Spente Le Stelle - Molenaar Edition

Recorded on CD - Auf CD aufgenommen - Enregistré sur CD
Spente Le Stelle
Spente Le Stelle
CHORUS
Jean-Patrick Capdevielle
Chorus (SATB)
Wind Band / Concert Band / Harmonie / Blasorchester / Fanfare
Arr.: Ted Parson
Maestoso Classic Pop q = q = 88
q = 88
A
 

|
Photocopying
is illegal!
 
 
Jean-Patrick Capdevielle
EMR 11003C
1
20
8
1
1
1
5
4
4
1
1
2
2
2
1
1
3
3
3
2
2
Score
Chorus
Flute
Oboe (optional)
Bassoon (optional)
E Clarinet (optional)
1st B Clarinet
2nd B Clarinet
3rd B Clarinet
B Bass Clarinet (optional)
B Soprano Saxophone (optional)
1st E Alto Saxophone
2nd E Alto Saxophone
B Tenor Saxophone
E Baritone Saxophone (optional)
E Trumpet / Cornet (optional)
1st B Trumpet / Cornet
2nd B Trumpet / Cornet
3rd B Trumpet / Cornet
1st F & E Horn
2nd F & E Horn
2
2
1
2
2
2
2
1
1
1
1st Trombone  + 
2nd Trombone  + 
Bass Trombone  + 
Baritone  + 
E Bass 
B Bass 
Tuba 
Keyboard / Guitar / Bass Guitar (optional)
Percussion
Drum Set
1st B Trombone 
2nd B Trombone 
B Bass Trombone 
B Baritone 
E Tuba 
B Tuba 





         
15
Special Parts
1
1
1
1
1
1

Fanfare Parts
2
2
2
1st Flugelhorn
2nd Flugelhorn
3rd Flugelhorn
Print & Listen
Drucken & Anhören
Imprimer & Ecouter

 
Quelcuor tra - dis - ti
o no?
O non più

 
 
 
C
$
Spen - te
 
 
www.reift.ch
le stel - le
    


          

41
cia
E_io,paz -za t'as - pet
co - me l'on-da poi se ne
va.
         

 
-

to!

mf



Col pal - li - do rag -gio di
lu - na,
          






  
   
    
   
Vuo - ta,
le not - te,


 3 
B

Di-men-ti - car,

la not - te, la not - te, la not - te,

 
    
    
Il suo do -

        


3

 
La miavo - ce, sen - ti
cresc. poco a poco


        


Or - mai, sal - vo,


     

 3              



vi - ve - re,

non puó!

 3     
28



Per un mi - rag - gio,


La tu - a spa - rì


 

35
O -diar di più,
      
 
21
3
    



     

 


 
Quelcuor per - des - ti
3

lor,
mf
       

     

Arr.: Ted Parson



ah!


  


      
Pian - ge
l'a - mo - re
Che si lan-
         



 
      
 



 
       

     

E
la su - a spe - ran -za bre - ve.
O - ra
www.reift.ch
Case Postale 308 • CH-3963 Crans-Montana (Switzerland)
Tel. +41 (0) 27 483 12 00 • Fax +41 (0) 27 483 42 43 • E-Mail : [email protected] • www.reift.ch
EMR 11003
© JEAN-PATRICK CAPDEVIELLE - AVEC L'AIMABLE AUTORISATION D'UNIVERSAL MUSIC PUBLISHING SAS
EDITIONS MARC REIFT CH-3963 CRANS-MONTANA (SWITZERLAND)
ALL RIGHTS RESERVED - INTERNATIONAL COPYRIGHT SECURED
4
Recorded on CD - Auf CD aufgenommen - Enregistré sur CD
Spente Le Stelle
|
Photocopying
is illegal!
Chorus
Flute
Oboe
Bassoon
1st Bb Clarinet
2nd Bb Clarinet
3rd Bb Clarinet

 
 
 
2nd Eb Alto Saxophone
Bb Tenor Saxophone
5
6
















 



  
 

 

 

 

 

 














 



1st Bb Trumpet /
    
Cornet

f
 
2nd Bb Trumpet /
    
Cornet

f
  
3rd Bb Trumpet /




Cornet
 
f
 



 
1st F Horn  

f
2nd F Horn    
 
f 
 
 


1st Trombone
 
f
  
 
 
2nd Trombone


f
 

Bass Trombone       

f
 

Baritone
    
f


Tuba in C   

Bass Guitar  

(optional)  


Drum Set





















 
 
 
 
 
 

 
 


 
 

 








     

    

f

         


f

 
     
   


 

f 




  

    

f
        
f

         


  
 
f






f




    


f



Dm sus
f

p
f









    
  
A











    
 
 
 
suspended Cymbal 
w/ Mallets




Chorus
 


   


  
f
mf
              
 
   

mf
f


 


mf

                
  
f
mf
                
  

f
  mf

               

  

f
mf


      

 

mf
     

 
 

    mf

 
  


mf
 


 

 
   


  
   
 
 

       

 
  


 




    
    
 
   


             










  
    
 
       
 




 
         
 



  



   
 

 
       



  









f


    


    

 

f 


 


f
    
     



f

 

Percussion 
          


f

Eb Baritone Saxophone
Keyboard /
Guitar
(optional)
     
   




 
1st Eb Alto Saxophone   
Bb Bass Clarinet
4

 
 
8
3

 
 
 
Arr.: Ted Parson
7
2
Maestoso q = 88



Dm








 
 



 

9
Jean-Patrick Capdevielle
p



  
  
f


B.Cl.








Hn.2


B.Tbn.
mf

Bar.
mf




Keyb./
Gtr.

EMR 11003C
© JEAN-PATRICK CAPDEVIELLE - AVEC L'AIMABLE AUTORISATION D'UNIVERSAL MUSIC PUBLISHING SAS
EDITIONS MARC REIFT CH-3963 CRANS-MONTANA (SWITZERLAND)
ALL RIGHTS RESERVED - INTERNATIONAL COPYRIGHT SECURED


fill ad lib.

   



mf
mp

 
 

 

Dm
 








 

      
    

 







mp




closed Hi-Hat



  

  

  



3
3
3








































mp












mp













mp



mp
Dm



mp

 














 












  

     


www.reift.ch


      
      
      



A



  
  
 


                            
 
      
      





    
 










mp


mp



  

     





 

















 

           
 
    





mp
mp











 



  


3
mf


 


Perc. 
Dr.




3
14

mi - rag - gio,
  





Tuba
A




       
 
 
  
B.Gtr.          








Tbn.1
mf








Hn.1 
Tbn.2
mf


mf
mp





       




  

mf


  

mf


  








Per un
mf



Tpt./
Cnt.3





mf

Tpt./
Cnt.2



3

      



 
Tpt./
Cnt.1 
mf
mf

13
  

Quel cuor per - des - ti


12
mf
       

 
 
A.Sax.2

mf

11
A



  
A.Sax.1  



Cl.3


 

Cl.2
B.Sax.
mf
 

  
Cl.1 



Bsn.
T.Sax.


Ob.
        






mf
mf
Gm



Fl.
 

10
Classic Pop q = q = 88


A“4
A


     

      
    



      
A


A“4



     

           
 
    


A


    
 
www.reift.ch
EMR 11003C
5
15
Chorus
16
  


      

 


      


Fl.   
Ob.
Bsn.

         
T.Sax.
B.Sax.
Tpt./
Cnt.1

3
  

3

  

  


3



più,


 
non puó!

 


 







 













Tpt./
Cnt.3





Hn.1  


Tbn.1
















B.Tbn.

 




   

B.Gtr.    
 
Tuba

A
   
 
   
 
A“4
A
  







  
  

Perc. 

           
Dr.  

    

p

p




     

      
    

Dm
 




     


           
 
    








 

 

           
 
    




3

 
     


    
  
Il suo do 3

 

 


  
    


  
    




3
3

 

3

 



Cl.2
Cl.3



T.Sax.


B.Sax.


















 





 



o no?

 



 



 

 
 



 






 



  
 



      
   

   
 

 





      
  
      
  
      
  










 

 

 










 



 




 


 


 
































Tpt./
Cnt.3



Hn.1  










 






 











 3 

mf
mf
3
  

mf
 3
  
 

mf

mf



mf

mf

mf
 3 

mf
 3 
 
mf

  
 

3
mf



mf



mf


mf
















 








 


 



A
A“4


     
A
     
A
A“4
A

      
      
    
  

   

 
      
A
A“4


A
      
A
A“4
A




     

        
 
    


Dm
 


     


           
 
    






       
 




       
     
     


Perc. 



                             
Dr.  
      
      
    








    

      

3
  
 


 

 3 
 3 

mf
 3 
mf
mf
mf


 

         
      



mf



car,


 
      

B.Gtr.         
  
Keyb./
Gtr.


27

-
 3 





 3 



 
 3 
Di - men - ti

 

mf
B
mf

 

www.reift.ch
EMR 11003C


 


 


 




to!


Tuba

  
 


                            
 
      
      




-
Tpt./
Cnt.2
B.Tbn.


      
 



t'as - pet





E_io, paz - za

 

Tbn.2


La tu - a spa - rì

 
   

Bar.


 


26




 

     
 

25

Tbn.1
 
  
 
      



24

Hn.2

 

 
 
      




23
 

Tpt./
Cnt.1




lor,

 
A.Sax.1    
B.Cl.



 
 


  
  
Cl.1 
A.Sax.2


Ob.
  

22
Bsn.

 


Fl.
3

  
    


Chorus






21


 
  
 
      








    
  

      
A


      
A“4

p

      



A


Tbn.2
 

p
p








p











Keyb./
Gtr.


 
















 




    


6
20
La mia vo - ce, sen - ti



 




19




Bar.
18

 
Tpt./
Cnt.2
Hn.2
3
  


  
O - diar di
3
  

 

       
Cl.1 




       
Cl.2 



 
      
Cl.3 



B.Cl. 

 




A.Sax.1 
A.Sax.2
3
  

Quel cuor tra - dis - ti
17
 
   
 
   
3


  
Gm7
     

            
 
      


www.reift.ch
EMR 11003C
7
28

 
30
31
 3  
O non più
 
 3 

vi - ve re,

 


 3 

 3  

 

3

  

  
  
Cl.1 




Ob.
Bsn.
Cl.2

Cl.3

B.Cl.

A.Sax.1
 3  

 3 
  
 
 3
   
 
 

T.Sax.

Tbn.1
B.Tbn.

 
 



 3  
3
   
 3
   
 
 

cresc. poco a poco
3

  

cresc. poco a poco


 3
  
 
 3 



 







        

 

cresc. poco a poco
 


cresc. poco a poco
 


cresc. poco a poco
 


cresc. poco a poco


 

cresc. poco a poco


cresc. poco a poco


 
 



cresc. poco a poco

cresc. poco a poco
 


 3   3   3 

 
 

cresc. poco a poco

cresc. poco a poco

 


 


cresc. poco a poco


 
 
    

      

Dm
 3     

  
 
 

Keyb./
Gtr.

 
      
  
    

Perc. 



 3   3 


 

 
    

      

3
3
     
 


  


 
 

  
 
 
  
   
 
Dm/A


A

  
      


 

 

  
 
   
 

cresc. poco a poco
  
   
      

B.Cl.


 




 




   
 
      
      
cresc. poco a poco


  




   
   
A
A“4

 
   






Tpt./
Cnt.1

Tpt./
Cnt.2



mf

  

mf
 




Hn.1 
Tbn.1
Tbn.2
 


37

 
 


   
mf

f


f



 
  

f

  
 
 mf
mf


38
f
 
 
 

mf



       
 
f  
  
B.Gtr.         


     

fill ad lib.
                                                            
      
      
      
      
                  







cresc. poco a poco

f
Dm
          
  
 
f  




 
  
Cabasa or Shaker

   
Perc. 
f
Keyb./
Gtr.
Dr.


   
39
40


-
na,

 
 

 

    




 

 


 
 

 

 

 f  




 
 

f
 

 

 

 
 

  

Pian
  


-
ge
l'a - mo
-
re
Che si lan -



 


  


    

 

   



  

 

 




 
  


 

 

 





f
 


    




 
 




   



     






 
 
 
 


   

 
  


       
 
  


 

 

 


 

 
 
     








 

 

 







  

  
 
 

  
  

  
 
    

      


 
  


      



 
  


      


 
   
 
A
      
  

  
  
 



 
 

  



  





             
 
 


 


 



A/D

  

 


              
f
f
f
f

 
f
f


  


  

    
 


  





  

  
 
  



      

  



 





                     
  

  
  
  





 
 
 
  
  
          
Dm
f
 



 

 
 
 
 






                   


       
  
  

  
 
       
f



   
 



 



 




 


  
  

  
 
              
 
 
 
 
  
   
 
  
 
 
 
A “4

 


   
 
 
     




 
 

 

    

 




 
Gm





   
  

 
                                                                       
      
      
      
      
      
      






f
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EMR 11003C
lu
        

 



 



 




 

 
  
       



         
 
  

 




Col pal - li - do rag - gio di
    


Tuba
     
le


 


f

  
  
  
 
Bar.
 


 

f
B.Tbn.
-

mf


  

Tpt./
Cnt.3
Hn.2

 
mf
mf
     
A

mf


 

      
      
cresc. poco a poco
Cl.3

stel

mf
B.Sax.

 

 




T.Sax.

 

Cl.2


 3   3   3 


36
mf

 


mf
A.Sax.2

le
  





Cl.1


te

 
mf

A.Sax.1

-

 
 



   
 
 
  
Bsn.






 
  
 
Ob.
Spen



 

 

  
 
 
 


Fl.  
Chorus



 3   3   3 


 





 

 
  
  
 






 
 
  
   

   

   







        
cresc. poco a poco
 3
 3
     






 



        
 3 
 

 

cresc. poco a poco
3
 3
  
 
 3 


 

3

 
   

B.Gtr.    

Dr.



cresc. poco a poco



Bar.
Tuba





 

 

3

  




Tbn.2


ah!



           




35
 
 

cresc. poco a poco


Hn.2
 
la not - te, la not - te, la not - te,




Tpt./
Cnt.3
Hn.1
 3   3 



           
cresc. poco a poco




$
8
34


            


Tpt./
Cnt.2
33

     


 3   3 



  
Tpt./
Cnt.1 
B.Sax.



  

A.Sax.2

Or - mai, sal - vo,

 3  

Fl.
32
C
  

Chorus
29
www.reift.ch
EMR 11003C
9
41
Chorus
42
  
       


cia



co - me l'on - da poi se ne va.
Vuo
         

 
     

 
Fl. 
     

Ob.  
      
 

       
Cl.1 
Bsn.
Cl.2

Cl.3

B.Cl.
A.Sax.1
A.Sax.2
T.Sax.
B.Sax.
Tpt./
Cnt.1

 
     
         


 
     
        
   
   

Tpt./
Cnt.2

Tpt./
Cnt.3

Hn.2


Hn.1 
Tbn.1

Tbn.2





    
mf
    


Perc.


  

   

 

mf
 

mf
    
mf

    



mf

 
 
       


mf

  




  
  
 
 
      
      


  
  

  
fill ad lib.
    


   

 
 


      


 

 

 




 
  
  

  



 
  
 
      

 


 



  

  
 
  

   
  

     
 
  
   
 
  
   
 
 
       


  



       

  
  
 
 
      
      

 
A


         
  
  

     


 



    
 


  


 



  
  
    



 
  
 
      



         
  
  



 
 
                      
A “4



 

 
 
         
             
 
 

  


    
 

     
 

Arrangements for Chorus (SATB) and Concert Band / Brass Band
These arrangements are conceived primarily as band works, with optional additional chorus. The band parts are self-sufficient, so the conductor should feel
free to adapt the score as he wishes by leaving the chorus out at certain moments, or on the contrary by reducing the band’s doubling of the choral parts
to lighten the texture. The chorus may also be entirely or partially remplaced by a solo voice.

  

A/D
 
  
 
Dm

  
                                                                        
      
      
      
      
      
      






www.reift.ch
EMR 11003C
Arrangements pour Choeur (SATB) et Harmonie / Brass Band
Il s’agit d’arrangements qui sont conçus au départ comme oeuvres instrumentales avec la participation facultative d’un choeur. L’écriture pour harmonie
est ainsi complète en elle-même, ce qui permet au chef d’adapter la partition en supprimant le choeur à certains moments s’il le désire. Par contre, il
pourrait aussi éliminer certaines doublures instrumentales pour alléger l’accompagnement. Le choeur peut être entièrement ou partiellement remplaçé par
une voix solo.
    
 
  
   

 



  
  

  
 
Dm

       


 
 

  
 
 
             







 





  
  
  
 
 


 
 





              

  
  
 
 



 
 
  
                     
A
    



        





              


 


     

 
mf


     
        
   
 

  

 

 

 O - ra
 

 
  

 
 


  
mf

 
ve.

mf


 
      



 


 
   
   
E la su - a spe - ran - za bre
  
     

 



     
 
 
         
   

  
le not
te,

 
 
 
      
 
Bearbeitungen für Chor (SATB) und Blasorchester / Brass Band
Diese Bearbeitungen sind in erster Linie als Blasorchesterwerke mit fakultativer Mitwirkung eines Chors konzipiert.
Die Instrumentenstimmen sind selbständig, so dass der Dirigent ohne weiteres den Chor streckenweise auslassen darf. Andererseits kann er auch gewisse
Instrumentalverdopplung streichen, um eine grössere Transparenz zu erzielen. Schliesslich kann der Chor ganz oder teilweise durch eine Solostimme
ersetzt werden.
  
 



 
   
  


B.Gtr.     
  
 


           
Keyb./
  
  
Gtr.



 
  
Tuba
Dr.


 
46

        
  
 
 


Bar.
 
B.Tbn.


45

       
mf

     
ta,
44


 


      
 

     
-
mf
         



 

         
 
     
43
Titel
Composer
Edition N°
Concert Band (Price)
Edition N°
Brass Band (Price)
1492 «Conquest of Paradise»
Alexandrie, Alexandra
Amen from the «Messiah»
Anvil Chorus
Auld Lang Syne
Ave Maria païen
Bohemian Rhapsody
Chess (Anthem)
Choral / Sinfonia + Gavotte
Conquistador
Dona Nobis Pacem
Don’t cry for me, Argentina (+ Solo Voice)
Egyptian March
Gloryland (+ Solo Voice )
Gospel Train
Greensleeves
Hark, The Herald Angels Sing
Highlights from Carmen
Hymn To Red October
I Will Follow Him (Sister Act)
Ihr Kinderlein kommet / Lasst uns
Il est né, le divin enfant
Irish Eyes
Jingle Bells
Joy To The World
La Mer
Les anges dans nos campagnes
Les Lacs du Connemara
Les Trois Cloches (+ Solo Voice)
March Of The Three Kings
Merry Christmas
Money, Money, Money
Moscow Nights
Music
Non Nobis Domine (Henry V)
O Come, All Ye Faithful
O Du Fröhliche
O Holy Night
O Tannebaum / In Dulci Jubilo
Ode To Joy
Oh Happy Day
One Moment in Time
Pie Jesu
Pomp And Circumstance Nr. 1
Qu’est-ce qu’on attend pour être heureux
Requiem Aeternam
Samba Olé
Stille Nacht / Kommet Ihr Hirten
Süsser die Glocken nie klingen
The First Nowell
Time to say Goodbye / Con te partirò
Triumphal Scene From Aida
Troy
Viva Verdi
Vom Himmel hoch / Leise rieselt
We are the Champions
We Are The World
We Have A Dream
We Wish You A Merry Christmas
VANGELIS
FRANCOIS, Claude
HÄNDEL, Georg Fr.
VERDI, Giuseppe
ARMITAGE, Dennis
PLAMONDON / COCCIANTE
QUEEN / MERCURY
ANDERSSON / ULVAEUS
BACH / HÄNDEL
MORTIMER, J.G.
BACH, Johann S.
WEBBER, Andrew L.
STRAUSS, Johann
RICHARDS, Scott
TAILOR, Norman
TRADITIONAL
TRADITIONAL
BIZET, Georges
POLEDOURIS, Basil
POURCEL / MAURIAT
TRADITIONAL
TRADITIONAL
TRADITIONAL
TRADITIONAL
TRADITIONAL
TRENET, Charles
TRADITIONAL
SARDOU / DELANOE / REVA
GILLES
TRADITIONAL
SCHNEIDERS, Hardy
ABBA
MORTIMER, J.G.
MILES, John
DOYLE, Patrick
TRADITIONAL
TRADITIONAL
TRADITIONAL
TRADITIONAL
BEETHOVEN, Ludwig van
TRADITIONAL
HAMMOND / BETTIS
WEBBER, Andrew Lloyd
ELGAR, Edward
HORNEZ / MISRAKI
TAILOR, Norman
NORIS, Günter
TRADITIONAL
TRADITIONAL
TRADITIONAL
BOCELLI, Andrea
VERDI, Giuseppe
HORNER, James
VERDI, Giuseppe
TRADITIONAL
QUEEN / MERCURY
JACKSON / RICHIE
BOHLEN, Dieter
TRADITIONAL
EMR 1579 (Pa)
EMR 10093 (Na)
EMR 1342C (Gf)
EMR 10137 (Ma)
EMR 1674 (Ma)
EMR 10094 (La)
EMR 1573 (Sa)
EMR 1578 (Oa)
EMR 1358C (Gf)
EMR 10163 (Ua)
EMR 1344C (Gf)
EMR 1545 (Pa)
EMR 1951 (Na)
EMR 1547 (Ma)
EMR 1535 (Ta)
EMR 10317C (Oa)
EMR 1760C (Ma)
EMR 1581 (Ua)
EMR 10240 (Na)
EMR 10038 (Oa)
EMR 1366C (Ma)
EMR 1368C (Ma)
EMR 10329 (Ma)
EMR 1758C (Ma)
EMR 1772C (Ma)
EMR 10331C (Na)
EMR 1759C (Ma)
EMR 10082 (Qa)
EMR 10046 (Na)
EMR 1765C (Ma)
EMR 1770C (Ma)
EMR 10081 (Oa)
EMR 1574 (Sa)
EMR 1576 (Ua)
EMR 10185 (Ja)
EMR 1771C (Ma)
EMR 1764C (Ma)
EMR 1773C (Ma)
EMR 1762C (Ma)
EMR 10156 (Ma)
EMR 10041 (Ma)
EMR 1575 (Oa)
EMR 10324C (Ma)
EMR 10124 (Ua)
EMR 1826 (Ka)
EMR 10085 (Pa)
EMR 1843C (Ma)
EMR 1757C (Ma)
EMR 1769C (Ma)
EMR 1761C (Ma)
EMR 1577 (Oa)
EMR 10126 (Va)
EMR 10182 (Oa)
EMR 1582 (Xd)
EMR 1763C (Ma)
EMR 1580 (Oa)
EMR 1865 (Na)
EMR 10057 (Na)
EMR 1767C (Ma)
EMR 1636 (Na)
EMR 1343C (Ga)
EMR 2970 (La)
EMR 2582 (La)
EMR 2973 (Ja)
EMR 2560 (Qa)
EMR 2547 (Na)
EMR 1359C (Ga)
EMR 2914 (Ta)
EMR 1345C (Ga)
EMR 2546 (Oa)
EMR 2761 (Ma)
EMR 2583 (La)
EMR 2580 (Sa)
EMR 2778C (La)
EMR 1685 (Qa)
EMR 2755 (Na)
EMR 2776C (La)
EMR 2633C (La)
EMR 2757C (La)
EMR 2626C (La)
EMR 2763C (La)
EMR 2768 (Ma)
EMR 2653C (La)
EMR 2762C (La)
EMR 2991 (Ma)
EMR 2579 (Ra)
EMR 2538 (Ta)
EMR 2969 (La)
EMR 2764C (La)
EMR 2771C (La)
EMR 2772C (La)
EMR 2774C (La)
EMR 2758 (La)
EMR 2518 (Na)
EMR 2974 (Qa)
EMR 2880 (Na)
EMR 2542C (La)
EMR 2777C (La)
EMR 2775C (La)
EMR 2652C (La)
EMR 2570 (Na)
EMR 2972 (Ra)
EMR 2933 (Na)
EMR 1680 (Ua)
EMR 2773C (La)
EMR 2571 (Na)
EMR 2769 (Ma)
EMR 2867 (La)
EMR 2770C (La)
Editions Marc Reift • Case Postale 308 • CH-3963 Crans-Montana (Switzerland) • Tel. +41 (0) 27 483 12 00 • Fax +41 (0) 27 483 42 43 • E-Mail: [email protected] • www.reift.ch