Canoni Per Il Festival Internazionale

Partner
c i p a z i o n i
Con il sostegno di
anti
Sponsor
MITO OPEN SINGING
MILANO / 10 settembre 2016
TORINO / 11 settembre 2016
Main media partner
Media partner
Torino Milano
Festival Internazionale
della Musica
un progetto di
con il patrocinio di
realizzato da
FEN 040
Sponsor tecnici
Feniarco Edizioni Musicali

Volume a cura di
Michael Gohl, Carlo Pavese
Notografia di
Gino Del Col
Copertina
Mood
Impaginazione
Stampa
Tipografia Menini - Spilimbergo (Pn)
© Copyright 2016 by Feniarco Edizioni Musicali

Via Altan, 83/4 - 33078 San Vito al Tagliamento (Pn) - Italy
ISBN 978-88-95076-40-9
c i p a z i o n i
anti
MITO OPEN SINGING

Indice
Jubilate, jubilate omnis terra (M. Praetorius)..............................................6
Hello (F. Fluri)........................................................................................................... 6
Lai-la (trad. ceca, arr. M. Gohl).............................................................................. 7
V’amo di core (W.A. Mozart)...................................................................................... 8
Il Carnevale di Venezia (G. Rossini)............................................................................ 9
Noi siamo zingarelle (G. Verdi)..................................................................................17
Signore delle cime (B. De Marzi)................................................................................. 27
Ave maris stella (E. Grieg).............................................................................................. 29
Tourdion (anonimo)........................................................................................................ 32
Nessun dorma (G. Puccini)............................................................................................ 33
Tollite hostias (C. Saint-Saëns)..................................................................................... 39
Va’, pensiero (G. Verdi).....................................................................................................43
Evening rise (trad. Nativi Americani, arr. M. Ansohn)..........................................47
Perché cantare tutti insieme?
L’edizione 2016 di MITO SettembreMusica porta con sé diverse novità.
La prima è che ora il festival si concentra sulla musica classica. La seconda è che diventa
tematico – per quest’anno ho scelto il tema “Padri e figli”. La terza è che vi si presentano solo
programmi originali, inediti. La quarta è che i concerti e gli spettacoli per bambini e ragazzi
adesso hanno un respiro internazionale.
Ma c’è poi una quinta novità, per certi versi persino più eclatante: nel 2016 irrompe
all’interno del festival la musica corale. E lo fa in modo massiccio. Undici concerti in ogni
città, con ventuno cori impegnati, invadono due pomeriggi, uno a Milano e uno a Torino,
raggiungendo tutte le zone, tutte le circoscrizioni. E poi, la sera, è il pubblico stesso a essere
protagonista di un open singing, rispettivamente in piazza del Duomo e in piazza San Carlo,
cantando i brani che abbiamo raccolto in questa pubblicazione.
Non serve avere alcuna esperienza. Non serve saper leggere la musica. Al limite, non serve
nemmeno saper leggere: anche i bambini più piccoli possono tranquillamente imparare
a memoria le loro linee vocali. C’è infatti un coro guida, sul palcoscenico, che è lì per fare
ascoltare ciò che va intonato da ogni singola voce (i soprani, i contralti, i tenori, i bassi).
E c’è un direttore specializzato nel dirigere il pubblico: se ci fate caso, non dà infatti le spalle
alla piazza, ma è invece rivolto ad essa. Ci sono, insomma, tutti gli elementi che consentono
di fare musica tutti insieme, in modo semplice ma curato.
Si tratta di un divertimento? Di un happening? No. Credo, al contrario, che si tratti di una
riappropriazione necessaria. Di un’occasione – e spero sia soltanto la prima di molte –
affinché anche chi non ha mai avuto la fortuna di praticare la musica, e in particolare la
musica classica, possa farlo. Perché parte della nostra identità passa di lì. E lo fa in modo
forte, intenso, emozionante. Usare le nostre voci per essere ascoltatori e musicisti insieme
mi sembra dunque un gesto di civiltà, e di bellezza, al quale spero che in molti vogliamo
prendere parte.
Nicola Campogrande
Direttore artistico del Festival MITO SettembreMusica
5
Jubilate, jubilate omnis terra
terra
Michael
MichaelPraetorius
Praetorius (1571-1621)
(1571-1621)
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1. 2. 3. 4. 5. 6.
7 7 7 7 7
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Ju - bi - la - te De - o, ju - bi - la - te om - nis ter - ra! A - men.
Réjouissez tout le monde, réjouissez Dieu.© Feniarco Edizioni Musicali

Rejoice all the world, rejoice God.
Hello
Hello
canone
3-part acanon
3 voci
Latino 120 Bakesh shalom Fredi Fluri (1991)
Fredi
Yehezkel Fluri(*1922)
Braun (1991)
 
1.
    2.
2.
Canon à 3 G
 1.   
    3.  ©  © © 
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 3. sha - lom 

Ba - - - kesh sha - lom sha - lom coda- fe
ve - rod -
          
   
O seek ye peace seek peace seek peace and pur - sue
      
D Ð © © LG
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   G© © © C Ð ©D © ©C/D © © coda
X
 -  -  - rod -  fe  hu.
 hu 
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it and pur - sue
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partitura / coda
coda
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Hel - lo,
Ding dong
Hel - lo, Hel - lo - lo,
 
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
  

  
Gliss.
Traditional
Canon à 4
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 

      
    
       
    

Possible order of events: © Fredi Fluri
The voices arrive on stage one after the other:
6 • Bass greets the public with the ostinato, accompanied by an off-beat snap
• First canon voice greets the public with the salutation
Lai-la
Lai-la Melodia tradizionale ceca
arr.Czech
Michael
folk Gohl
tune
Arr.: Michael Gohl
Iniziare lentamente e accelerare

a ogni ripetizione battito di mani e piedi
               
   
Dm C7 F B F D7
            
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    
Dm
  
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lai - la lai - la la - la - la - la lai la - la lai - lai - lai - lai la.
     
Michael Gohl
     
Accompagnamento pianistico
                 
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             
           
      
        
                             
   
            
         
      
© Verlag Schweizer Singbuch
Suggested movements and performance tips
Variant 1: Variant 2: Variant 3:

While singing the song, In bar 2, step to the side, In bar 2, step to the side,
stamp feet and clap hands alternately to the left alternately to the left
in each of the two rest. and to the right, and and to the right.
Speed up with each repetition. clap hands on beats 2 At the same time, clap
Traditionally the song and 4. Speed up with hands on every other
would be accompanied each repetition. Move quaver (as per right hand
by an accordion rather straight into this variant of the piano accompaniment).
than piano, and percussion from variant 1 without Speed up with each repetition.
in the form of a tamburine a break, beginning Move straight into this
on the off-beat, in time slowly again. variant from variant 2
with the right hand of the piano. without a break, beginning
slowly again.
7
V’amo di core
V'amo di core
canone per 3 cori a 4 voci
Canone per 3 cori a 4 voci Wolfgang
WolfgangAmadeus
Amadeus Mozart
Mozart
(1756-1791),
(1756 -1791), KV 348
KV 348
             
1. 2.
    
Fine
Coro 1 V'a - mo di co - re te - ne - ra - men - te, sì, sì,

Coro 2 Io non vi pos - so al - tro a - ma - re, no, no,
Coro 3 Uh, che do - lo - re, uh, che tor - men - to, uh, uh,
      
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  
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      
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uh, che do - lore, uh, uh, che tor - men - to, uh!
1. Je vous aime de tout mon coeur très tendrement. 1. Ich liebe euch von Herzen - zärtlich.
2. Je ne puis vous aimer autrement. 2. Anders kann ich nicht lieben.
3. Quelle douleur, quel tourment! 3. Welcher Schmerz, welche Qual!
© Feniarco Edizioni Musicali
8
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Noi siamo zingarelle
Noicoro
siamo
dall’operazingarelle
La traviata
coro dall'opera "La traviata"
Giuseppe Verdi (1813-1901)
Giuseppe Verdi
(1813-1901)
Allegro moderato
   
                
SOPRANO e ALTO
    
              
 
Voci
         

Noi sia - mo zin - ga - rel - le ve - nu - te da lon-
                  
            
            
    
       
 
3
                 
legg. 3 3
Pf
        
              
       
               
5
  
               
     
  
          
-ta - no; d’o - gnu - no sul - la ma - no leg - gia - mo l’av - ve-
       

5
        
         
           
    
     
     
          
3 3
                        
3
       
 
                        
9
 
 
3 3
 
       
       
  
  3          
- nir. Se con - sul - tiam le stel - le, con - sul - tiam le stel - le nul-

                             
3
9
 
    
     
        
      
              
    
   
17
                
          
12
                

    
   
  
                     
-l’av - vi a noi d’o - scu - ro, no, nul - l’av - vi a noi d’o - scu - ro e i ca - si del fu-
 
 
12 
          
  


      
                       
         
 
15
                       
                  
  
   con
3
      
tu - - - ro pos - sia - mo al - trui pre - dir. Se - sul - tiam le
   
   
 
 
         
15
       
     
             
 

 
3
 
                           
3 3

3
  
        3                     3    
17
                             
    
3  ca - si del fu - tu - ro pos-sia - mo al-trui pre
        
              
stel - le nul - l’av - vi a noi d’o- scur, e i
   
          
                
   
17
  
     
        
3 3 3
                  

       

20
   3    3   3             
3

                
- dir, e i ca - si del fu - tu - ro, e i ca - si del fu - tur, e i ca - si del fu-
       3  3 
   
20
    
3
               
3

              
                           

 
3 3
3 3
18

  3            
         
23
  
     
       
   
     

- tu - ro pos - sia - mo al - trui, pos - sia mo al - trui pre - dir, e i ca - si del fu-
          

     
23
         

      
   
3
                  
     
   3 3 3
 
                        
26

3
   
        
tu - ro, e i ca - si del fu - tur, e i ca - si del fu-
 
        
   
   
26 3

            
      3           

 3
          3
    

    
28
     
  
      
- tu - ro pos - sia - mo al - trui, pos - sia - mo al - trui pre - dir.
 
        
    
28
         
  
  
    
3
       
       
       
         
 

   
           
31
  
 
    
Ve - dia - mo!
                 
31
            
         
                       
        
   
19
   
               
35
  
Una parte del coro
    
            
       
Voi, si - gno - ra, ri - va - li al - quan - te a - ve - te.
35
               
     
   
       
                                     
        
39
         
2a parte del coro
   
               
Mar - che - se, voi non
             
      
39
           


        
                                        
       
         
 
       
44
  
FLORA (al Marchese)
    
Fa - te il ga - lan - te an-
                
                                    
sie - te mo - del di fe - del - tà.
44
  
  
   legg.   
   
                            
 
     
47
            
MARCHESE (a Flora)
  
           
                               
- co - ra? Ben, vo’ me la pa - ghia - te! Che dia - min vi pen-

47
 





    




   



    
20
   
             
49
   
FLORA
     
               
sa - te? L’ac - cu - sa è fal - si - tà! La vol - pe la - scia il
49
         

     
       

     
    
      
         
           
51
       

                       
pe - lo, non ab - ban - do - na il vi - zio. Mar - che - se mio, giu-
51
  

   
           
       
   
   
                
53
   
  
          
- di - - zio, o vi fa - rò pen - tir, Mar - che - se mio, giu-
       
53
 
          
      
    
   
                     
55
  
        
-di - zio, o vi fa - rò pen - tir, Mar -che - se mio, giu - di - zio, o vi fa - rò pen-
      
  
           
      
55
   
 
     
                      
 
21
58
    FLORA
     
 

-tir!
    
                    
       
DOTTORE

Su via, si sten - da un ve - lo sui fat - ti del pas-
                      
      
CORO
       
          
           

               
58 
       

     
   
                      
legg. 3 3
    
3
      
                     
            
62
     
sa - to; già quel ch’è sta - to è sta - to, ba - da - te al - l’av - ve-
                   
         
          
sa - to; già quel ch’è sta - to è sta - to, ba - da - te al - l’av - ve-
            
                         

           
62 
     
              
  
      
3
                      
3 3
               
              
 
22
    FLORA        
   
66
 
              
3
 
3
     
     
  
                      
3 3
     
- nir. Su via, si sten - da un ve - lo sui fat - ti del pas-
  
                 
MARCHESE
  
          
   
        
              
3
       
   
        
3
- nir. Su
via, si sten - da un ve - lo sui fat - ti del pas-
66 
                      
   
 3
   
 
3
         
     
 

 
    
                 3    
68
           
3
                 
- sa - to; già quel ch’è sta - to è sta - to, ba - dia - mo al - l’av - ve-
     
        
3
3
  
- sa - to; già quel ch’è sta - to è sta - to, ba - da - te al - l’av - ve-
  
   


                   
          
- sa - to; già quel ch’è sta - to è sta - to, ba - dia - mo al - l’av - ve-
   
                
3
          
   
3
 
- sa - to; già quel ch’è sta - to è sta - to, ba - da - te al - l’av - ve-
  
68
                          
   
   
3 3
             

       
    
23

70
   
          
         
3
  
3 3 3
 
          
- nir, già quel ch’è sta - to è sta - to, ba - dia - mo all’av - ve-
               
3
  
3 3 3
          
- nir, già quel ch’è sta - to è sta - to, ba - da - te all’av - ve-
               
3
  
3 3 3

- nir, già quel ch’è sta - to è sta - to, ba - dia - mo all’av - ve-
              
               
3 3 3 3

- nir, già quel ch’è sta - to è sta - to, ba - da - te all’av - ve-
      
                
70 3

3
    
3 3

      
                 3     
 3 3 3
      
             
72
     
  3
   
- nir, ba - dia - mo al - l’av - ve - nir, ba - dia - - -
 
      
  
      
3
- nir, ba - da - - - - - te, ba - da - - -
  
           
      
- nir, ba - dia - - - - mo, sì, ba-
      
                  
3
   
 3  
- nir, ba - da - te al - l’av - ve - nir, ba - da - - -
               
             
72
 
      
                
   
24
       3    
                   
74
    
3
  
 3                   
         
- mo, ba - dia - mo al - l’av - ve - nir; già quel ch’è sta - to è sta - to, ba-

3
   
- te, ba - da - te al - l’av - ve - nir; già quel ch’è sta - to è sta - to, ba-
                        3
   

   
- dia - mo al - l’av - ve - nir; già quel ch’è sta - to è sta - to, ba-
       unis.
                           
3 3
 
  
- te, ba - da - te al - l’av - ve - nir; già quel ch’è sta - to è sta - to, ba-
     
         
74 3
          
    
  
                              
   3 3 3 3
         
            

   
    
3
         
-dia -mo al - l’av - ve - nir. ba - dia - mo al - l’av - ve - nir, ba - dia-
       
  
         

3
    
-da - te al - l’av - ve - nir, ba - da - - - - te, ba - da-
         
          
   
-dia -mo al - l’av - ve - nir. ba - dia - - - - mo, sì, ba-
     
            

   

    
 
    
3
-da - te al - l’av - ve - nir. ba - dia - mo al - l’av - ve - nir, ba - da-
            
                      
  
3
           

             

 
25
       3  
           
79
  
           
 3
           
- mo, ba - dia - mo al - l’av - ve - nir, ah sì, ba - dia - mo al - l’av - ve-
          
         
- te, ba - da - te al - l’av - ve - nir, sì, ba - da - te al - l’av - ve-
             
           
  
       
dia - mo al - l’av - ve - nir, sì, ba - dia - mo al - l’av - ve-
     

     

             
ah
  
3
          
  
  
- te, ba - da - te al - l’av - ve - nir, sì, ba - da - te al - l’av - ve-
          

     
        
79
       
   
         
 

    



 
 
 
      
             
81
   
-nir, sì, sì, ba - dia - mo al - l’av - ve - nir.
           
    
    
  
-nir, sì, sì, ba - da - te al l’av - ve - nir.
       
      
    
  
      
-nir, sì, sì, ba - dia - mo al - l’av - ve - nir.
 
           
  
       

    


   

               
-nir, sì, sì, ba - da - te al - l’av - ve - nir.
        
      
              
81


      

 



         
         
26
Signore delle
Signore dellecime
cime
Signore delle cime Bepi De Marzi (IT) *1935
Bepi De Marzi (1935)
Giuseppe de Marzi
R88 ca.
R
Con espressione
L
S E Ð © © Ð © © © © © © Ð Ð Ð © ©
1. Di - o del cie - lo, Si - gno - re del - le ci - me, un no - stro a -
R
2. San - ta Ma - ri - a, Si - gno - ra del - la ne - ve,
co - pri col
A E Ð © © Ð ©
L
© © © © © Ð Ð Ð © ©
R
© © © © © Ð Ð
T 8E Ð © © Ð ©
,
Ð © ©
1. Di - o del cie - lo, Si - gno - re del - le ci - me, un no - stro a -
R
"E Ð © ©
2. San - ta Ma - ri - a, Si - gno - ra del - la ne - ve, co - pri col
Ð © © © © © © Ð Ð Ð © ©
B ,
6
Ð © © © © © © Ð Ð Ð © © Ð Ð
mi - co hai chie - sto al - la mon - ta - gna. Ma ti pre - ghia - mo,
bian - co sof - fi - ce man - tel - lo,
il no - stro a - mi - co,
Ð © © © © © © Ð Ð
Ð Ð Ð © ©

8 Ð © © © © © © Ð Ð Ð © © Ð Ð
mi - co hai chie - sto al - la mon - ta - gna. Ma ti pre - ghia - mo,

bian - co sof - fi - ce man - tel - lo, il no - stro a - mi - co,
" Ð © © © © © © Ð Ð Ð Ð
Ð © ©
11 R
Ð P© © Ð Ð © © © © Ð Ð © © © © Ð Ð
ma ti pre - ghia - mo:
R
Su nel Pa - ra - di - so, su nel Pa - ra - di - so,

no - stro fra - tel - lo.
Ð © © Ð Ð © © © © Ð Ð P© © © © Ð Ð
R
© © © © Ð Ð © © © © Ð Ð
8 Ð © © Ð Ð
ma ti pre - ghia - mo:

Su nel Pa - ra - di - so, su nel Pa - ra - di - so,
no - stro fra - tel - lo.
©©© © R
" Ð © © © Ð Ð © © © © Ð Ð
Ð © ©
© Edizioni Curci S.r.l. - Milano
28 © Edizioni Curci S.r.l. - Milano
27
17
Ð © © Ð Ð © © P© © Ð Ð X Ð Å
la - scia - lo an - da - re per le tue mon - ta - - - gne.

© © © Ð Ð © © © © X X Ð Å
©
©
8Ð © © © © Ð © © © X X Ð Å
la - scia - lo an - da - re per le tue mon - ta - - - gne.
Ð
"Ð © © Ð © © © © X XX ÐÐ Å
Se chanto
Se chanto
Traditional from Occitania
L L L L L L
D © © © © © © © © © Ð © Ð © ©
De - vant de ma fe - ne - stro ia un au - ze - loun tou - to
D Ð © © © L L
© © Ð © Ð
la nuech chan - to chan - to sa chan - soun
Devant de ma fenestro ia un auzeloun Se chanto que chante chanto pa per iou

touto la nuech chanto chanto sa chansoun chanto per ma mio qu’es da luenh de iou
Se chanto que chante chanto pa per iou Baisà-vous mountanhos, planos levà-vous,
chanto per ma mio qu’es da luenh de iou perquè pòsque veire mes amors ount soun
Aquelos montanhos que tant’autos soun Se chanto que chante chanto pa per iou
m’empachoun de veire mes amors ount soun chanto per ma mio qu’es da luenh de iou
29
28
Ave maris stella
Ave maris stella Edvard Grieg (1843-1909)
Edvard Hagerup Grieg
108

Allegretto molto tranquillo (1843-1909)
  
S                
 
A - ve, ma - ris stel - la, De - i ma - ter al - ma,
 
A                  
   
      
T       

B
  
       
A - - - - - ve, ma - - - ris stel - la,
   
poco animato
           
5
  
cresc.
 
   
At - que sem - per Vir - go, Fe - lix coe - li por - ta.

       
cresc.
      
   cresc.        
At - que sem - per Vir - go, Fe - lix coe - li por - ta.
  
                
        
At - que sem - per Vir - go, Fe - lix coe - li por - ta, coe - li
     
cresc.
     
   
At - que sem - per Vir - go, Fe - lix coe - li por - ta, coe - li
  dolce  
tranquillo
        
10
        
Sol - ve vin - cla re - is, Pro - fer lu - men cae - cis,
  dolce
   
              
 dolce
Sol - ve vin - cla re - is, Pro - fer lu - men cae - cis,
      
             

por - ta. Sol - ve vin - cla re - is, Pro - fer lu - men cae - cis,
 dolce 
                 

por - ta. Sol - ve vin - cla re - is, Pro - fer lu - men cae - cis,
29
   
    
   
15
   
cresc. molto dim.
     
Ma - la no - stra pel - le, Bo - - - na cun - cta po - - - sce, cun - cta
  
          
cresc. molto dim.
         
  

 
Ma - la no - stra pel - le, Bo - na cun - cta po - - - sce, cun - cta
           
       
cresc. molto dim.
  
    
Ma - la no - stra pel - le, Bo - na cun - cta po - - - sce.
    
       
dim.
     
cresc. molto
 
Ma - la no - stra pel - le, Bo - na cun - cta po - - - sce.
 
poco rit.
20
    
       
      
po - - - sce. Vi - tam prae - sta pu - ram, I - ter pa - ra

poco rit.
 
 
                    
po - - - sce. Vi - tam prae - sta pu - ram, I - ter pa - ra
   
            
Vi - tam prae - sta pu - ram, I - ter pa - ra

       
Vi - - - - - tam prae - sta
 
poco animato
       
        
25
  
cresc.

tu - tum, Ut, vi - den - tes Je - sum, sem - per col - lae - te - mur.
   

       
cresc.
        
tu - tum, Ut, vi - den - tes Je - sum, sem - per col - lae - te - mur.
  

      
cresc.

            

tu - tum, Ut, vi - den - tes Je - sum, sem - per col - lae - te - mur,
      
            
cresc.
 
pu - ram, Ut, vi - den - tes Je - sum, sem - per col - lae - te - mur,
30
  dolce 
tranquillo
        
30
      
Sit laus De - o Pa - tri, Sum - mo Chri - sto
  dolce
    
            

Sit laus De - o Pa - tri, Sum - mo Chri - sto
     dolce 
           
        
col - lae - te - mur. Sit laus De - o Pa - tri, Sum - mo Chri - sto
  dolce 
                 
  
col - lae - te - mur. Sit laus De - o Pa - tri, Sum - mo Chri - sto


35
    
       
cresc. molto dim.
    
de - cus, Spi - ri - tu - i San - cto: Tri - - - bus ho - nor u - - -

      
cresc. molto dim.
              
     

de - cus, Spi - ri - tu - i San - cto: Tri - bus ho - nor u - - -
     
       
dim.
  
cresc. molto
 
    
      
dim.

    
cresc. molto
 
   
   
poco rit.
    
più lento
 
40
    
- nus, ho - nor u - - - nus. A - - - men.
   
poco rit.

più lento
         
  

- nus, ho - nor u - - - nus. A - - - men.
  
più lento
        
- nus. A - - - men.
  più lento
   
     

- nus. A - - - men.
31
Tourdion
Tourdion Anonimo
pubblicato nel 1530 da Pierre Attaignant
Anonyme
publié en 1530 par Pierre Attaignant
 
                  

Quand je bois du vin clai - ret, a - mi tout tour - ne, tour - ne, tour - ne,
      
 
Le bon vin nous a ren-
Bu - - - vons bien, là bu - - - vons
     
     
Bu - - - vons bien, bu - vons mes a-
 
      
4
     
Fine
     

tour - ne, aus - si dé - sor - mais je bois An - jou ou Ar - bois,

   
         
- du gais, chan - tons, ou - bli - ons nos pei - nes, chan - tons!
donc, 1. à ce fla - con fai - sons la guerre,
2. a - mi, trin - quons, gaie - ment chan - tons,
          
      
- mis, trin - quons, bu - vons, 1. vi - dons nos verres.
2. gaie - ment chan - tons!
     
       
9
     

chan - tons et bu - vons, à ce fla - con fai - sons la guer - re,
          
 
En man - geant d'un gras jam - bon, à
     
       

      
13
   
D. C.
  

chan - tons et bu - vons, les a - mis, bu - vons donc!
 
       
ce fla - con fai - sons la guer - re!
           
32
Nessun dorma
Nessun dorma
Text: Giuseppe Adami and Renato Simoni (IT) Nessun dorma Giacomo Puccini (IT) 1858-1924
testo di Giuseppe Adami e Renato Simoni Giacomo Puccini (1858-1924)
Giacomo
arr. arr.
Claudio Puccini
Chini
Claudio (IT)
Chini
Andante sostenuto R
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stel - le! Al - l'al - ba vin - ce - rò! oh
7©
DDD © © ©
28
©© © ©©© P ©© ©© © ½ XX ©©
©© ©©© © ©© ©©© ©©© ©©© ©©© ©©
XX © ©
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©
L
" D D ½ ©L © © ½
D Ð © © ½ X X
Ð © X X
,
DDD X ½ © © © © © © © P © © © © © X
31 affrett. a tempo

- rò! oh vin - ce - rò!
D Ð ½
D D X
© © © © © © © P© © © © © X
D © © © © X
8 D D , © © © © © P© Ð X © © P©
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D
oh oh oh vin - ce - rò!
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31
D X © © ©© ©©© ©© ©©© ©© ©©© ©© P ©© ©©© ©©© ©©© ©© ÐÐ Ð
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133
38
Tollite hostias
Tollite hostias
coro dall’Oratorio de Noël, op. 12
Coro dall'Oratorio de Noël, Op.12 Camille(1835-1921)
Saint-Saëns
Camille Saint-Saëns
(1835-1921)
  
Maestoso
     
S   
  
 
Tol - li - te ho - sti - as, et a - do - ra - te
            
A

  
      
T      
 
         
B    
    
    
     
  
  
        
    
Org.
      
 
Ped.
5
             
   
Do - mi - num in a - tri - o san - cto e - jus.
    
            
       
      
  
   
           

 
    
       
5
     
  
 
            
         
   
39
   
      
9
            
Lae - ten - tur coe - li, et ex - ul - tet ter - ra a fa - ci - e Do -mi-
    
                 
Lae - ten - tur coe - li, et ex - ul - tet ter - ra a fa - ci - e Do -mi-
              
  
Lae - ten - tur coe - li, et ex - ul - tet ter - ra quo - ni - am ve-
         
       
Lae - ten - tur coe - li, et ex - ul - tet ter - ra quo - ni - am ve-
 
      
9
        
   
   
             
      
             
14 1. 2.
      
- ni, quo - ni - am ve - nit. Al - le - lu - ia. ia.
          
       
- ni, quo - ni - am ve - nit. Al - le - lu - ia. ia.
            
   
nit. Al - le - lu - ia. Al - le - lu - ia. ia. Al - le - lu-
     
     
 
nit. Al - le - lu - ia. Al - le - lu - ia. ia.
       
      
14 1. 2.
    


  
      
  



  
 
40
17
        
         
Al - le - lu - ia. Al - le - lu - ia. Al - le - lu - ia. Al - le - lu-
    
           
    
Al - le - lu - ia. Al - le - lu - ia. Al - le - lu - ia. Al - le - lu - ia. Al - le - lu-
   
       
ia. Al - le - lu - ia.
   
       
Al - le - lu - ia. Al - le - lu-
17
     

     
             
 
22

- ia. Al - le - lu - ia. Al - le - lu - ia. Al - le - lu-
    
          

- ia. Al - le - lu - ia. Al - le - lu - ia. Al - le - lu-
        
        
  
Al - le - lu - ia. Al - le - lu - ia. Al - le - lu - ia. Al - le - lu-
 
          

- ia. Al - le - lu - ia. Al - le - lu - ia. Al - le - lu - ia. Al - le - lu-
22
    

    
41
 
   
26
         

ia. Lae - ten - tur coe - li, et ex - ul - tet ter - ra
 
           


    
         

             


 
26
          
  

        
             

  
               
31
     
a fa - ci - e Do - mi - ni, quo - ni - am ve - nit. Al - le - lu - ia.
   
  
              
 
a fa - ci - e Do - mi - ni, quo - ni - am ve - nit. Al - le - lu - ia.
      
        
quo - ni - am ve - nit. Al - le - lu - ia. Al - le - lu - ia.
          
   
quo - ni - am ve - nit. Al - le - lu - ia. Al - le - lu - ia.

               

31
  
    
          
   
42
Va', pensiero
Va’, pensiero
Va’, pensiero
coro dall’opera Nabucco
Text: Temistocle Solera (IT) Giuseppe Verdi (IT) 1813-1901
testo di Temistocle Solera Giuseppe Verdi (1813-1901)
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Evening rise
Evening rise
Evening rise Tradizionale
Traditional deiNative
from Nativi Americans
Americani
Traditional
arr. American
Meinhard Indian
Ansohn
arr. Meinhard Ansohn
arr. Meinhard (DE)
Ansohn
© © © © ©
(P % * $ & ' (P %
S ©©©©© ©© © © © Ð © , Ð
Eve - ning ri - se, spi - rit come, sun goes down the day is done.

Mel. © © Ð © © Ð © © © © © © © Ð
Eve - ning rise, spi - rit come, sun goes down when the day is done.

A1 © © Ð © © Ð © © © © © © © © Ð

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A2

T 8 © © Ð ©©© © Ð © © © © © © © © Ð
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Eve - ning rise, spi - rit come, sun goes down day is done.

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Mo -ther Earth a - wa - kens me with the heart - beat of the sea.

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Mo - ther Earth a - wa - kens me with the heart - beat of the sea.
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Mo - ther Earth a - wa - kens me heart - beat of the sea.
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Mo - ther Earth a - wa - kens me heart - beat of the sea.
Suggestion: Melody
Suggerimento: | +Alt
Melodia 2 | +2 Alt
| + Alto 1 | +1Bass
| + Alto | + Tenor
| + Basso | + Sopran
| + Tenore | + Soprano
© Mainhard Ansohn
© Meinhard Ansohn
77
47
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 3. sha - lom 

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Suggested movements and performance tips

Variant 1: Variant 2: Variant 3:

Coro 1 V'a - mo di co - re te - ne - ra - men - te, sì, sì,

Coro 1 V'a - mo di co - re te - ne - ra - men - te, sì, sì,

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116 © Feniarco Edizioni Musicali

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                  

     

          

         

           

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28 © Edizioni Curci S.r.l. - Milano

Devant de ma fenestro ia un auzeloun Se chanto que chante chanto pa per iou

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© Feniarco Edizioni Musicali

     

© Feniarco Edizioni Musicali

© Copyright 2012 by Feniarco Edizioni Musicali

128 © Feniarco Edizioni Musicali

© Feniarco Edizioni Musicali

Va', pen - sie - ro, sul - l'a - li do - ra - te; Va', ti

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© Feniarco Edizioni Musicali

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