Robert Nelson

Watercolors

music of Robert Nelson

DE 3499 Sonja Bruzauskas mezzo-soprano 1

Watercolors Music of Robert Nelson Sonja Bruzauskas, mezzo-soprano

1. Sapphire (Text by Randolph Lacy) (5:58) Zoo Stories (Original stories by Kate Pogue) Anne Leek, oboe • Christopher Neal, violin • (25:07) Wayne Brooks, viola • Christopher French, cello 8. The Giraffe, the Elephant, and the Gorilla • Roy Wylie, piano (4:11) 9. The Goose and the Dapper Red Fox (10:22) 2. Bowls (Texts by Ava Leavell Haymon) (9:02) 10. The Long Walk (10:34) Alexander Potiomkin, clarinet • Christopher Brian Thomas, horn • Timothy Hester, piano Neal, violin • Christopher French, cello • Tali Morgulis, piano Watercolors (Texts by Ava Leavell Haymon) (10:23) 3. On the Question of Angels (Text by Ava 11. Lesson i (1:10) Leavell Haymon) (5:06) 12. Lesson ii (2:59) Sophia Silvios, violin • Anthony Kitai, cello • Tali 13. Lesson iii (:31) Morgulis, Roy Wylie, piano 14. Lesson iv (3:33) 15. Watercolor: Two Rockers on a Sun Porch Two Cabaret Songs (Texts by Friedrich (2:10) Hollaender) (14:53) Tali Morgulis, piano 4. Abzählen (7:28) 5. Mit Einer Scheusslichen Puppe (7:25) Tali Morgulis, piano Total playing time: 74:11 Two Love Lyrics (3:40) 6. What Is Love? (Text by William Shakespeare) (:56) 7. A Valentine (Text by E.E. Cummings) (2:44) Tali Morgulis, piano

2 Composer's Notes on the Music My next opportunity to work with Sonja was the Houston Tuesday Musical Club Spring Musicale n my many years of teaching composition, one of 2013. The performers on the program de- of the best bits of advice I ever gave my stu- cided that it would be fun to close the program Idents was this: Develop and nurture strong with a composition featuring everyone, which associations with talented performers who are meant an ensemble of voice (Sonja), violin, capable and open to new music. Such has been cello, and two pianists! The literature for this my relationship with the multi-talented mez- ensemble is a bit slim, so I was asked to write a zo-soprano Sonja Bruzauskas. In addition to new piece. As a composer, I always panic a bit being a first-rate performer, Sonja has the most when faced with writing a new work for voice wonderful ear for contemporary music and has because of the need for finding an appropriate established a reputation as the go-to person for text. My preference has always been to go with new music. I have been extraordinarily fortunate contemporary poetry whenever possible, and in having a years-long and quite fruitful period Sonja allowed that she knew a poet who would of collaboration with her. be agreeable to having her poetry set to music. It turned out that it was her mother-in-law, Our relationship came about somewhat by Ava Leavell Haymon. Thrilled at the prospect of accident. I had been invited to have my Zoo working with a real poet, I asked Ava to send Stories performed by the Greenbriar Consor- me some of her works. Among them was a set tium, a group of Houston Symphony musicians of poems titled Bowls that I just fell in love with, eager to perform chamber music under their and I almost immediately began working on the own auspices. I had a singer in mind who had music. But I quickly realized that this set of po- performed some of my earlier music, and we ems wouldn’t work for this particular occasion, had begun coaching on the piece. But Anne so I reluctantly set them aside and turned to Leek, the director of the Consortium, had rec- another poem titled “On the Question of An- ommended a couple of other singers, one of gels.” This poem turned out to be perfect for which was Sonja. I had originally conceived this the occasion. work for a singer/actor, and Sonja seemed the logical choice. I extended an invitation to her to The poem is very dramatic and intense and that is do the piece, but she was initially very reluctant. probably why I was attracted to it. But at the per- After considerable urging by Brian Thomas, our formance, two difficulties arose. First, the venue French horn player, Sonja agreed to perform was an old church that had a very long reverber- and, of course, she was spectacular—both in ant period, which had the unfortunate effect of her singing and in her extraordinary theatrical- blurring the diction. Normally we would compen- ity. Later we had the opportunity to record the sate for this by printing the text in the program, piece, which is included on the CD. but that led to a second difficulty: One of the lines 3 in the poem referenced suicide (although by a a more post-tonal musical idiom. I was also at- bird), and the term raised the hackles of the elders tracted to the idea of substituting an oboe for of the church where we were performing. There the first violin of the string quartet and so con- was a good possibility that we would be forced ceived the piece for voice and piano quintet, but to drop the work. Eventually a compromise was with the oboe. The piece was originally written reached whereby we could perform the piece but for tenor, and I had always assumed that Ran- couldn’t print the text in the program. It bothered dy himself would perform it. Unfortunately, this me greatly that the audience was thus unable to never happened. But because of the prominent truly appreciate Ava’s wonderful poem, so we de- oboe part, the piece came to Anne Leek’s at- cided to do the piece again on one of the regular tention, and she volunteered to perform it with Tuesday Musical Club programs. This program the Greenbriar Consortium. Again, she gave me would be given over entirely to my settings of a choice of singers, and this time there was no Ava’s poems. We not only were able to print the question but that my choice would be Sonja. text of “Angels” but also had the additional plea- I was able to rework the vocal line to suit her sure of hearing Ava read her poem. This program voice. The rehearsals were a wonderful expe- gave me the opportunity to finally complete my rience for me. I could just stand back as Sonja work on Bowls, and I was also able to set Ava’s and the professionals of the Houston Symphony colorful and evocative Watercolor Lessons. This brought the work to life. Their sensitivity and program then became the core of our CD. attention to detail was most gratifying, and the performance was extraordinary. This became the I have since had the great pleasure of writing first piece that we recorded freshly for the CD. a number of other works for Sonja, several of which are also included in this album. Bowls Poems by Ava Leavell Haymon Sapphire Poem by Randolph Lacy Bowls is a set of five poems. The graphic layout of the poems contributes greatly to the impact I had known tenor Randy Lacy through his work of the texts. Ava is dealing here with profound at the University of Houston’s Moores School of issues of the contemporary experience. Music and the Houston Bach Society. I discov- ered—quite by chance—that he had written a Bowl #1 is written in a run-on fashion—a sort number of poems, one of which was Sapphire. of stream-of-consciousness that I found most I was quite attracted to this poem, which was compelling and tried to capture in the music. It expressionistic and had wonderfully rich imag- ends with a heart-wrenching aphorism: “Hun- ery. This suited my predilection at that time for ger is a search for mother.” 4 Bowl #2 contrasts a bitter take on the politiciza- performing a considerable repertory of cab- tion of contemporary society with the tragedy aret music, and these poems provided me an of hunger and want. opportunity to tap into and carry forward the cabaret tradition. I selected two poems from Bowl #3 is lyric and expressive. the collection that seemed particularly evocative and that could be effectively set to music. Bowl #4 returns to the angst of the personal Both poems are quite dark and tragic and have experience. much to do with the challenges of dealing with the misfortunes of day-to-day life, and ulti- I have always thought of Bowl #5 as very Zen. mately with death. Hollaender was both poet It consists of only two lines in what might be and composer, best known as the composer characterized as aphoristic circular statements. of “Falling in Love Again,” which he wrote for Marlene Dietrich to sing in her movie The Blue Angel. Hollaender himself composed music On the Question of Angels for Abzählen but apparently not for Mit Ein- Poem by Ava Leavell Haymon er Scheusslichen Puppe. I decided to set the songs in the original German as most befitting This piece is written for voice, violin, cello, and the character of the poems and in keeping with piano four-hands. The poem is quite philo- the Expressionist character of 1920s German sophical and muses on substantive issues of life cabaret. and death, but the poem comes to an uplifting and optimistic conclusion. Two Love Lyrics

These two songs give Sonja the opportunity Two Cabaret Songs to demonstrate her wonderful lyricism and ex- Poems by Friedrich Hollaender pressiveness. What Is Love? is an actual song text from Act II, Scene iii of William Shake- Early in our collaboration, Sonja brought me a speare’s comedy Twelfth Night. A Valentine is slim volume entitled Lieder und Chansons für a title we have applied to an untitled poem by Blandine Ebinger. This was a collection of Ger- the American poet E.E. Cummings. man poems that Friedrich Hollaender wrote in the 1920s for his wife, the noted cabaret singer Blandine Ebinger, at the crest of the wave of cabaret, extraordinarily popular in Weimar Germany, particularly in Berlin. Sonja and pianist Tali Morgulis had developed and been 5 Zoo Stories musical. In a bow to Aesop, each story ends Original stories by Kate Pogue with a moral.

Eric McIntyre is a former student of mine, an Watercolors accomplished hornist and composer, and cur- Poems by Ava Leavell Haymon rently teacher of composition and director of the orchestra at Grinnell College. Several years The song cycle for voice and piano that closes ago, he formed an improv ensemble consisting the CD is a setting of poems taken from a vol- of himself, a pianist, and a female actor/singer. ume of collected poems entitled Kitchen Heat. They had been invited to do some children’s I combined a set of four poems titled Water- programs, and they asked me to contribute color Lessons with a free-standing poem titled a piece. We agreed that this piece would be Watercolor: Two Rockers on a Sun Porch. As completely notated and not improvised. We is so typical of Ava’s work, these poems take decided to do three stories in which each mem- mundane events—in this case, the techniques ber of the ensemble would have the opportu- of creating watercolor paintings—and draw nity to narrate and in effect act out the stories, universal lessons from them. “Watercolor: Two though the burden of the narration would nat- Rockers on a Sun Porch” is probably my favor- urally fall to the singing actress. ite of all of Ava’s poetry, and I wanted to write something that was unabashedly lyrical and I approached a dear friend and colleague of expressive. many years, Kate Pogue, to write the stories. Kate has both a strong theatrical and literary Enjoy! background. She teaches theatre courses at Houston Community College, and she has writ- – Robert Nelson ten the librettos for a number of operas. I had the great pleasure of collaborating with Kate on one such venture, The Man Who Corrupt- ed Hadleyville, based on a short story by Mark Twain. Kate created three wonderfully amusing and yet profound fables centering on the ani- mals in the zoo. Kate’s stories provided me with material that was dramatic yet afforded ample opportunities for lyrical writing for both voice and horn. The more expository parts of the stories are spoken in turn by all three performers, but the story settings are fundamentally 6 Born and raised in Germany, mezzo-soprano Sonja Bruzauskas was trained and made her operatic debuts on both sides of the Atlantic Ocean. She made her European debuts in the roles of Hänsel in Hänsel und Gretel and Nancy in Martha, and her first American appearances covering the role of Beatrice in Béatrice et Bénédict and singing the Maidservant in Simon Boccanegra. Since then, her repertoire has expanded to include a wide range of roles in opera (Rosina in Barber of Seville), musical theater (Anita in West Side Story), and choral works (Händel’s Messiah), where she has won praise for her “youthful vigor” and “lustrous voice.”

Her appearances in the U.S. and abroad include the Staatsoperette Dresden, with whom Sonja had a multi-year soloist contract before moving to the United States; the Santa Fe Opera, where she performed as an Apprentice Artist; Volkstheater Rostock; Nordharzer Staedtebundtheater; Babelsberger Filmorchester; Bochumer Symphoniker; Baton Rouge Symphony; Da Camera of Houston; the Bach Society Houston; the Mercury Baroque Orchestra of Houston; the Greenbriar Consortium (a Besides her extensive stage career in chamber ensemble of Houston Symphony opera, operetta, and musical theater, Sonja musicians); the Houston Chamber Orchestra; is a well-established concert singer and the Houston Chamber Choir; the River Oaks recitalist, focusing on German art songs and Chamber Orchestra; The Round Top Festival contemporary music. She also has a special Institute; and Ars Lyrica Houston, a chamber interest in designing experiences and programs ensemble specializing in Renaissance and for students as well as speaking to them about Baroque music. creative approaches to their own careers in the 7 performing arts. Sonja’s talks about creativity and her innovative approaches to teaching have taken her to California State Summer School for the Arts at CalArts in Valencia, Rice University in Houston, the University of Houston, and Louisiana State University in Baton Rouge.

Robert Nelson was born in Phoenix, Arizona, but grew up in the Midwest. He began piano lessons and made early attempts at composing music while still in grade school. But his serious composition study began while majoring in music at the University of Nebraska, then continued at the University of Southern California, where he earned his Doctor of Musical Arts degree and turned his attention to writing opera. In 1968, he joined the music faculty at the University of Houston, now the Moores School of Music, where he is Professor Emeritus of Music Theory and Composition.

Throughout his career, he has been interested in composing music for film and theater as well as for commercial and popular venues. He has also served fifteen seasons as musical His most ambitious film project was The Apollo director and composer-in-residence for the File, a documentary on the history of the Apollo Houston Shakespeare Festival, during which moon missions. time he composed original scores for almost all of Shakespeare’s works. He has written His theatrical activities include a long five operas as well. His one-act opera Tickets, collaboration with the Festival Mime Troupe Please, with a libretto by Sidney Berger, was of the School of Theatre and Dance at the commissioned by the Texas Opera Theatre and University of Houston, for whom he has directed has been performed frequently in the United numerous musicals and written original music. States and England. 8 Added to this prolific output are a number Sapphire of major choral works, including Nicholas of Randolph Lacy Myra: A Choral Triptych, with a libretto by Sharon Shepley, and The Things We Have – a single star and moon reach down In Memoriam: September 11, 2001, which was to bless this fading twilight with commissioned by the Houston Bach Choir delicate and penetrating and its director Robert Lynn. The Houston rays of polished silver, enwrapped Symphony has also commissioned a number within the sapphire of the night of works, including The Little Match Girl, for narrator and orchestra, and Rondo Concertante, the glowing Earth is scented with featuring the principal players of the orchestra. a fragrant nectar of the Spring The composer’s interest in combining classical that floats among the crisp night air, elements with jazz and other popular idioms embellishing the darkness with is reflected in many of his pieces, such as Up a sensuous, invisible South, written for the combined Moores School embrace in Love’s eternity of Music Orchestra and Jazz Ensemble, and Shadows and Music, an extended song cycle the wine of Nature’s memory, for soprano, mezzo-soprano, violin, and piano. intoxicating as a kiss, encourages this anxious risk Robert Nelson’s solo and chamber works of meeting here within your arms reflect a deeply held conviction that the to drink, in rapture, from your lips music should be tailored to the talents and character of the particular performers, and to shout with silent ecstasy, he has written for a diverse roster of superb in this electrified embrace, singers and instrumentalists. His Quartet for overflowing with desire to Clarinets was composed for the Quartetto entrap our union in a breath Italiano di Clarinetti, four Tuscan musicians and retain this private heaven who have toured worldwide. His strong belief as our own immortal moment in collaborating with outstanding performing artists has merged with his strong interest 1983 (revised, 2000) in vocal and theatrical music to produce the various works written for Sonja Bruzauskas that appear in this album.

9 Bowls Ava Leavell Haymon

Bowl #1 Incised on the outside of the bowl, these words spiral down from rim to foot: too many countries too many mouths too many potbellies too many mosquitoes too many languages too many wars too many famines too many Presidents for Life too many Mercedes too many bare feet toomany cliteridectomies toomany palaces toomany dying babies toomany deserts toomany diseases toomany healthy babies toomanypolitical prisoners toomanyexecutions toomanyflies too manycolonialpowers toomanypoachers toomanymissionariestoo manycurrenciestoomanybeggas- toomanypaperstoomanytribes toomanybureaucratstoomanybribestoomanygenocides toomanyriverstoomanybabiestoomanyinfibulations toomanyprostitutestoomany- wivestoomanyrapes

Written inside the bowl, letters scratched in, one slow stroke at a time when the pot was leather hard: Hunger is a search for mother

Bowl #2 For the one with two parents. The outside cut in fine clear strokes: Guns Capitalism Dams Railroads Marxism Loudspeakers Foreign Aid Transistor radios developing markets Satellite photographs Uniforms Cash-crops Bulldozers

Inside, in a child’s first print: Butter Rice Oranges Salt Yams Clean Water

10 Bowl #3 Inside -- too small to admit a hand -- there is only curved shadow, silence, and indistinct thumbprints from the first forming.

Outside, these words: An earth house, no one home. Why do I think of a certain street? Without emptiness, there is no vessel.

Bowl #4 For 15 yr olds. The outside tight clenched, the inside pushes out with all its might. Centipetal/centrifugal -- without the fire, the bowl would fly apart.

Outside: Who do you think you are? Listen to me. Where do you think you’re going? Look at me when I speak. What do you think you’re doing? Do you hear me? Who do you think you are?

Inside: Who am I? Please, listen. Where am I going? Look at me. What am I doing? Can you hear me? Who am I? The last words smudge in the wetter clay at the bottom of the bowl.

Bowl #5 Inside: God is who I am God is who I am God Outside: God is who you are God is who you are God is who you

11 on the Question of Angels Sechs—sieben—acht—neun Ava Leavell Haymon Vater gießt die Gläser ein Sieben—acht—neun—zehn Thump. Gäste kommen, Gäste gehn, Bird-crash into the window. Eene, meene ming mang I wince and-–brief sin–hope it’s the mock- Kling—klang—ping—pang ing-bird that woke us up so early, expounding Immer kullern Billardbälle— second-hand repertoire. Droshken kutscherhaltestelle— Rising sun shoots straight at me, backlights the Restaurant zum feinen Mann, splat of goo and feathers stuck on the pane. und du bist dran. In warming air, soft currents stir the thumb- sized mess and, can you believe it, there’s an Eins—zwei—drei—vier angel hovering with spread wings. Kirschlikör und helles Bier Splintered feathers swing like arms raising a Fünf—sechs—sieben—acht chorale score for an alto to sight-read. Mutter heult und Vater lacht White and gray choir robe– it WAS the mock- Sechs—sieben—acht—neun ing-bird— ruffles in slow flight. Keene Nacht schlaf ick ein Call it a suicide mission: credo/ collision/ Sieben—acht—neun—zehn death/ angel. Unsre Mutter is zu scheen Call it the misery of the world, the grisly acci- Eene, meene ming mang dents, murderous barriers, random enemies, Kling—klang—ping—pang aimless war on what ever wants nothing more Kutscher fluchen, Meechen plappern, than to sing. Kartenspiel und Würfel klappern— Call it the demise of a bird that may be the very Schutzmann is ein netter Mann, one come to tell us what we all long to know. und du bist dran.

Eins—zwei—drei—vier two CABAret songs Ach ick möchte fort von hier Friedrich Hollaender Fünf—sechs—sieben—acht Weeßt du nicht, wie man das macht? Abzählen Sechs—sieben—acht—neun Meine Seele ist noch rein Eins—zwei—drei—vier Sieben—acht—neun—zehn Elektrisches Klavier Sonst zerbricht mein Herze kleen Fünf—sechs—sieben—acht Eene meene ming mang Jeht bei uns die ganze Nacht Kling—klang—ping—pang 12 Unsre Kneipe gegenüber, steht ‘ne Frau Billiard balls are rolling und winkt mir rüber— Hackney carriage driver’s stop Heilsarmee mit Büchse dran, Restaurant ‘To the fine Gentleman’ und du bist dran. It’s your turn.

Eins—zwei—drei—vier Kommt nicht bald ‘n Offizier One, two, three, four Fünf—sechs—sieben—acht Cherry liqueur and blonde beer Der zu seiner Braut mir macht? Five, six, seven, eight Sechs—sieben—acht—neun Mother cries and father cheers S’ kann ooch bloß ‘n Kaufmann sein Six, seven, eight, nine Sieben—acht—neun—zehn I can never fall asleep at night Wenn wir uns nur jut verstehn Seven, eight, nine, ten Eene meene ming mang Our mother looks so fine Kling—klang—ping—pang Eenes Tages, Kinder, Kinder, kommt Herr Eene meene ming mang, Kröppke mit Zylinder Kling klang, ping pang Klopft an meine Türe an, und ick bin dran. Carriage drivers are cursing Girls are chattering Card game and dice are rattling Counting Games Policeman is a nice man Translation by Sonja Bruzauskas It’s your turn.

One, two, three, four One, two, three, four Electric Piano I want to go away from here Five, six, seven, eight Five, six, seven, eight Sounding here all night long How? Do you have an idea? Six, seven, eight, nine Six, seven, eight, nine Father fills the cups My soul is innocent Seven, eight, nine, ten Seven, eight, nine, ten Guests come, guests go Otherwise my tiny heart will break.

Eene meene ming mang, Kling klang, ping pang Eene meene ming mang, Kling klang, ping pang 13 In the pub across the street Und der janze Leben ocke There is a woman waving at me Manchen lieben Nachmittag Salvation Army with a can Und nun: It’s your turn. Eia popeia schlaf ein, mein Königskind, Ein, mein Königskind, Ein, mein Königskind, One, two, three, four Morgen is wieder ein Tag, Won’t that officer show up soon Wieder ein griesgrauer Tag, Five, six, seven, eight Der niemals nich kein Ende nimmt. Who will be my groom? Schlaf ein, Elisabeth! Six, seven, eight, nine It could also just be a salesman Liebliche Elisabeth! Seven, eight, nine, ten Immer hungern macht nich fett, As long as we get along well. Vater haut mir aus Vergnüjen, Kann mir jarnich jrade liejen, Eene meene ming mang, Und die Luft is dick von Fusel Kling klang, ping pang Manchen lieben Nachmittag Det ick mir in Dustern grusel One day Manchen liben Nachmittag Oh boy Und nun: Comes Herr Kroeppke Eia popeia schlaf ein, mein Königskind, With a top hat Ein, mein Königskind, Knocks on my door Ein, mein Königskind, And it’s my turn. Morgen is wieder ein Tag, Wieder ein griesgrauer Tag, Der niemals nich kein Ende nimmt. Schlaf ein, Elisabeth! Mit Einer Scheusslichen Puppe Friedrich Hollaender Liebliche Elisabeth! Morgen, wenn kein Hahn mehr kräht, Liebliche Elisabeth! Weck ick dir mit einem Kusse, Siehste, wenn ick dir nich hätt, Und wir laufen hin zum Flusse. Müßt ick—denn ick hab sonst keenen, Vater wird een bissken fluchen Müßt ick mir zu Tode weenen, Manchen lieben Nachmittag, Wenn ick so am Fenster hocke Sonst wird uns wohl keener suchen Manchen lieben Nachmittag Manchen lieben Nachmittag 14 Und nun: Some lovely afternoon, Eia popeia schlaf ein, mein Königskind, And I’m scared in the dark Ein, mein Königskind, Some lovely afternoon. Ein, mein Königskind, Jetzt kommt die Seligkeit, And now: eia popeia, Die ewige Seligkeit, Go to sleep, my princess, Die niemals nich kein Ende nimmt. Sleep my princess, Schlaf ein, Elisabeth! Sleep my princess, Tomorrow will be another day, Another gritty grey day. With an Ugly Doll That will never end, Translation by Sonja Bruzauskas Go to sleep, Elizabeth!

Lovely Elizabeth! Lovely Elizabeth! Look, if I didn’t have you Tomorrow, when no rooster crows again, I’d have to, cause I have nobody else, I’ll wake you with a kiss, I’d have to cry myself to death. And we will run to the river. When I sit here at the window Father will curse just a little bit Some lovely afternoon, Some lovely afternoon. And look at the entire life Otherwise we won’t be missed Some lovely afternoon. Some lovely afternoon.

And now: eia popeia, And now: eia popeia, Go to sleep, my princess, Go to sleep, my princess, Sleep my princess, Sleep my princess, Sleep my princess, Sleep my princess. Tomorrow will be another day, Now comes the salvation, Another gritty grey day The eternal bliss That will never end. That will never end. Go to sleep, Elizabeth! Sleep well, Elizabeth!

Lovely Elizabeth! Always starving makes not fat, Father beats me for his pleasure, Can hardly lie down straight any more. And the air is thick from booze 15 whAt is love? “love is more thicker than forget” from COM- William Shakespeare PLETE POEMS: 1904-1962, by E. E. Cummings, From Twelfth Night, II/iii edited by George J. Firmage, is used with the permission of Liverwright Publishing Corpora- What is love? ‘Tis not hereafter. tion. Copyright  1939, 1991 by the Trustees Present mirth hath present laughter; for the E. E. Cummings Trust. What’s to come is still unsure. In delay there lies no plenty; Then come kiss me, sweet and twenty, Zoo stories Youth’s a stuff will not endure. Original Stories by Kate Pogue

A vAlentine The Giraffe, the Elephant, E.E.Cummings and the Gorilla love is more thicker than forget Elise, the Giraffe more thinner than recall Loved to eat sweet green leaves more seldom than a wave is wet From the very top top top of trees. more frequent than to fail Ollie, the Elephant, it is most mad and moonly Loved to shower himself and less it shall unbe With cool, fresh water from his trunk. than all the sea which only is deeper than the sea OH GREEN IS THE GRASS AND BLUE IS THE SKY love is less always than to win AND FLOWERS GROW less never than alive THOUGH WE DON’T KNOW WHY less bigger than the least begin less littler than forgive That is what they would have told you If you’d ask them what they thought. it is most sane and sunly and more it cannot die And they were busy than all the sky which only And they were happy is higher than the sky All day long.

16 But nothing seemed to please Look at me! Look at me! Look at me! Yogurt, the Gorilla. To look around and see that He needed witnesses All the time. GREEN IS THE GRASS And yet people seemed AND BLUE IS THE SKY To make him angry. AND FLOWERS GROW He banged his rubber tire swing THOUGH WE DON’T KNOW WHY Then banged his chest – Look at me!! People looked He kicked his soccer ball At Yogurt Then beat his chest – But they didn’t stay. Look at me!! Because – He scratched his hairy scalp And thumped his chest – Moral: In the end, nobody ever really loves Look at me! a braggart! Look at me! Look at me! The Goose and the Dapper Red Fox People looked. They looked again. Once there was a goose. But sooner or later Her name was Mary Luck Luck The children And she lived in the Zoo Who were watching Near the cage of And the grown-ups A Yak Who were watching, too, And the pen of a Gazelle. Walked away. They didn’t stay – The Yak did nothing but sit all day And wait for better times. They left He would like to have been useful. To watch calm Elise But in the Zoo there was really Eat her sweet green leaves. Not very much to do. They left To watch dear Ollie The Gazelle paced back and forth Spray water from his trunk. Back and forth in her pen Longing, longing, longing To leave behind the For a good long run. 17 Meantime Mary Luck Luck And croon to it, Who had a warm heart And love it, love it, love it Yearned for a little baby gosling Day and night To call her own. And live at last in the sweetest kind of hope!”

Once there rolled And so she did, until one day Into Mary Luck Luck’s view Out popped a downy little Gosling. A round white And Mary Luck Luck Spheroid. Treasured it, sighing and crooning: It looked promising. She sat on it and sat on it and sat on it OH MY BABY Until at last when she rose OH MY LITTLE ONE To get something to eat OH MY HEART’S JOY Her friend the Gazelle said: AND MY DELIGHT “Mary Luck Luck COME WADDLE AFTER ME You silly goose COME LET ME SHOW YOU That is not an egg.” HOW TO SWIM IN THE DAY HOW TO NESTLE AT NIGHT. “It isn’t?” said the Goose. “No,” said the Gazelle. Mary Luck Luck was happy and “It’s a tennis ball.” the Gosling thrived. The Yak whoofed But then but then A Yak kind of laugh One dark moonless night At Mary Luck Luck’s expense. Up came sneaking The Dapper Red Fox But the Gazelle pitied her. With tailcoat and spats And a tall top hat Then one day the miracle happened. Hungry and ready for a treat. “An egg!” Mary Luck Luck said. And as luck would have it “An egg! A real egg! Just that night I have an egg! Mary Luck Luck said: I have an egg! I have a real, real egg! “I feel a little puckish. And I will sit on it, I guess I can leave the nest And warm it, Just long enough 18 To eat some pond scum And set off after the Fox. And some delicious algae.” Oh, what a run! What a glorious run. Off she waddled. Around and around the Zoo they And the minute she was gone Chased, the Fox with the Gosling, In swooped the Fox. The Gazelle in pursuit He scooped up her Gosling And behind them Mary Luck Luck And hid him under his hat. Her little webbed feet spinning in her haste, Faster and faster and faster “Bork,” said the Gosling, surprised. And then Mary Luck Luck turned. Just when She saw the Fox. She got too anxious to stand it She didn’t see her Gosling. Her wings spread out and OOOOOH, “Where is my baby?” She flew! She flew! She asked suspiciously. The Fox grinned a bit foolishly, AH! AH! Then turned (not tipping his hat) LOOK DOWN BELOW And ran. AH! AH! WHAT DO YOU KNOW! “Help! Help! Help!” I’VE BEEN A SILLY GOOSE Shrieked Mary Luck Luck. BUT NOW “The Dapper Red Fox I WILL SHOW MY GOSLING Has stolen my Gosling! WHAT IT MEANS TO BE FREE Help, oh help!” IF ONLY, IF ONLY HE COMES BACK TO ME. “Dear me,” said the Yak, Who couldn’t quite move. And looking down she saw The Fox, exhausted, stumbling, “Oh, you’re useless,” Not looking where he was going, Cried frantic Mary Luck Luck. Staggering “Chase him, chase him!” Right into the cage of the Yak.

“Very well,” “Ah, now I observe,” said the Yak Said the Gazelle. “That if you wait long enough And with one single graceful leap The world comes to you. She cleared the fence surrounding her pen You don’t need to do a thing.” 19 And he sat right down on the Fox. The Long Walk

“Where did the Fox go?” Silas the Sea Lion swam and swam. Said the breathless Gazelle. He looped and dived and slid and swooped “He’s right here,” Under and through the clear blue water. Said the Yak. “Bork,” said the Gosling “Up now!” said the trainer. And came out from under “Up to get your lunch!” The Fox’s hat. Silas was hungry. He longed for a fish. “Oh, my precious! But he was afraid Oh, my little one. To jump out of the water. Oh, my heart’s joy He was afraid to leap through the hoop. And my delight.”, What if he got stuck Cried Mary Luck Luck. Instead of going through? And swooping down, What if he just couldn’t do it? Weeping tears of relief, Feeling floods of joy, Oooooh, Silas, he heard the crowd She took him back to her nest. cry out. Oooooh, you fool, “I think I’d like to go home now,” Oooooh you scaredy cat, Said the Dapper Red Fox, Jump out of the pool! Thinking somehow the whole evening Had been a dire mistake. But Silas was scared. He swiveled down, down, down “No, I’m not quite ready to stand up yet,” Into a corner Said the Yak, Of the blue, blue, pool. Who felt useful at last. But he could still hear the taunts And he knew he was And so the Fox A scaredy cat. Just had to wait. He knew he was a fool!

Moral: Don’t take something that belongs to Meantime not so very far away somebody else or someone may sit on you. Galapagos, the giant tortoise, Felt like taking a walk. For a year he had lain 20 Motionless, Jump out of the pool! Warmed by the sun all day, Sleeping in the dark all night, Silas was desperate. Perfectly happy, He jumped. Completely at peace. Not very far. Not very well. But now he felt like a walk. And he heard -- Not a fast one, no, Oooooh, Silas, Slow, and stately, Oooooh, you fool, Steady as you go, Oooooh you scaredy cat, One great foot, Barely out of the pool! Following another great foot As becomes a giant tortoise But then he heard a rumble, On the move. A roar, A grumble from Galapagos. He started in the morning, He thought he heard And by noon he approached One word: The pool where the sea lions lived. “Bravo.” He arrived at the fence And could go no further. Silas saw the wise old tortoise. He looked to the right. Saw him blink and nod his head. He looked to the left. “Bravo” - that was what he said. He decided to stay where he was. Silas wanted to hear him make that He blinked. sound again. He swooped down in the water. He jumped as high as he could “Up now!” said the trainer. Toward the hoop. “Up to get your lunch!” Closer, he was closer.

Silas was very hungry. The grumble and the rumble Silas was very scared. Shook the fence, disturbed the pool. He looped through the water. There came the word He dived down deep. Silas thought he heard: He came up for air. “Bravo.”

“Jump, jump,” said the trainer. This time he thought that he could do it – 21 Go through the hoop, wAterColor lessons Get his fish. Ava Leavell Haymon Silas dove down deep, deep, deep. Silas came up, up, up. He saw the hoop. Lesson i He went on through, Flying high four girl cousins He caught his fish. apprenticed to a grandmother

Rumble, rumble, rumble camel-hair brushes Grumble, grumble, grumble – swept to a tip Out it came again – That wonderful word: between our lips “Bravo.” puckered to a little O

Galapagos was quite worn out. southern prissy tease It had been a long day. Kiss-me, Kiss-me-not Slowly he turned around And walked in his stately way Mycenaean red Back to his pen. pursed in these lips

But this time, in his mind we mark what we kiss He carried with him A mighty vision: Lesson ii The vision of a gleaming seal Leaping high into the air, I never progressed past the High above the water, sunsets Free from the bonds of earth. my blobs of wishwash color “Bravo” he muttered to himself, seep into Settling down for the night. each other lose value “Bravo, Sir Seal, bravo.” go ruddy or dull Moral: Never underestimate the power of a word of praise. sometimes an old woman with floating hair 22 hair that shines through Watercolor: Two Rockers on a Sun Porch like fine paper (after a painting by Judi Betts) comes up behind me thin lips In the winding clockwork of the cartwheel galaxies tight to point the wet bristle we must be reminded she reaches past me without pause without speech all sun does not fall evenly one touch even on wickerwork chairs that dot so used to warming spreads on its own on morning porches. into round shoulders egg basket maybe a swag of shadow

and the paper horizon folds back away from me into dis- tance when I look around she’s gone

Lesson iii

Paint rings around the light High rag content bears the weight of reflection

Believe your eyes she insists Draw the patches of blank white light The rest is only color

23 Back, left to right: Christopher Neal, Roy Wylie, Sonja Bruzauskas, Chris French, Wayne Brooks, Robert Nelson. Front: Anne Leek

Standing, left to right: Tony Kitai, Tali Morgulis, Sonja Bruszauskas, Sophia Silivos, Roy Wylie. Sitting: Robert Nelson.

24 Left to right: Robert Nelson, Tali Morgulis, Sonja Bruszauskas, Chris French, Sasha Potiomkin, Christopher Neal. 25 Also Available

DE 3435 Archipelago of Light Tali Morgulis, piano

Ukrainian-born, Israeli-American pianist certs worldwide as a soloist and cham- Tali Morgulis has appeared in con- ber musician. She received her doc- torate in piano performance from the New England Conservatory of Music and is currently an Associate Professor of Piano at the University of Houston’s Moores School of Music while continu- ing to pursue her concert career as a soloist and dedicated collaborative artist. Her discography includes record- ings of works by Rachmaninov, Janacek, Shostakovich, and Lutoslawksi for the IPA label and the CD Archipelago of Light – featuring works by Villa-Lobos, Ginastera, and Prado – a 2013 Delos release. 26 Sapphire was recorded January 7, 2015 in the Performing Arts Center, Lone Star College, Kingwood. “On the Question of Angels” was recorded April 3, 2015 at Wire Road Studios, Houston, Texas. Bowls was recorded May 27, 2015 at Wire Road Studios. Two Caberet Songs and Two Love Lyrics were recorded May 27, 2015 in the Opera House at the Moores School of Music, University of Houston. Zoo Stories was recorded November 8-9, 2013 in the Geary Performance Studio at the Melcher Center for Public Broadcasting in Houston. Watercolors was recorded August 28, 2015 in the Opera House at the Moores School of Music.

Producers: Brad Sayles and Robert Nelson Recorded, edited, mixed and mastered by Brad Sayles Cover art: Gretchen Loro Portrait of Robert Nelson: Antonio Loro Photos of Sonja Bruzauskas: David Carlysle Humphreys and Brian Pavlich Booklet editing: Anne Maley and Lindsay Koob Design and Layout: Lonnie Kunkel

“A Valentine” is copyrighted by the Liverwright Press and is used by permission. All pieces are published by robertnelsonmusic and are available from the composer.

Brad Sayles, Recording Engineer

DE 283499