echoes

Dennis Tobenski Dennis Tobenski Â

echoes echoes

Sixsongs songs Six poems ononpoems of Mark

of Mark Statman for

Statman for soprano and

soprano and

piano

piano

echoes

1. conspiracy 2.translating Garcia Lorca 3.people shouting 4.inevitable 5.perfect 6.Kenneth’s death

Â

composed for the 2008 Staunton Music Festival in Staunton, VA as a part of the inaugural Emerging Composers Program

Premiere: Â

Julia Turnbull, soprano Matthew Stephens, piano Â

Tuesday, August 19, 2008 Staunton Music Festival First Presbyterian Church Staunton, VA

7

Texts

people shouting

conspiracy

there’s that Ray Charles song I can’t stop loving you it’s not from my past the danger is not but a past beyond my past he’ll take over so it’s part of me but only as memory my poems but that I won’t know of a memory when it happens I can’t stop loving you image of cow, of horse all choral of cadaver or sleepy river the first line or a pure and less and then the single solo than innocent love I’ve made up my mind so when someone points it out it echoes I won’t see this is real already devoured echo eaten redolent of spring and warm and those yellow and green days before I was conscious that loving you or anyone meant anything when I was young those days seemed unimportant and forever and now they seem too fast and everything this walk in the dark while you’re away reminds me that I can’t (stop) I don’t want to past and memory suddenly present conspiring into the future I’ve made up my mind wanting the mind to have that much to do with love

translating Garcia Lorca

sometimes it’s to make a point like watch out for that car so it won’t hit you or No No so the baby won’t put its fingers in the socket there are people who shout as a way to say hello or a way to tell their stories they don’t listen for a response and too often there’s none anyway a part of loneliness a need not to be heard but to speak with a story put in the world a story all hope right there

8

inevitable you were crying at the place in the novel when her husband died she sat in a room full of their books and their furniture paintings, emptiness, dust just before the time when she had the rest of her life to live just before she would realize she wouldn’t know what that would be you think reflexively how you are not her you aren’t a fiction you aren’t created but you also wonder why you were crying the books has a yellow cover the sun makes a yellow softness on the floor the word yellow repeats in your head over and over yellow yellow, yellow yellow he was dead that page she was alive the next you turn pages read pages turn pages read pages the whole afternoon until it’s an evening sun then the sun sets and all the yellow is gone

perfect did you see that couple over there? he was huge and she was tiny they really seemed in love he kept moving her chair so she wasn’t in the sun she kept filling his glasses one red wine the other water

Kenneth’s death he’s dead and I still don’t believe years later I’m walking someplace and I’ll think that this is something I’ll tell him when he gets back when he gets back as though where Kenneth’s gone is simply too far away to telephone or send a postcard which is why we haven’t heard for so long from a man who couldn’t stand not to be in touch when he gets back we’ll be up half the night a good bottle of wine recommended by Sharon at the liquor store maybe even one of those Cuban cigars he’d stopped smoking we’ll be up half the night and Kenneth won’t get in a word

9

for the 2008 Staunton Music Festival's Emerging Composers Program

echoes 1. conspiracy

Mark Statman

Voice

  

q. = 84

f





DENNIS TOBENSKI (2008)

       

  

there's that

Ray

q. = 84

                   



     



fff bluesy

Piano

                          

4

 

I



     

  

 

8

   



past

      

       

can't stop



 

 



be - yond my

 

 

      

   



 

 

not





  



song

 

 









  



from

past

  



   

  

 



so

it's

 

    



p

my

 

 

 

 

 



  



Copyright © 2008 Dennis Tobenski

 

 



   



 

 

past

 

Charles

mf

it's

    

  





lov -ing you

 

   

 

mf legato, an aside - detached from the piano accompaniment

4:3

      



  

part

  but a

 

   

        

  



of

me

 

 

           

 



       

10

 



    

on - ly

as

me- mo - ry



but

   



 

11

 

 







   



 



         3

 

I` can't sop

lo - ving





  



   

   

 







   



q = 60 slow, very free

  

20



      3

it e - choes q = 60 slow, very free

       



     





 





f 





  

    

   



 

 



   

f





I've made up

my

   

so - lo

 

mf

all

                        

sin - gle

me- mo- ry

 

mf

the

a



you

    

of



    

ff

    

   

 

              

17



 

ff

14



 

 

 



  





 

 



 

 

this is   



   

 

 

     



 

the first

 

 



   



 line



 



and

then

 







   



     

 

 



mind

 

   



  

cho ral

 

3



   

 

           



         q = 74 with motion

 

real



     e -

cho

q = 74 with motion

   

 

  

 

 

3       

23

re -



do - lent



of



 

spring



 

3



  

3

and



warm

and those yel - low



 

 

 



  

 







 

  



 



days



be - fore

3





I

was

 





 

con - scious

 



  

 

 

 

 

3

a - ny- one

meant

   

 

   



  

31

3

3

   



   

 

e

a - ny - thing

when I was young

     

   for -

3

-

    

 

 

  



 

   

 

 



  

green



you

 

or

       3



  and

 

 









too fast





those days seemed un - im-por - tant

           and now theyseem

and





3

ver



 

     3



lov - ing

 

          

 3

that

  

28

3

3

  

26

   



11

 

  3

 

and e - very - thing

    





 

  

12

 

34

q = 63 relaxed



 



   3

 

this walk in the dark q = 63 relaxed

 

    

37









3

minds

  



 





3

 

 

  

3











3



I

me - mo - ry



3







3

 



pre -

3

 







 

 





 3



 

3





  3

  con -



re -

 

 

sent

3

 





don't want to

 

 



you're a - way

 







 



3

 

  



I

 

sud - den - ly

 



can't (stop)



  





 

  3

 



that

when

 

  

me

past and

 



 







41

 

3    

 

 

 

 



 



3









3

spir

 

-

ing

  



3

 

 

    



43





3

in - to the fu

   

-





3

     

46

3





   





3

 

3

3

  3



 

 

 

3

3

     

3

  

3

to have thatmuch



 



   

 

3

    

 

   3



3

3

    with

3

3



3

 



  my

the



 

 



 



mind

  3

3



 

  3





 

 

  





3



love 3 3                 

  



    

 

 

3

3



3

 

   



                  3

 

 

ing

3

to do 3

  

3

   



49

3

                       



 

  

3 3 3 3                            

want

  



3

q = 72 as at the beginning

mind





3

I've made up

 





ture

 

13

bluesy

q = 72 as at the beginning

   

3

 



 

14

2. translating Garcia Lorca Mark Statman

DENNIS TOBENSKI (2008)

  

Voice

  Piano

 

 

q = 44



    

     

f

  

 

4



     











 

















he'll take o - ver





    my



    

  

3

 



dan - ger

is



not



  







poems

    

q = 72

   



5



The 3



      

q = 72 mp mysterious



     





3

but

 



3

 that

strum strings with fingernail†

  



q = 44

depress keys silently*

 

8





   







 5







won't know

3

  



3

whenit

  

 

  





q = 102

       3

I

 

     

hap - pens

   

3

  

im- age of cow,

 q = 102      

    

  





  ord. mf





       

* - On upright play one octave lower, with pedal † - On upright, play on keys

Copyright © 2008 Dennis Tobenski

 

3

   

       

f

 



of horse

3

3

(release pedal simultaneous with strum)

3

       



     

15

  

12



  



 



of

    

 

3

 

 

q = 56

  

14

or

sleep

        

-

  

3

  





3



ca

-

dav



 

-

er



3



3











pp sub.

3



3



3



q = 56

 



 

 











y

ri







  

3



and

less

than









        3

3

  

3



3



or

a

  

3

3

 

  











ver

  

 



 -







3







 3     3 3 3             3      3                                   3 3 f ff fff      3                        

     

3               

15

pure



 

in - no - cent

 love

   

3

         3

3

 





16

 





molto rit.                               3

3

3

21

 



     



  

    (release pedal

     



3

 

q = 56

  



 



 

see



 









      





al - rea - dy

 

de - voured

q = 56

   

  



strum strings with fingernail



depress keys silently

 

 

out

  

ord.





depress keys silently



   



 







3



when some - one points it

   







simultaneous with strum)

24

3

q = 74





won't



so





       



3

 

strum strings with fingernail







I





A tempo

3

 







p

 

  

q = 74

A tempo



molto rit.

17





(release pedal simultaneous with strum) 3





eat - en 



3









ord.



  





 Pause

1'32"

17

3. people shouting Mark Statman

  Voice   

DENNIS TOBENSKI (2008)

h. = 70 rollicking, circus-like



   



  

  



   5

 

 



 

  

 



    

 



      



   

 

  

some - times

it's

to

 



make

                                       17



out for

     







that

      







a

point



 



   

 like

watch

                        

 

        

   

 

car

  

 



         





  

   

 







 

f sempre

 







 

 

 



 

   

9

   

 

f

Piano

  



   so

    

 



  

            

Copyright © 2008 Dennis Tobenski'

 



it won't

    

    



 

 

    

 

hit

   

 

 

you

 

    

or

   

25    

18



No





  

  



   

put its





  

 

41

       



  

fin - gers

 

 

 

  

  

 

  

 

 







 









 



     



 



    



















    

      

 

 

  



      3

  

    

 

    







     



  



 

  

    sock - et

                





     



the





on the piano:



in

 

 

  won't



 

  

 

ba - by

     



 



   the

 

 

 



  

  

  



 





33



    so





    

 





 





No



 



  

 

  

 



  

 

 

 

 





       44

  

there are

peo - ple who

         

     

      



   52

way

   

     

  



   60

tell

their

they don't lis - ten

for

a

way to

     

    

 

  

      

 

       

         

  



 

     

and too

 

say hel - lo



 

or

         





 



    

of - ten there's none

         

  

      



 



                                  

     

a res - ponse



 



sto - ries

 

 



   

     

          

 

 





      

to

       

 

shout as

     

     a

    



19 3

  





    

a - ny - way

                  

     

  



    

 

20

68

  





 





 

       



         

 



 



76

a

need



 

    

84





to

     

 

  

 

 



         

  

 







be heard but

to



of lone - li - ness





  

  

     



  











   











  













                              





     sto

         



  -

-

                    

part

    



speak with a



 





         

  

         

     

 

    not



    



   



 

        

 

a

 





 



 

  

  





   





ry

put in

the

world

  



                                    

 

  



     

 

 

21

92





 





 



   

 a

                       

  



sto

-

ry

                       

f

  100



 













p sub.

 



 

 

   104





 



 







right

  



 

  

      





 

  

 

 

 

 

 







   

  

     

 

  

 

  







 

 







there

   

 





 



hope

 



 





all

 

          



       

 

  fff









19-20 June 2008: NYC Library for the Performing Arts

 

fff sub.        



1'24"

22

4. inevitable Mark Statman

Voice

 

q = 100 reserved







q = 100 reserved

3



   

   

   

  

  

 

mp distant

   

9

mf



3











   

   

   

   

   

  

  

 

place in the no - vel

3



  

she

sat in her

q = 116 with more motion



   

mf

   





when

q = 116 with more motion f

 

were

 room



3

   full of their

her

books





cry - ing





at

   

   

   

   

  

  

  

 



3

  



the







hus -band died













     

17



you

      Piano

DENNIS TOBENSKI (2008)

   

   

   

   

  

  

  

 

3

  

 3    



and their fur - ni - ture paint -ings,

   

   

   

  

  

 

Copyright © 2008 Dennis Tobenski



3





   

emp - ti - ness, dust

     

 

 

 

mp 22

3

 





just

     

23 3





be - fore



the

    

3

3

      









mf

 





you

think

3



f

    



  

you aren't cre - a - ted



   

3

 

her

3





 



she would - n't know

    

life







 





3





how

you

are

not

  



but you al - so

 





won - der

 

  

  

live

    

  



 her

     

 



3

you aren't

 

 

3

to





mf 3







  

3



mf

 

 



   

p sub.





   

  

3

3

what that would be

   

 



of



 

  

3

 

rest



  

re - flex - ive - ly

   

36

the



  

3



 

   



   

  

32



   

   

   

had

3

   

just be - fore she would re - a - lize

   

3



time when she

mp

26

3





a

fic - tion

 

 

 





  

why

 

3





f





  

you were cry - ing

  f

 

 

 

24 41





mp



  

 

 

   



 

 



 

3

the book has a

 

  

  

3

            

 

 

yel - low

 

 

mf

 

co - ver

 

 

 

  

 

3

 

 

the sun makes a

 

   

   

 

 

yel - low soft - ness

 

poco 3      

o - ver and o - ver

  

      

    

   

 



  

  poco

  cresc

ff

-

yel

  



  

 

  

 

-



   

  

3

low

 

a

 

    3

 

yel

low

3



3

low

 

poco



  

  

  

  

-

low

 





ff

 





  

  



 



 

 





 

mp









he

  

  

 

yel

q = 100 as at the beginning



 

yel



   

 

    

 



 

   

-

 

the word yel - low re - peats in your head

    

q = 100 as at the beginning



3

      

poco

3

on the floor

a

3

55

cresc

     



  

  

   

61

3

 

 

mf

49

 

  

  

  

 



was

   









dead that page

 

 she

   

   

   

   

  

  

  

 

p

 



 

25 69

3

  

    



was





3





a - live



the

   

next













you

   

   

   

  

  

 



3







turn pa - ges

read

   

 

  

mf

 

    



3







f







3





un



3







til

it's

an

e - vening

   





    

mf sub.

 







sun

   



  all

3



pa -

ges



 the

   

   

  

  

3







then

the

sun

mp



 

sets

   



 the



  

  

  



3

yel - low

       



3

f

  mp

3

 

   

 



read

 

and

       

pa - ges

  









   

-

   



   



    

  



turn

whole af - ter - noon

84



pa - ges

   

79

3



rit.

is

gone rit.

 



    



   

20-23 June 2008: NYC Library for the Performing Arts, Starbucks 110 & Broadway

74

mp

 

 

 

  

3'16"

26

5. perfect Mark Statman

DENNIS TOBENSKI (2008)

q. = 74 quasi-recitative, energetic Voice

 

       

     



did you see

that cou - ple o - ver

    



there?

   

 

he was huge

and

q. = 74 quasi-recitative, energetic

  

  

 







she

 



 was













ti - ny

q. = 60 free, rubato

   

6

 



 



f let ring

Piano

4



 

he







kept mov - ing

her

q. = 74 rhythmic

         

8



she kept fill - ing his glass - es







they

real





chair

  -

ly





so

she

red





 

seemed in

was - n't in the sun

wine

   

 





 

love

          

            one



 



            theoth- er

wa - ter

Copyright © 2008 Dennis Tobenski 32"

27

6. Kenneth's Death Mark Statman

Voice

mf earnest, yet unsentimental

q = 60

 



  



3



He's dead q = 60

   Piano

mf

3                   

    3

 

5

 

years

 





is



   





 



3



I'll

tell

3



 some

 

 









   3

 





 





 

3

 







3      

   





 

3

and I'll think

  

 

 





gets

   that

3











 



  

when he







3

him

   

  don't be lieve

place

 



3

 

ing



3



 3

3

-

3

  

3



and I still

3

         

  





     

3

some - thing

 

3

3





 



7

   

I'm walk

3

this

 







 



lat - er

 

  







  

 





3



DENNIS TOBENSKI (2008)

back





      

 





 

 

Copyright © 2008 Dennis Tobenski

3

3





28 gently self-mocking

    

9

  

3

 

when he

  3     

gets

back

   

3

far

a - way

3



 

   

to

te - le phone

     

 

    

     

     

3

 

which

is why

     

we





     or

     

17



 3







 



3

 

 

ha - ven't heard

   3







for

so

long

               3

3

 



could- n't

stand

not



             

     

 

3

3

3

  

to be

3





   

in

touch

  

3

    

3

  

       

         3



too



 





send a post card

 

  

 



3     



 

 

 

3



   

3

  

from a man who



 



 

3

    

3



3

3    

3

 

3

 3

15

is sim- ply

        

  

3



3

where Ken- neth's gone





   

 3

    

3

     

  

3

 



3



 

as though

3

3

12



  

      



     



   





     



3

 

3         

 3



  gets







 

whenhe

     

 

3

3

back we'll be 3

    

   

 3

  

29

    

20

    

   

3

up

   3         

a good

bot - tle



3

    

   

  

          

 

 



3





 

     3

           

at the 3



       



  

3

 

3



li- quor store

   

re - com - mend- ed bySha - ron

3





3

of wine

3

3

3

23

      

 

3

the night

   

3      

3

         

3

half

     

3

           

may- be e- ven one of those Cu ban

    

 



 

 

3

3



   3

   



3



     

 



3

3       

26

     3

ci gars

 



 

he'd



stopped





  3

-

 



3 3                      

    

   







  





   3







           

smok - ing

3

3

 

3



      

29







3

 

3

3

    

   

3

  









   3

we'll be 3

3

          

 

    3



 



3        

3    3           

    

 3

 

 



   3

30



32

 

  

up

the night

  

3

3

35

3

  

 

a







won't

get

   

 

  

 



3

  

3



in

3          

3

 

3









3



       







 

 

 





 



3

   3

3

          

         

 

  

3

3

38



   





Ken- neth

    

word

    

3

 

3



  

    and

   

  





3

half

        

   

3

3

   

3









 



3



   3

molto rit.





 molto rit.

3

3

            



  

   

   





         3



3



 





3         

 





 



 

   

 

2'42"