œ œ œ œ œ œ œ œ œ œ œ. œ. #œ œ œ œ œ œ #œ. œ. #œ œ œ ? 4 6 œ J ‰ ‰ 4 8 œ

14 S ˙. œ. œ œ œ & J œ. œ œ ˙. ! Œ. ‰ shone then mel - tedJ Like 14 . œ . œ & Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Pno. œ œ œ œ œ œ œ œ œ œ œ ? œ #œ œ. œ. #œ œ œ œ #œ œ œ œ #œ œ œ ‰ œ œ ‰ œ œ œ ‰

20 S œ. j#œ ˙. œ. œ œ & œ. œ. œ. #œ J œ. œ œ ˙. grains of salt they shone then mel - tedJ 20

& œ œ œ œ œ ! Œ j œ œ œ œ œ œ œ Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ. . #œ œ œ #œ œ #œ œ #œ œ œ ? œ œ œ Œ. œ œ œ 4 Like Grains of Salt

26 œ œ. œ S œ #œ. œ. œ œ #œ. œ œ #˙. & ! Œ. ‰ œ J J J Like grains of salt they shone 26 . œ & Œ œ œ œ œ ‰ œ œ œ œ œ œ ! Œ jœ œ œ Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ#œ. #œ œ œ œ œ #œ œ œ ? œ ‰ œ œ Œ. œ œ ‰ œ œ œ œ

32 S œ œ 4 & ‰ ‰ œ. œ œ ˙. ! 4 Œ ˙ œ then mel - ted.J This is 32 œ 4 & œ œ œ œ 4 Œ ‰ œ œ œ œ Pno. œ œ œ œ œ œ œ œ œ œ œ- - œ œ #œ #œ. #œ œ #œ #œ œ œ ? œ œ 4 œ œ œ 4 œ œ œ œ œ œ

37 S œ j 6 & œ œ œ œ ˙. ‰ j œ. œ œ ˙ œ#œ œ ˙ Œ 8 how they dis-ap-peared thoseœ men who did notœ love me. . 37 œ œ - œ œ - œ œ œ œ œ œ œ œ œ - œ œ - œ œ- œ œ œ œ œ- œ œ- œ œ œ - œ - œ - œ - œ - œ 6 & J œ œ J œ œ œ œ œ œ 8 Pno. - ? œ œ œ œ œ œ œ œ œ œ 6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 Like Grains of Salt 5

42 S 6 œ. #˙. & 8 ! ! Œ. ‰ œ œ. œ. Nœ. Like grains of salt they shone 42 œ œ œ 6 . œ#œ œ œ œ#œ œ œ œ#œ & 8 Œ œ#œ œ œ#œ œ œ œ œ œ#œ œ ‰ ‰ j œ#œ œ Pno. Dreamlikeœ œ œ œ œ œ œ œ œ ? 6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 œ œ œ œ œ œ œ œ œ œ œ œ

48 œ. œ S œ. œ œ J #œ œ. œ. œ & J Œ. œ œ ‰ Œ. œ. œ#œ then mel - ted mel - tedJ mel - J ted 48 #œ- œ-. . #œ-. - #œ œ j œ-. #œ. œ-. - & œ#œ ‰ ‰ Œ ‰ œ-. œ. Pno. œ. ------? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

54 S j 4 & Œ. Œ œ œ. j#œ œ. 4 ! ! mel - #œ- . -œ ted. 54 - - #œ. - œ. #œ. #œ-. - œ œ. 4 Œ ‰ œ œ #œ œ œ œ & #œ. 4 jœ#œ #œ œ Pno. œ œ œ- œ- œ- œ- œ- ? œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ 6 Like Grains of Salt

S & ! ! 86 ! ! 4 ! 43

59 œ œ#œ #œ œ 6 . œ 4 3 & ‰ œ#œ œ œ#œ œ Œ 8 Œ œ œ œ œ œ œ 4 4 Pno. œ œ œ œ œ œ œ œ œ. . #œ. œ #œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ 6 œ œ œ 4 3 œ œ œ œ 8 œ 4 4

64 S 3 4 3 4 & 4 ! 4 ! ! 4 ! 4 !

64 3 4 3 4 & 4 4 4 ! 4 Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? 3 #œ œ œ 4 œ #œ œ œ #œ œ 3 #œ 4 #œ œ 4 4 4 4 $ She Bequeathed Her Children Kurt Erickson Maram al-Masri Translation: M K q = 60 P Soprano & 46 ! ! Œ Œ œ œ #œ. œ She be - queathedJ

6 Œ Œ Œ œ Œ Œ Œ #œ Œ Œ Œ œ & 4 œ œ œ Piano œ p œ œ ? 6 œ œ œ 4 bœ Œ Œ Œ œ Œ Œ Œ bœ Œ Œ Œ bœ œ bœ

4 S #œ #œ. œ œ. #œ & Ó ‰ j œ œ #œ œ Œ Œ ‰ œ J ˙ Œ ‰ j herœ œ chil - dren Ja mo - ther who dreams, danœ - ces,œ andœ 4 #œ #œ & Œ Œ Œ œ Œ Œ Œ œ œ Œ Œ Œ œ Pno. œ œ œ ? œ Œ Œ Œ bœ œ Œ Œ Œ œ Œ Œ Œ œ œ bœ œ œ

7 7 3 S #œ #œ #œ œ œ œ. œ œ ˙. œ & œ #œ J J ‰ Œ Œ Œ ‰ œ #œ œ œ. ‰ smiles JA mo-ther #whoœ weeps and 7 œ #œ & Œ Œ Œ œ œ Œ Œ Œ œ Œ Œ Œ œ œ Pno. œ œ œ ? œ œ œ bœ Œ Œ Œ Œ Œ Œ bœ Œ Œ Œ bœ œ œ bœ

10 3 3 S œ ˙ œ œ œ Œ ‰ ‰ ‰ œ & œ œ 3 j #œ #œ œ œ œ œ ˙. loves #œA moœ -#therœ withœ -outœ mo - ney and who does - n't mendœ socks . 10 #œ #œ & Œ Œ Œ œ Œ Œ Œ œ œ Œ Œ Œ œ Pno. œ œ œ ? œ Œ Œ Œ bœ œ Œ Œ Œ œ Œ Œ Œ œ œ bœ œ œ

13 œ œ œ S #œ œ. #œ. œ #œ œ œ & ‰ œ œ #œ ‰ œ œ œ œ œ. Nœ œ œ œ JA mo - ther who writes poems inJ a lan - guage they don't un - der - stand. 13 #œ & Œ Œ Œ œ œ Œ Œ Œ œ Pno. œ œ ? bœ œ Œ Œ Œ œ Œ Œ Œ bœ œ œ

S & Œ Œ ‰ œ œ #œ œ œ œ. œ œ ˙. ! Ja mo - ther who dreams J 15 - #œ. #œ- œ - œ œ #œ œ Œ Œ Œ œ Œ Œ Œ #œ J œ œ #œ & œ œ Pno. œ œ P ? œ œ œ ? bœ Œ Œ Œ Œ Œ Œ bœ & œ bœ œ œ bœ œ œ She Bequeathed Her Children 3

S & ! ! ! 18 - - #œ #œ œ œ œ #œ œ - œ j œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ‰ œ œ œ œ œ & œ J J œ œ œ œ Pno. ? ? ? ? œ & #œ bœ œ & œ œ & #œ œ œ œ œ bœ œ œ œ œ œ œ

S & ! ! - 21 œ #œ œ aœ #œ œ œ ‰ #œ œ j œ #œ #œ œ œ œ #œ j#œ & ‰ œ œ œ œ J œ œ Pno. ‰ ? ? ? bœ œ & œ œ & #œ bœ œ œ œ œ œ œ

S & ! !

23 œ œ œ œ #œ œ œ œ œ œ œ œ œ#œ œœ œœ œ œ œ #œ œ œ - œ œ - œ œ œ œ - œ œ - œ œœ-œ & 3 #œ#œ œ œ œ œ œ œ #œ- œ œ Pno. #œ œ ? œ ? œ #œ ? bœ & œ & bœ œ œ œ œ œ œ 4 She Bequeathed Her Children

S & !

25 #œ aœ œ œ œ œ #œ aœ #œ œ œ œ œ œ #œ œ #œ œ œ œ œ & œ œ œ Pno. ? ? bœ œ & œ bœ œ œ

S & ! 26 " œ œ œ œ œ œ #œ œ œ - #œ œ œ- œ aœ- œ œ- œ œ & œ œ œ #œ œ œ Pno. - -

? ? œ & #œ œ œ œ œ

S & !

27 œ œ œ œ œ œ œ #œ œ #œ œ #œ aœ aœ & #œ œ #œ #œ nœ œ œ nœ # # Pno.

? œ ? bœ & œ bœ œ œ She Bequeathed Her Children 5

S & ! !

28 œ œ #œ œ #œ nœ œ #œ #œ œ #œ œ œ b œ nœ #œ & # ‰ œ ‰ #œ #œ Œ Œ ‰ J œ b œ ‰ nœ œ # œ Pno. J $ p ? ? ? œ & #œ bœ œ & œ œ œ œ œ bœ œ œ

S & ! !

30 œ & œ œ #œœ œœ œœ œœ œœ #œœ œœ œœ œœ œœ œœ Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? - œ- - #œ. œ œ œ & ˙ œ œ. œ J œ œ - J

S & ! !

32 j ‰ j ‰ & #œœ œœ œœ œœ œœ œœ #œœ œœ œœ œœ œœ œœ Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ $ œ. j ? . j & œ œ #œ œ œ w. 6 She Bequeathed Her Children

S & ! ! !

34 j j & #œœ œœ ‰ œœ œœ ‰ œœ œœ ! ! Pno. œ œ œ œ œ œ œ œ œ œ ? ! w. w. Eat Your Colours from Food Porn Real and Imagined Advertisements Kurt Erickson

Half Note = 90 f œ- œ- œ- œ- œ- Baritone ? 2 j - j - 2 ! Ó Œ ‰ J œ- bœ J œ- bœ ‰ Œ ‰ J The Reds! The Greens! The Reds! The Greens! The

œ. bœ œ œ. ? 2 bœ. bAœ œ œ œ bœ. 2 ! ! J J Ó Piano f F ? 2 2 œ œ œ œ œ œ œ œ œ < < bœ œ < < bœ œ < < bœ œ < < bœ

5 œ- œ- œ- bœ œ ˙ bœ œ œ œ B ? j - j - J J œ- bœ J œ- bœ ‰ Ó Œ ‰ ‰ Reds! The Greens! The Reds! The Greens! Yel - lows! Yel-lows! Yel - lows! 5 œ œ bœ. Aœ œ bœ œ bœ. bœ. bAœ œ œ ˙. ? œ. b œ œ œ œ œ. Ó œ. J œ ˙. Œ J J Pno. ? œ œ œ œ œ < œ bœ œ < œ bœ œ < œ bœ œ < œ bœ < < < < < < < < < < < <

9 ˙ P œ. B œ. œ œ œ Nw . ? Ó J Ó Ó œ œ œ œ #˙ Or - an - ges Pur - ples!J and Blues!

9 œ œ #w bœ. bœ œ bœ. nœ. œ œ bœ. nœ. w ? œ. J Œ ! œ. œ. œ œ œ. œ. w w Pno. ? œ œ œ œ œ œ œ < œ bœ œ < œ bœ œ < œ bœ œ < œ bœ œ < œ bœ œ < œ bœ < < < < < < < < < < < < < < < < < <

Faster (Half Note = 110) molto, molt rit. 15 3 3 3 3 3 3 , P . . B . . . . bœ œ. œ. . . . . bœ œ. œ. ? ˙ Ó ! 23 œ œ bœ œ œ œ œ œ bœ œ œ œ Ar. - ti -choke Ar. - ti-choke Broc- co - li Ar. - ti -choke Ar. - ti -choke Broc- col - li

15 3 3 3 3 ? 3 ! ! & 2 œ œ œ œ ˙ œ œ œ œ ˙ #œ œ bœ œ œ œ ˙ #œ œ bœ œ œ œ ˙ Pno...... " 3 3 3 3 3 3 ? 3 œ œ œ œ 2 œ < < bœ œ < < bœ œ œ bœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ < < < < ......

19 F - œ ˙ B ? #w- œ bw œ bœ ˙ Œ Œ Ó 3 3 Kale chips Spin - ach A - rug - a la

19 3 3 3 3 3 3 ...... bœ. œ. œ bœ bœ. œ. œ bœ bœ. œ. œ bœ ? & œ œ bœ #œ. œ. 3 œ œ bœ #œ. œ. 3 œ œ bœ #œ. œ. 3 Pno...... p 3 3 p 3 3 3 3 ? ...... bœ œ œ bœ bœ œ œ bœ bœ œ œ bœ bœ #œ œ . . 3 bœ #œ œ . . 3 bœ #œ œ . . 3 œ. œ. . . . œ. œ. . . . œ. œ. . . .

22 F B b˙- bœ ? w. ! Ó Œ Wild leaks

22 3 . . œ. bœ. N>œ ...... ? . . #œ. œ. bœ œ . œ. . Nœ œ. . Nœ œ. . œ. œ. bœ bœ bœ Aœ Nœ Nœ. œ bœ 3 3 œ œ œ œ 3 3 œ. 3 3 3 3 Pno. 3 3 f 3 3 3 p 3 3 3 ? . . > bœ œ œ bœ Nœ Nœ Nœ bœ bœ Aœ bœ #œ œ . . 3 œ œ œ . œ œ . œ œ œ œ bœ. . . . Nœ. Nœ œ. œ...... Eat Your Colours 3

25 ˙- ˙ ˙ B ? N˙ 2 3 Ó 3 Œ Ó 2 ! 2 Swiss Chard Spi - nach 25 . . . bœ. bœ. Aœ. . . . bœ. œ œ. Aœ. . . bœ. . . œ. . . ? œ. œ. œ bœ Nœ Nœ œ. œ. œ Nœ Nœ 2 nœ nœ œ œ 3 3 3 3 3 3 3 2 3 3 & 2 Pno. 3 3 3 3 3 3 3 3 ? œ. 2 3 œ bœ bœ bœ. Aœ. Nœ Nœ œ bœ œ. Aœ Nœ Nœ 2 bœ nœ nœ œ œ œ 2 œ. œ...... œ. œ......

28 F ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ B ? 3 ˙ ˙ 2 ! Ó Ó 4 4 4 Car - rots yel - low bell pep - pers or - an - ges 28 3 3 3 3 3 3 3 3 3 3 3 3 & 23 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Pno. œ œ . œ . . . . . œ œ . œ . . . . . œ . . . . . œ œ . œ œ . . . . œ œ . . .3 . 3 . .3 . 3 . 3 . .3 . .3 . .3 ? 3 ...... 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ...... 3 œ...... 3 . . . 3 œ. . . œ. . . 3 œ. . .

molto rit. 32 #(w) (˙) B ? #(œ) #(˙) (w) (w) 4 3 Ó ! 2 sweet po - ta - toes

32 3 3 3 3 3 3 3 3 3 ! ? 4 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 Pno. . . . œ . . œ œ ...... œ ...... œ . . . 3 . .3 ...... ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ! 42 . 3 . . œ. . . . 3 . 3 . 3 . 3 . 3 . 3 4 Eat Your Colours

a tempo 36

B ? 42 ! ! !

36 ˙ ˙ #˙ #‹˙ n#˙ ˙ ˙ ˙ ˙˙ W˙ #œ w ˙ ? 42 # ˙ #œ Gentle Pno. p ? 4 #˙ W #˙ #˙ 2 ˙ #˙ Nœ nœ ˙ Nœ Nœ

39 P - . . œ. . . œ. bœ œ- bœ- œ- B ? œ œ œ œ ! 3 3 Bell pep - pers Bell pep - pers wa - ter mel - on

39 #w nw . . - - - - ? # œ #œ nœ #œ # w #œ. #œ. œ œ. œ. œ œ bœ œ bœ 3 3 Pno. P 3 3 ? W œ œ bœ- œ- bœ- œ œ. œ. . œ. œ. . -

41 . . . . F . œ. œ. f œ œ##(œ) #(œ) P ˙ œ #˙ œ œ œ œ B ? œ Ó 3 Ó 3 Ó 3 3 3 pink grape - fruit vi - ta - min C ru - tin be - ta ca - ro tene

3 3 41 3 . . 3 . . œ. œ. œ œ ? #œ œ Ó Œ Œ bœ œ 3 3 & œ œ œ œ œ œ Pno. œ œ #œ œ 3 F P ? . œ. #œ. #œ. bœ œ œ œ œ œ œ œ œ œ œ Ó 3 Ó 3 œ 3 œ #œ . . 3 œ 3 Flowing, and with pedal Eat Your Colours 5

43 Nœ œ œ œ œ #w B ? ˙ œ œ œ œ #w Œ 3 3 3 3 ca - ro - ten - oid an - tho - cy - a - nins lu - tein 3 3 3 3 3 43 bœ #œ œ bœ œ œ Nœ œ #œ #œ œ œ œ œ œ œ & bœ bœ œ 3 nœ œ 3 #œ 3 œ Pno. #œ 3 Nœ Nœ œ ? bœ bœ œ œ œ œ #œ #œ œ œ #œ œ œ bœ 3 œ œ œ #œ 3 3 3 bœ 3 œ 3 3 #œ

Slower & sustained (Half Note = 80) 45 p B . ? ! ! #œ œ œ œ #˙ Œ Pur - ples and Blues! 45 3 3 3 3 3 3 3 3 3 3 3 3 & Œ Œ Œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ Pno. p ? Ó #˙ n˙ #˙ Ó #˙ #˙ n˙ Ó #˙ #˙ n˙ W W W

48 B ? #˙ ˙ ˙ #˙ Ó 3 Ó #w ˙ W Plums! Black - ber - ries Egg - plant

48 3 3 3 3 3 3 3 3 3 3 3 3 Œ Œ Œ & #œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ó #˙ #˙ n˙ Ó #˙ #˙ n˙ Ó #˙ #˙ n˙ ? W W W 6 Eat Your Colours

rit. Half Note = 90 51 F B œ œ j œ œ ? ! 2 ! Ó Œ ‰ J œ Nœ J The Blues! The Greens! The Blues!

51 3 3 3 3 2 ? #œ. œ œ bœ & Œ 2 ! ! # œ. nœ œ b œ #œ œ œ œ œ œ œ œ œ œ œ J Pno. P ? #˙ ˙ #˙ n˙ 2 2 #œ #œ #œ #œ #œ #œ œ < < Nœ œ < < œ œ < < Nœ

55 w Nœ œ bœ w w w ? w ##œ. n œ œ b œ w w w œ. J Pno. p ? #œ #œ #œ #œ #œ #œ #œ #œ #œ #œ œ < < œ œ < < Nœ œ < < œ œ < < œ œ < < œ < < < < < < < < < <

60 B ? ! ! 60 # w g w ? w & g w g Pno. " ? g#ww ! & g w