Food for love | Mona Lyn Reese | MusicSpoke

VOCAL SOLO Mezzo and Piano

Duration: 5:56

FOOD FOR LOVE

From the opera, The Three Fat Women of Antibes

Mona Lyn Reese

REESE & HASSING MUSIC www.monareese.com This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

J

FOOD FOR LOVE From the first moment I looked into your eyes, Just like a pastry, my hopes started to rise.

Now that we’re here I can not disguise That you are my food for love.

Chorus: You’re the lemony tang in my lemon meringue.

When my heart starts to ache, you’re the angel food cake.

You’re the cream in my coffee, the sweet English toffee, The ice cream bestowed on my pie à la mode.

I’m so glad you’re my food for love!

(Chorus) Alone or together, you fill my heart.

You are as sweet as a strawberry tart.

As a full meal, or just à la carte I’d have you—you’re my food for love.

(Chorus) When asked if I’m lonely, I say “Non, au contraire.”

‘Cause you’re the filling in my chocolate éclair.

Dancing at night, I’ve got that old savoir faire, ‘Cause I know you’re my food for love.

Lyrics by Thomas Hassing

Copyright© 1998, 2002, 2009 Reese & Hassing Music All rights reserved.

www.monareese.com

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

None of the rhythms should be played exactly as written. Anticipate the downbeat, play two eighth notes as a quarter-eighth triplet.

Food For Love Andante, Rubato q = 100

  







                   



 

 

4

    

 

 

A  



             

 















  

eyes,



     

mf

From the first mo - ment



 



         

just like

past - ry, my hopes

 

 

                 







a



This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

3



        mp



 





  

I looked in - to your



  



                



sp

f



mf

   





 



 

      

mf

   



V.S.

3      

10



start - ed

     

to

        

rise.

3           3



 



      

guise

 

that youare

      

 

 mf

 



14

    

le - mon - y tang



p



   

   



 

in

my

  









food for

 



  

    

love.

    



     



This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

4

You're the

        

3



dis-

  

 



When my heart starts to ache, you're

       



can not

 

     



 

le - mon mer - ingue.

                     

    

      

  

Andante, Swing q = 100

I

    

my

          

16

     

p

Freely

    



here

      

3

3



Now that we're

       

13

   



the

      



     

19



3

 

an - gel - food cake.

  

You're the cream in

 

22



3



3

     

ice cream be- stowed on my

      





 

   

3        

 

à

         3

3

3

3



                   

 

sweet







  

you're my

    

 

   

 

Slow arpeggio low to high

 



food for

 

love.

 



 

      



        

A - lone or to - geth - er,

 

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

5

the

    

   

                        

 

tof - fee,





 



 

Eng - lish

            

glad



Fill in chord with arpeggio or other ornament.

    

la mode.I'm so

           



B Swing   





3

pie

the



  

   



  







cof - fee,

  

3

 

     

   

                 3   

my

  



 



 

V.S.

C   





you fill

my

heart.

  





 

  

          

34



  

  

You are

  



  As a full

3

          

       

3

3

Freely        



I'd have you—

      



     

   



    14

  

meal,

 

 





   

or

just à

  

 

 

     

 

  





   

Oh ba- by, ba- by,

     

         





        



     

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

6

la

Cadenza. Improvise.

you're my food for love.

 

as a

           

 

38

carte





                         tart.

3







as sweet

                   

3

straw - ber - ry

    



      



D Andante, Swing              

42





You're the

ba - by.

 

 



  

 





   



  

  

3

       



 

      

When my heart starts to ache, you're the

  

 

     

    

3

      

3        

3 3       

the sweet Eng - lish tof - fee,

the ice cream be- stowed on my

        

             

 



       3

3

                       

  

 





my le - mon mer - ingue.

an gel - foodcake. You're thecream in my cof - fee,

     

50

in

    

 

46



le - mon - y tang

    

        3

3

 

pie à la mode.I'm so glad



 3                       3

      

you're my food for



  

Slow arpeggio low to high

3



                 





love.

     

  

        



3

                  

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

7

 

V.S.

 

55





 



 

     

When asked if I'm lone - ly,

 

  



            





     

  



 

          

   

traire.”

'Cause

      







you are

the fill - ing

 



                      

  

62



    When I dance



          

  

loco





with

you,

               

in my

  

 

     

  

 

3

3

        3

3



  

old

 

sa - voir

        

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

8

é - clair.

     

I've got that

  



3

choc -’late

 

   

        

  

I say“Non, au con

    

 

59



E Andante, Rubato               

 



        

65

            



14

a piacere

   

 



ba - by,





 



  



ba

-



 

  

   

 

  

  

 

      



 

When my

    

heart starts to ache,



for love.

    

F

You're the

by.









  

     

  

   

 

72

le - mon mer - ingue.

food

   

ba - by,

 

        

     

Cadenza. Improvise.

 

69



  

  

you are my





faire,'Cause I know



 

Oh

         

Swing, a little faster

    

le - mon - y

tang



 

in

my

                



 

you're

the

   

an - gel - food cake.



  3          



        



       



  

      

 

You're the

 

 

              

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

9



V.S.

G  



3

3

        

cream in my cof- fee, the sweet Eng-lish

             

  

tof- fee,

the

3

     

ice cream be-stowed on my pie à



             

             

 

   

      

 



glad

     3



     3   

3

you're my



food



Fill in chord with arpeggio or other ornament.

 





  



                

for



love.

        

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

10

la mode. I'm so

          

        



3    

     



3

3

      3

79

      

 

       



Mona Lyn Reese has been composing professionally since 1975. In her recent works, she has concentrated on opera and orchestral music. Her work is melodic and accessible with an emphasis on driving or complex rhythms, movement, and contrasting textures. Her music communicates and expresses emotions traditionally or experimentally without allowing a prevailing fashion to dictate style, form, or harmony.

Composer-in-Residence at the Minnesota Opera from 1991-1999, she arranged works for the Minnesota Opera touring company and conducted educational residencies to help students write and produce original operas.

Reese’s opera The Three Fat Women of Antibes received its premier performance with orchestra in May 2009 by the San José State University Opera Workshop. The opera, written with librettist Thomas Hassing, is a humorous chamber opera for four singers based on the W. Somerset Maugham short story of the same name.

Thomas Hassing studied creative writing with Michael Dennis Brown at the University of Minnesota, Minneapolis, and The Loft. He has been writing poetry, short stories, lyrics, and light verse since 1984. Mr. Hassing is known for his comic writing.

He collaborated with Mona Lyn Reese on the 1988 production of Music and Mime at the Five and Dime, and has also collaborated with her on other songs and anthems. In 1990 he was selected Writer-in-Residence for the Twin Cities Opera Guild production of The Green Children. Mr. Hassing wrote the libretto for Reese’s opera, The Three Fat Women of Antibes.

He is active in the arts, serving as President of the Board of the San Jose Dance Company and is on the board of advisiors for the San Jose Chamber Orchestra.

SYNOPSIS The Three Fat Women of Antibes takes place in the early 1930s in Antibes, an exclusive and wealthy town near Nice on the French Riviera.

Three wealthy middle aged women (Beatrice, Frank, and Arrow) take a house in Antibes, to pursue a weight reduction regimen. The women are not plump or chubby, but decidedly fat. The youngest of the women (Arrow) hopes to find an attractive and wealthy young man for her third husband. The women, keen and enthusiastic bridge players, are the best of friends. They support each other in their diets and enjoy their time together. The only thing they really need is a fourth for bridge.

Frank invites her recently widowed cousin and an excellent bridge player, Lena, to join them for several weeks. Lena’s doctor told her she should eat simple foods—bread, butter, potatoes, and cream—to help her over her husband’s death. Lena has never had a weight problem, she can eat anything she pleases, and does. She wins a lot of their money, puts butter on everything, and has wine with meals. Lena’s diet and her ability to win at bridge strains the three fat women’s friendship to theforbursting point.

This score is not licensed performance.

Please visit MusicSpoke.com to purchase performance copies.

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.