at least a moment

at least a moment cycle of three songs for soprano and harp

Texts by Kenneth Koch

Dennis Tobenski

3

1. To You

I love you as a sheriff searches for a walnut That will solve a murder case unsolved for years Because the murderer left it in the snow beside a window Through which he saw her head, connecting with Her shoulders by a neck, and laid a red Roof in her heart. For this we live a thousand years; For this we love, and we live because we love, we are not Inside a bottle, thank goodness! I love you as a Kid searches for a goat; I am crazier than shirttails In the wind, when you're near, a wind that blows from The big blue sea, so shiny so deep and so unlike us; I think I am bicycling across an Africa of green and white fields Always, to be near you, even in my heart When I'm awake, which swims, and also that I believe that you Are trustworthy as the sidewalk which leads me to The place where I think of you, a new Harmony of thoughts! I love you as the sunlight leads the prow Of a ship which sails from Hartford to Miami, and I love you Best at dawn, when even before I am awake the sun Receives me in the questions which you always pose.

2. Permanently

One day the Nouns were clustered in the street.

An Adjective walked by, with her dark beauty.

The Nouns were struck, moved, changed.

The next day a Verb drove up, and created the Sentence.

Each Sentence says one thing—for example, "Although it was a dark rainy day when the Adjective walked by, I shall remember the pure and sweet expression on her face until the day I perish from the green, effective earth."

Or, "Will you please close the window, Andrew?"

Or, for example, "Thank you, the pink pot of flowers on the window sill has changed color recently to a light yellow, due to the heat from the boiler factory which exists nearby."

In the springtime the Sentences and the Nouns lay silently on the grass.

A lonely Conjunction here and there would call, "And! But!" But the Adjective did not emerge.

As the Adjective is lost in the sentence, So I am lost in your eyes, ears, nose, and throat— You have enchanted me with a single kiss Which can never be undone Until the destruction of language.

4

3. One Train [May Hide Another]

(sign at a railroad crossing in Kenya)

In a poem, one line may hide another line, As at a crossing, one train may hide another train.

That is, if you are waiting to cross The tracks, wait to do it for one moment at Least after the first train is gone. And so when you read Wait until you have read the next line— Then it is safe to go on reading.

In a family one sister may conceal another, So, when you are courting, it's best to have them all in view Otherwise in coming to find one you may love another.

One father or one brother may hide the man, If you are a woman, whom you have been waiting to love.

So always standing in front of something the other As words stand in front of objects, feelings, and ideas.

One wish may hide another. And one person's reputation may hide The reputation of another. One dog may conceal another On a lawn, so if you escape the first one you're not necessarily safe; One lilac may hide another and then a lot of lilacs and on the Appia Antica one tomb May hide a number of other tombs. In love, one reproach may hide another, One small complaint may hide a great one.

One injustice may hide another—one colonial may hide another, One blaring red uniform another, and another, a whole column. One bath may hide another bath As when, after bathing, one walks out into the rain.

One idea may hide another: Life is simple Hide Life is incredibly complex, as in the prose of Gertrude Stein One sentence hides another and is another as well. And in the laboratory One invention may hide another invention, One evening may hide another, one shadow, a nest of shadows.

One dark red, or one blue, or one purple—this is a painting By someone after Matisse. One waits at the tracks until they pass, These hidden doubles or, sometimes, likenesses. One identical twin May hide the other. And there may be even more in there! The obstetrician Gazes at the Valley of the Var. We used to live there, my wife and I, but One life hid another life. And now she is gone and I am here.

A vivacious mother hides a gawky daughter. The daughter hides Her own vivacious daughter in turn. They are in A railway station and the daughter is holding a bag Bigger than her mother's bag and successfully hides it.

5

In offering to pick up the daughter's bag one finds oneself confronted by the mother's And has to carry that one, too. So one hitchhiker May deliberately hide another and one cup of coffee Another, too, until one is over‐excited. One love may hide another love or the same love As when "I love you" suddenly rings false and one discovers The better love lingering behind, as when "I'm full of doubts" Hides "I'm certain about something and it is that" And one dream may hide another as is well known, always, too. In the Garden of Eden Adam and Eve may hide the real Adam and Eve. Jerusalem may hide another Jerusalem.

When you come to something, stop to let it pass So you can see what else is there. At home, no matter where, Internal tracks pose dangers, too: one memory Certainly hides another, that being what memory is all about, The eternal reverse succession of contemplated entities. Reading A Sentimental Journey look around When you have finished, for Tristram Shandy, to see If it is standing there, it should be, stronger And more profound and theretofore hidden as Santa Maria Maggiore May be hidden by similar churches inside Rome. One sidewalk May hide another, as when you're asleep there, and One song hide another song; a pounding upstairs Hide the beating of drums. One friend may hide another, you sit at the foot of a tree With one and when you get up to leave there is another Whom you'd have preferred to talk to all along. One teacher, One doctor, one ecstasy, one illness, one woman, one man May hide another. Pause to let the first one pass.

You think, Now it is safe to cross and you are hit by the next one. It can be important To have waited at least a moment to see what was already there.

All of the poems have been collected in The Collected Poems of Kenneth Koch, 2005 by Alfred A Knopf.

Used with kind permission of the Kenneth Koch Literary Estate.

7 for Megan Sesma and Patricia Schuman

at least a moment 1. To You

Kenneth Koch (1925 - 2002)

q = 120 Exuberant f

  

Soprano

I









love

you

as

a

  sher -

q = 120 Exuberant

 



 



DENNIS TOBENSKI (2008)



 







iff

search - es

for

a



 

 



wal -

 



nut

 f

Harp

 



6

 







 







That will solve a mur - der

  



    

      

   

the

3

   





un -

solved

 



  



for





 



 

   

    







   



  









3



mur - derer

   

  left





it

in





3

                  



be - side a

 Be

-





 

3    





   



the snow

          

3

3

 



years



   



cause



 



11

 

  



3

 case





 win

-



 

dow

Through

                               3

© Copyright 2008 Dennis Tobenski. All rights reserved.

"To You" from The Collected Poems of Kenneth Koch © 2005 Alfred A. Knopf. Used with the kind permission of the Kenneth Koch Literary Estate.

3

8

 



which



 

 

16

he

saw her

        



   

  

20



neck,

head,



    





   

 



 









 

  

For

   



shoul









 

 

 



   3

 





    we

    



       3

 

love,

 



 

 3

 



   

 

 

 



    3













and

we

  

 



 

        3

 

3

  

  

-

ders

by

a











3        3







we

are





q = 100

 



  



For

this

we live

a

q = 100

 

  



3

  



      

       3

In - side a bot - tle, thank

3





3



not

 



be- cause we

3





       





   





3





live









  

3









love,

   



  

 

3

29

Her



      

3

with





this



     

ing



 

 





red Roof in her heart.

  

thou - sand years;



 

    

 



25

-



 

sfz

   

 

con - nect

  

and laid a

   





32

  



good - ness!

 

      

 



9

 





I

love

you



3    

as a



Kid

search - es

   

      

 



        3

3

        



3

3

goat;

3              

          

 



for a



 



 

  



3

f 3  3        

  

36



I amcraz- ier than shirt - tails



  

   

 In

the



 

 

f



  

40





 

  

so



deep

and











    The

 



 

big

blue

 



      3

un

   

    3



 

    3

a



 









3





sea,



so



   

 3

 

 





3

    



3

p sub.

        3

I think I am

          

3



like us;

3



3



3

3 3

 

3

       

so



near,

  

3

3

3



3

3

   



 

         



you're

                       

from

3

3

shin - y

 

blows



 

3

 

when

                 

 

 



  

that

  

44

 





wind

 



wind,

  

sfz pp sub.

    

  





  

p sub.

       3



 

10

  

49

  

3

bi - cycl - ing









a - cross





 

Af - ri - ca

  



fields

 

  

    ff

     



When





f



  







3

f

     



p sub.

 





3

    





 

  

a

 

 





e

 

 

-

     





 



in my

3

  

  

and

al - so



3

3

 





I be -

      





    3                  3 3 3 



  

 3          

side - walk







 



  

 

3

      

3





  

    

ven

3



 

3

 

p





3





3

 3        



3

as



you,



white

      

     

3

3







near

    

3



 

3

3

which swims,

that you are trust - worth - y



 

  



3

   





3

 

I'm a - wake,

    



to be

   

3

lieve



 

  



    3       ff





 

3     

ways,



3

 

and

3

3

Al -

    



  



3

f warm

3

heart







3



   

green

   

       



 

57

61

of

   

3

 



3

   

 

           



53

 

f

3        

3

 



 



which



 

   3         3

q = 80 f

molto rit.

  

65

  



3

leads me

 



to the place

 





 

 



where

I





  

ff

        a- gain

think of you,





 

a

 



 

70

  Har

  -

 

mo - ny

 

 

of



          3

  

75





leads



3

 the



thoughts!

I

  

  



 prow

  Of

   a

  





 

love

you

as the





3

 

 









sun - light

q = 120 as at the beginning

  





q = 120 as at the beginning f





 f

  



  

new

fff 3 3 3 3    3                      

  

q = 80

molto rit.

 

11



ship that



 

sails

















  

From Hart - ford



 

to

Mi -



 













 













12

      

q = 60

80

 

pp intimate





a - mi,



and

I

love

q = 60

 

  

 

you Best at

  



 



mf liquid

84

     am

a - wake

 



the

sun

  

 



   



3





me

         

 

 











 



        

        

        

in

3

3

pp



3









3







3

 

 

3

3

  

3

3

3

the ques- tions which you al - ways pose.

               3

I



 

3

be - fore



 

3





   

3

e - ven

  



3

3

3

when



     

3

        

3

 

 



  

     

3

 

dawn,



3

3

mf liquid

88





Re - ceives



   

    

 

pp intimate

 



     



3

  



3

2'37"

13

2. Permanently Kenneth Koch (1925 — 2002) q = 84





f declamatory

  





One day

 

q = 84





sfp

      

Harp

 



ff

sfp

 

  

  



    

 

clus - tered in the street.





 





3     



Ad jec - tive walked by,



9



 

with her rit.

  

   

An





 



 





 

 



 

  

 

   



 

 

The Nouns were struck,



 



    

 

  

were



 



  

dark

q = 100 Tango





beau - ty.

 

 

    

 

  



 



  

  



 

moved,

    

the Nouns



 

      

rit.

5



ff





 

 





changed.

    

 



   

  

q = 100 Tango gli ss.

 

Soprano

DENNIS TOBENSKI (2008)



   

The

 

   

   





      

© Copyright 2009 Dennis Tobenski. All rights reserved.s "Permanently" from The Collected Poems of Kenneth Koch © 2005 Alfred A. Knopf. Used with the kind permission of the Kenneth Koch Literary Estate.

 

14 13









next day

a

  





  

  

 

q = 110







 

 

  

18

p mysterious



 

and

cre - at - ed

 

 

q = 60

 

 

p

    

 

    



Verb drove up,





  



q = 60

       

mf saccharine, as though addressing very young children





  



 

  

 

 

 

    



 





the Sen- tence.

     



q = 110



mf

    22

 

 

f

   



       









      

 

       







(spoken)*: "Although it was a dark, rainy day when the Adjective walked by, yearning, nostalgic





 

for ex -

mf

 

  

 



Each sen - tence says one thing–

 





 

    

  

   

am - ple:

      

   





25

I



shall







remember



  p

   

the

pure

and

 



 





  





 





 



 







  

 









  



sweet expression on her face until the day I perish from

   



 







* - Suggestions for articulation are written above the text

 

 

 

 

  



 

  

  

 







(sung) f

the green effective earth."

27





  





Or,

  

30

  



 

   





 



 





 

3





"Will you q = 80

  

p sub.

 



please

f

 

      37

3



f















5



    































 

 

q = 100 Tango

        



3

3

 



for ex- am- ple,

     

 

       

 

ff let ring

q = 100 Tango



 fff





  

 

(spoken) pleasant, matter-of-fact

   



    

the

"Thank you,

 

  

 

sffz p sub.

  

 





"pink pot of flowers on the window sill has changed colors recently to a light yellow, due to the heat

        







 



Or,





 



 



rit.

close the win - dow, An - drew?"

(sung) ff recitative







(spoken) exasperated, for the tenth time....

q = 80

33







   

  

gl iss .

  

15

rit.



liss g 

 

.





  

  

   



liss g 

.

 





  

  



16

from the boiler factory which exists nearby."

39

    

 



  

  

 

  

42

    

         

  



grass.





   



the



     





"And!

   

fff

   

 



lay





   

lone - ly







pp sub

on



Con - junc- tion here and there

the

    

     

    

  

q = 80

si - lent - ly

    

3





          

    

3

3

3

      

     

would

   



 

call

               



    3

3

  

  

     3



(sung)

   But!"

      3

       3

      



Sen - ten -ces and Nouns

               3                 3





   

  3                        3

(spoken) ff searchingly

  

     

    

3

51

ff

        

f

A

    



   



spring - time

3







        



46





In the

        

f

f lyrical



 

mf

 



  

 

q = 80



         3

3

Butthe Ad - jec - tive

3

did

3

    not

e-

3







merge.

    

  

        

    

 

  

3

3

3

3

 

  

56



         3

  As

       3

mp

    60

 





lost

in

your

the Ad- jec - tive

is

lost

in the sen tence,

So









   











  

 



eyes,





 

ears,

nose,

and











64



 

66



          



 

 

You

have

en







 

 

 

 

 





   

    



  

   





               

  

am





          





   

fff

  

I

 

throat–



  





3



   

   



 





3         

 

17

  



 

     

  -

-

chant

-

-

-

    

 



ed

me



 

                       



 

 



18 68









 



with

a

sin

- gle

        

 

 



fff

70

 







  

 

Which can

nev

 

            

      -



   

 

 



kiss

  

-

 





    



er be un - done

    

3     



 



 

Un - til the de - struc - tion

of





      











  











   

74

  

lan -

guage.





 







    

  

    

   

            

 

 

     

 

s.

ffff



glis



   q = 60



gliss.

 

q = 60

    

      







19

3. One Train May Hide Another Kenneth Koch (1925 - 2002)

Soprano

mp

q = 70 tranquil



3

  



In

q = 70 tranquil

  









 



  

5



 



 





        









  





 

 



when

 





one









you

are

  



one





line mayhide an - oth - er



 



 







  







wait - ing

to

cross

the

  



  

   That









  





3

 



tracks,





© Copyright 2008 Dennis Tobenski. All rights reserved.

"One Train May Hide Another" from The Collected Poems of Kenneth Koch © 2005 Alfred A. Knopf. Used with the kind permission of the Kenneth Koch Literary Estate.

 













 

3





train.









train mayhide an - oth - er



3

  



 







poem,

          

3

a cross - ing

  

is

 

at

a

    



3

As



 





3

     

 

line,





mp

Harp

9



          





 

DENNIS TOBENSKI (2008)

wait

  

  

 

20 12









  

14



    

to

do



it





 





 

  



af





 



 

 







ter

the

first

train

is

 

 



3

    3

 

un - til you haveread





  

 



 

Wait



3



 

when you read





  

   



 

 

3

so

-

3



mf



  

the

  



p

     

   first line











3



In q = 100



 

a

fa - mily



it is



     

q = 100 f energetic, recitative

  







  



 

            

        3

Then

     

21



mf



      

least

 

And





 







 



gone.

17



for one mo - ment at









7







 





sis - ter



to go on

 



   

 

one

safe



3

 

 

may con - ceal





   





an - oth - er,





 

pp



      

p sub.



 

3

      





read- ing









So,

 mf



when

 



 





 









f 24

 



 



 







3



 

you are court - ing

it

is



21

3

  

best





 





in

view

5

to have them all











 



 







 



 

q = 70 mf

  

27





 



3

Oth - er -

wise

in

com - ing

to

find



  

love

an - oth



  

32

 





















  

er.

   





one





 











 





7





3

fath - er





you

may

man,

if



you are

 

a

wo - man,





  

  



 

  



 or



     



3

one



broth - er

may



hide





p











 let ring





   

One

  

 



mf 

 















whom

you

have

been



3





wait - ing

to



3

the

 











 -

 

 



  



 



 

 



3

q = 70

 

29









 

 

  

22

   



34

love.

                mf warm

   

3

 

37

3



      



          3

   

of

  

 



some - thing

the





       



   

40



 



-



      



    





   



 

 



3

        

and

One wish may hide an - oth - er.

         

 

 

f



 

 

3

 









  

3

 



  







   

   







 

3        3

   

3         

may hide

the re - pu - ta - tion of an

3



 

         

  

  

 

increasingly frantic



  



 

     



3

 

 

 

And oneper -son's re - pu- ta - tion

  

 



   







i - deas.



  



  

stand in front of

 

increasingly frantic 3

words

  

3







  

42

 

  



in front

f

3





  







ings

al-ways stand - ing

As 3

3

  

        





    

 







  

feel

 

3

3

So

oth - er



  

ob - jects,

     

3   

3

  

3

3

3

   

 



    



 

45





3

oth

-

er.

    

One dog may con - ceal an - oth - er

 

         

    







 

    





3



  

 

 

on a lawn,



     

3            3

first one

   

3

you are not ne - ces - sa - ri - ly

 



     

  

 



 

oth

   

mp

3

er

    

and



  

 

55



 

  

a



 

 





p



lot of





may hide a

  

    

    





3

  



  

 

mf



 



  

    





 

 



tombs.

 





 



   







mf

  

 

    







one







   

    



   





  

  

love,

  



5



In



may hide an

on the Ap -pia An - ti - ca

 

 

3

    

li - lac

3

and



num- ber of





li lacs

 





One

3

then

      

3



   

 

   

you es - cape the

      

safe;

sfz

        

  







mp

tomb

 

gli

ss.

so if

3

p sweetly

           

 

 

 

 



                3

51

3

3

3

ff 48

       



  

23

3

   

3

one

 





  re -

 

24 3

  

58

   

proach

may

hide

     

an - oth - er,



    

One

let ring

               3

61

5

One in jus - tice mayhidean - oth - er

     

3





f

      

  

    3

3

small com - plaint

may hide a



3

great





















              

one

co-lo - ni - almayhide an-oth -er,

3      



One

3





 









           3

oth - er, and an - oth -er,

 

One bath mayhidean- oth - er bath







an -

q = 70 mp sub., matter-of-fact

         3            

awhole co - lumn.







e = 70 ff melodramatic

 

blar - ing red u - ni - form







one.

 

64



  



As when, af - ter bath -ing, one



e = 70



q = 70











p

 



 



       

68





3



 



One i -

 





   

 













  

dea







3

  

may



mf



  



mf



3

walks out in - to the rain.

  



   

 



hide an - oth

  











3

-

 











 

er:

 



simply

lyrical

                     

71

Life is sim - ple

 

    

Hide Life is in - cre - dib - ly com -plex,

 



as

 

in

the

3



3

3





of

Ger

-

trude

   

       

                 3 3 3 3





Stein



 

 



3

3

 

      3

3

3

3

3

3



One sen -

     

tence

  

3

3

3



3

3

   

hides an - oth

er



3

is

an - oth - er as

3





79

    One





        



in thelab-ora - to - ry

 



3



3

And





One



in - ven - tion mayhide an - oth - er in - ven - tion,



 





 

f











p intimate

3



     

e - vening mayhidean



   



-

 

3

 



oth - er,



      



 

3

     

one







shad ow,

 p

    



3

a nest





3

 

       of shad ows.

 











  

 

well.



    

3 3                         3 3

   



       





 

and

 

f

76

 

       3

   

3

prose











74

 





    

 mf

 





25

  





  



  

26

mf warm

    

83

 

One darkred,



  







3

            

 



3

3

  

     



3

3

3

3

this

3

mp

       3

One





un - til they

3

3

 



doub - les



  



or, some times,

3

3

3

3

3

3



3





 



    

One

3

oth - er.

    

  

3

  

3           

93

And





3



 



 







  

   

 

3

   















   



May hide the







 

3 3          

      



     



The

there!

3

       

i - den - ti - cal twin

3

3

there may be e- ven more in

     

3

ob - ste - tri - cian

3 3                                            3 3 3



these hid - den

3       



like - ness - es.

3





3     

mf

3

mf

    





3

pass,

3

                

     

3

 





by

                      

3               

 

3





      

p

90



3

waits at the tracks

      3

  

is a paint - ing

 3  3                                  3 3

some - one af - ter Ma - tisse.



            

     

3

  

  

 

3

or one pur - ple





     

  

 

or one blue,

mf warm

87



  Gaz

 

    

       

97

-

es

the

   

  



    



hid

an - oth - er

life.

 





 

 

 

      3



 











  



 

 

       

 

    3





3

p

 

 



    

  

3

3

she isgone

3

and I



     





amhere.













    3





    big - ger



daugh -ter.



They

3

  



are





  in







   







3



bag





3



a rail - way sta - tion



3

mp

 

and suc - cess - ful - lyhides it.

  





and the

           3

than her moth - er's

  

3

The daugh-ter hides her own

3





in turn.

    

In

 p

 

 





hides a gawk - y

daugh - ter is hold - ing a bag



but





3

3

        





wife andI,

3

And now

    

vi - va - cious daugh - ter

110

freely







   

  









   

 

3

my

27

let ring

A vi - va - cious moth - er

108

 







Slightly faster (q = 76) f recitative

105





3



        3



  

One life

  



  

    

       

Weusedto live there,

     

101

     



Val- ley of theVar.

    





p





28 113



3

       

3

off - er - ing to pick up the daugh-ter's bag

 



 

  



 

one



mf

      

 

car - ry that one, too.



So



 

      

     and one

  





3



   

 



mf warm

    One

 



    

 

  

  

3

love



     

an-oth er

            

mf warm

 





 







an - oth - er

  

  



     

    





3

 

  



 3



 





o - ver - ex - cit - ed.

  

         3





 













   

or thesame love









ff

   

        



3

un - til one is



   

may hide



         



3



And has to

ff

3



 

3

3

  

  



may de - li - berate - ly hide



                





    



with the moth - er's



an - oth -er, too,

 

   

 



cup of coff - ee

3





       

   

118





one hitch - hik - er



 

  

mf

  

121



find's one - self con - front - ed



115

  

 

  

  

As when

           

 

"I

    

 

love you"

      



 



    

      

125

sud -den - ly

    

rings





 





as

 





   



when



           



 



known,



 

  

  

bet - ter









 



  

 



  



 

dream

 





 

 



  





  

   

  

as



 



3

 

  





sfz

mf bossa nova

 



 

 



   



 

     3





 

 



is well

q = 92 . iss

 



In theGar - den of E - den gl

   

  

is

mf

 









3

thing and it

mayhide an - oth - er





    





   

 

"I'm cer - tain of some





3

q = 92

 



be -



   



               

 

ling ering

    

   





3



3

Hides

And one



 

 3

love

3



29



3



 

 

3

  





 

   

al - ways, too.

     

The

3

    





that."

one dis - cov - ers

"I'm full of doubts"



132

135



 

  



 

    

hind,

 

   



 

 

and

 



3     

 



false

 

128



   



30 139

3

    



A - dam and Eve

    

may hide the



 



 

 

real

 





   

3

    

to

let it

pass













148

    At home,

    

 



   



   

no

In - ter - nal tracks



mat - ter

where,

 

         



3

 

   

  



  





 









 



there.

  







dan -gers,

          



 



   

is



pose



come to some - thing,



       

  

  



what else



 



3

  



3      



   



so you can see

  



 

3          

 

 

 

  





3        

stop

 





may hide the



When you

  

  

ru - sa - lem

 



 



145





-

    







  



Je

Je - ru - sa - lem.

    

 

  

3







3

A - dam and Eve,

  



      

3

   

real

 





142



  

      



too.



one

 

  

 





         



3

152

3

me - mo - ry

  

cer tain-ly hides





  



   

155





     

e - ter - nal

  









Read - ing

   



 

     

160

  





  



 

  

    



ney

 





 

 





ties.

3

 

 



round



when you have

 



 



3

a-

  

  

 







 

it should be,

  

 



 







     

   



 

   



3

look



-

 

to see If it isstand - ing there,

   







   

a bout







 

      

fi -nished for Tris - tram Shan - dy,

    



is all





 



3



con - tem -plat - ed en - ti

 

 



3

3

 





of

Jour -

 



 

 

Sen - ti - men - tal



 



        A



    

be- ing what me - mo ry

      











3

3

that

re - verse suc - cess - ion



157





3



 

 

3

The

an - oth - er,

 



            

    



  

31

 

strong - er



 

 

 



32 163

  



 

 3

and more pro -

   

 



        

166

si - mi - lar chur ches

  3





 

One

3





 

drums.

 

      



  

fff

 

ord.



  

mp

mf











     3





  

 

 

  



3

pound -ing up stairs

 





    

hide

the

strike with palm

 

 

f

  

 

  

   

as

  

 

      3

 



3

may hide an - oth





3

     



be hid -den by

side - walk may hidean - oth - er,

a



friend

q = 70

 

q = 70 mf

One

 gl is

 



  

let ring

 



May

         

3

   

One song hide an - oth - er song;

      

 

beat- ing of

3

3     



    



and

3         

  



3

3

    





  

 

3            

    



Mag - gio - re



in - side Rome.

whenyou're a - sleep there,

172



3

  



 

  

3

                                  3           

    

 



3



as San - ta Ma - ri - a

   

 



      

hid - den

    

3

169

andthere - to - fore

s.



found



   

   3

-



 er,

    

 





 





you

                        3



3

3

3

33

3           3



 

sit at the foot of a tree with one

and

176

  



 

3

3

3





you'dhave

pre -ferred

    

     doc -tor,

  186





 

to

all

a

talk to





 3



         3

ec - sta - sy,









 

one

ill - ness, one



   



long.



whom

    



increasingly irrational

   

 

 

teach - er,



one















rit.

    

f

   

3

wo - man, one

3



fff



3

3

One

  

man

3

a tempo mp

    

May hide an-oth - er. rit. a tempo









p







mf

       

 

 

        



 

       

  pass.

You

 

    





-



Pause to let the first one

       

     

3

  

 

3

one

 

an - oth - er

f

mp



3            

 

182

 





   

3

  



  

                        3



179

to leave there is

3

3

3

3

      

when you get up

 3                   

 

       3           







3







    

       3

3

think,

 



 



Now it is safe to





   



    

34





and

you

are

cross

  

 

      

  

197





 





can

be

im - por - tant

 



what

was

3

see

 





  







3





 3





have wait - ed

at

least









 



 

 

3





a

mo -

















3





ment

to

  











  



there.









al - read - y













the next one.





 





 





  



to

 













3

 



  

 

3

  

3

by

    





It



hit



3

194

 

 



    

191





  



 





 





 













Rit. al fine







 Rit. al fine





  



 

   



   

  



   



 

  









 



  

         



    

14-24 September 2008 New York City

 

200

pp

  

11'03"

Â

For more works by Dennis Tobenski, please visit: www.dennistobenski.com