Description
Click here to view the perusal score for Afterlives.
In memory of Melissa Eckhardt.
Program notes:
Artistically speaking, grief is one of my constant companions—one which illuminates both joyous and tragic parts of life. I often find that being open to writing about grief and loss allows me and my collaborators space to more fully articulate our humanity in the works we craft together. Afterlives, created in 2025 for Louie Eckhardt, took its final form after the death of Louie’s mother, Melissa. In it, we reflect an experience of existing after an immense loss: not just the pressure to rebuild, move on, and find happiness again, but also the constant reminders that someone or something which was an important part of your life just doesn’t exist anymore.
Any life rebuilt after a loss will inherently be informed by that loss, and the months, years, and sometimes decades we spend processing our grief shape us in myriad ways. I fervently hope Afterlives will provide an outlet for all those who may need it, but especially for performers finding themselves again after the loss of a loved one.
Notes to the performers:
Afterlives is a slow build. The dynamics present are a guide to help you structure that build, but rather than micromanage your crescendo choices, I am intentionally choosing to leave that to you. Simply, sections marked p should be the quietest parts of the piece, and the section marked f should be the loudest. How loud or soft those things are is entirely up to you.
The trills in this work should be approached gently; they can be as wobbly as you like, but I encourage you to gradually speed them up and slow them down rather than treating your trill function as an on/off switch.
The glissandi in the trumpet part can be realized however you like. They should feel sort of like a sigh down to the lower note.
(Performance notes continue in the score)
Frequently asked: How should I write the name of this piece in programs/posts/etc.?
Answer: With the first letter of the word capitalized (Afterlives). Thank you for your attention!
May I chop up your program notes?
Answer: Please don’t. This is a piece about death, and I’ve left these very short so they can be included in full. My notes are, in most cases, my only opportunity to speak directly to your audience. If limited program space is a consideration, consider linking them to this page via a QR code and/or reading them aloud for your audience during your set.
Can I download materials forever?
Answer: As long as my website is functional and the materials are stored there, yes. HOWEVER, I strongly encourage all performers to download all your performance materials immediately after purchase—technical difficulties can occur on both my end and yours, and I’d hate to leave you without your materials if a problem arises!
Should I put content warnings on my program and marketing materials?
Answer: If you’re going to talk about grief and death at any length, I highly recommend it. Because there is no narration, it may not be quite as necessary as it is for some of my other works, but I generally prefer to err on the side of caution myself. If you’re looking for guidance, I would be short but specific with the content warning, like this: “CW: parent death.”
Discography:
Louie Eckhardt, Afterlives: New Music for Trumpet, release date forthcoming
Known performances:
Got one I’m missing? Let me know! (And performers: if you see a name on here that you no longer use, I will fix it! Please send me an email with your old name, what you’d like it changed to, and where it appears.)
About the cover photo:
Taken by me in 2022, on a night when I was remembering a classmate of mine who died by suicide. I’m very happy it ended up being a great choice for this score.
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