If You Go Away (Ne me quitte pas) Cover Image

If You Go Away (Ne me quitte pas): Full Orchestra Condensed Score

$4.00 USD
$4.00 USD
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If You Go Away (Ne me quitte pas) Cover Image
If You Go Away (Ne me quitte pas): Full Orchestra Condensed Score

If You Go Away (Ne me quitte pas): Full Orchestra Condensed Score

By Jacques Brel, ed./arr. by Richard Hayman

Item: 36-A782899
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Description
Belgium singer, actor, and composer Jacques Brel (1929-1978) wrote the music and lyrics for Ne me quitte pas (If You Go Away) in 1959. The song was later adapted with English lyrics by Rod McKuen, and the work is considered a pop standard with recordings by many artists. This orchestration was completed by Richard Hayman (1920-2014), who had a very successful career as chief music arranger for the Boston Pops Orchestra, an association that lasted over 50 years, and who also served as a pops conductor for various orchestras including the Detroit Symphony Orchestra, the St. Louis Symphony, and the Grand Rapids Symphony. Instrumentation: 2.2.2.2: Sax(4-SATB, opt.): 4.3.3.1: Timp.Perc(5): Hp.Gtr(opt.): Str (9-8-7-6-5 in set).

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-88-852672-2
ISBN13: 979-8-88-852672-9
UPC: 676737927936
SKU: 36-A782899
Instrumentation: 2.2.2.2: Sax(4-SATB, opt.): 4.3.3.1: Timp.Perc(5): Hp.Gtr(opt.): Str (9-8-7-6-5 in set)

More about this title

About the Composer: Jacques Brel

Jacques Brel (1929-1978) was a Belgian singer, actor, and composer who created some of the most emotionally compelling songs of the twentieth century. His work blends the theatrical sensibility of European cabaret with deeply personal lyricism, and his influence extends far beyond his native Belgium into American popular music and international musical theater.

Why we love this

Richard Hayman's orchestration transforms an intimate pop standard into a vehicle for the full orchestra without sacrificing the song's emotional core. The arrangement sits comfortably across winds, brass, and strings while keeping instrumentation flexible (saxophones and guitar are optional), making it accessible to orchestras of varying sizes. Programming this piece signals sophistication and broadens your audience's sense of what orchestral repertoire can be.

What to expect

A bittersweet meditation on love and loss, rendered with Hayman's elegant orchestral palette. The music carries the weight of Brel's original composition while opening it up across the full range of the orchestra, creating moments of lush harmony and pointed orchestral color that deepen the song's emotional resonance.

Who it's for

Orchestras seeking to expand beyond traditional classical and romantic repertoire into masterfully arranged twentieth-century songs. This score works for community orchestras, youth ensembles, and professional orchestras interested in programming that bridges popular and concert music.

How to get the most out of it

  • Balance the main melody line carefully against the harmonic foundation. In a condensed score, the conductor's ear is essential for maintaining clarity across the entire orchestral texture.
  • Allow the ensemble time to absorb the song's narrative arc. This is not virtuosic music, but it requires emotional commitment and ensemble cohesion to land effectively.
  • If using the optional saxophones and guitar, integrate them early in rehearsal to establish the piece's character; their absence should feel like a deliberate artistic choice, not an afterthought.
  • Shape phrases through dynamic and tempo flexibility rather than relying on written markings alone. This pop standard thrives on rubato and flexibility within the orchestral context.

How to use it

Pair this with other arranged standards or twentieth-century popular songs to create a concert that explores the intersection of pop and orchestral music. It works equally well as a standalone moment in a mixed program or as the centerpiece of a themed concert celebrating song composition and orchestration.

Skills your students will build

  • Balancing melody and accompaniment across a large ensemble
  • Shaping phrased music without excessive tempo marking
  • Reading a condensed score and translating it across multiple instrumental sections
  • Interpreting rubato and expressive flexibility within an orchestral context

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