• Jamie Erekson, 2021

    5’

    clarinet, bassoon, piano, percussion, violin, viola, cello, double bass

    Commissioned by The Albany Symphony Orchestra

  • An interactive sound installation
    Emily Erekson

    Commissioned by Certain Women.

  • for amplified music box, sampler, and dancer

    Jamie Erekson, 2021

    4’

    Commissioned by Salt Lake City Arts Council

  • An interactive kinetic sound sculpture
    Jamie Erekson, 2020

    This sculpture represents the four historically redlined districts of Salt Lake City, with performers engaging within the "zones" they inhabited during their youth.

    Commissioned by the Salt Lake City Arts Council

  • Jamie Erekson, 2020

    2’

    2 flutes

    Recorded by David Ashton

  • upright bass and percussion
    Emily Erekson, 2020

    10’

    Commissioned by the Upper Manhattan Higher Ground Festival

  • A collaborative exploration of Shakespeare’s Richard II, 2019

    75’

    Collaborated with three Lincoln Center Theater Lab directors, six actors, ten composers, and thirty performing musicians

    Commissioned by The New School

  • An interactive installation for female voices
    Emily Erekson, 2019

    “Out of the rolling ocean the crowd came a drop gently to me … I too am part of that ocean, my love, we are not so much separated, Behold the great rondure, the cohesion of all, how perfect!”
    — Walt Whitman, Out of the Rolling Ocean the Crowd

    I gave twenty-two women a set of parameters: 

    • Use your voice, no other instrument

    • Record for 1-3 minutes

    • Start and end by humming a D

    • Listen to a D continuously on headphones while you record

    • Don’t copy pre-existing music

    • You get one take--once you start, just keep going

    Some were more comfortable with this exercise than others. Many felt their voices were inadequate and were hesitant to participate, while those who identified themselves as “singers” confidently volunteered. A few wished they had more rules and an example to make sure they did it “correctly,”  while others thrived in the flexibility and freedom. Some meticulously planned. Some spontaneously vocalized. One woman hummed a single pitch the entire time. Another beat-boxed. The end result was a beautifully diverse sound-bank of voices, each with its own unique timbre, rhythm, intonation and harmony. 

    I used this sound-bank as raw material to dissect, re-structure and shape into five contrasting movements: four pre-composed and one continuously evolving. These movements are connected by a series of algorithmically-paired duets and trios that are drawn from recordings by the initial twenty-two women and the voices of each new participant. As I composed, I enjoyed exploring the dynamic relationship between the individual and the community. How does this relationship impact the choices we make as individuals? How do these choices interweave to create our social framework? How do we connect with others? How do we separate?  

    Exhibited in 2023 in the Church History Museum. Commissioned by the Center for Latter-day Saint Arts.

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  • Jamie Erekson, 2020

    3’

    string octet

    Recorded by Agnon Quartet

  • Jamie Erekson, 2019

    5’

    chamber orchestra and track

    Excerpt recorded by Mannes American Composers Ensemble
    Conducted by David Fulmer

  • Jamie Erekson, 2019

    10’

    string quartet, accordion

    Performed by Emily Erekson and Agnon Quartet
    Commissioned by The Barlow Endowment for Music Composition at Brigham Young University

  • Jamie Erekson, 2018

    3’

    solo piano

    Performed by Emily Erekson

  • Jamie Erekson, 2016

    4’

    2 soprano sax, 2 alto sax, 2 tenor sax, baritone sax


    Performed by the BYU Saxophone Septet

  • Jamie Erekson, 2016

    7’

    2 sopranos, orchestra

    Text by Davey Erekson
    Excerpts performed by Little Moon, Kimberly Knighton and Utah Philharmonic Orchestra
    Conducted by Ty Turley-Trejo

  • An opera for 16 singers and chamber orchestra
    Jamie Erekson, 2016

    100’

    Germany, 1295. The village of Hamelin has no children; they have been taken by the piper. A note was posted on the bell tower threatening death to the inhabitants of the town if a child is ever found in the village again. Anna still believes they will return, but her hope falters when a little girl stumbles into town and sets into motion a series of events that reveal the true identity of the piper and the fate of the lost children.

    Puppets by Davey Erekson.

    One of the most moving operas we put on at BYU — Darrell Babidge, The Juilliard School

    Captivating — Nicolas Giusti, Utah Lyric Opera

    A brilliant, new twist on an old tale — Laurence Vincent, BYU Opera