Away in a Manger [orchestration for high voice, B-flat] Cover Image

Away in a Manger [orchestration for high voice, B-flat]: High Voice, Orchestra Accompaniment, Conductor Score & Parts

$55.00 USD
$55.00 USD
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Away in a Manger [orchestration for high voice, B-flat] Cover Image
Away in a Manger [orchestration for high voice, B-flat]: High Voice, Orchestra Accompaniment, Conductor Score & Parts

Away in a Manger [orchestration for high voice, B-flat]: High Voice, Orchestra Accompaniment, Conductor Score & Parts

By James Ramsey Murray, ed./arr. by Steve Cohen/ Anonymous text, which is sometimes attributed to Martin Luther

Item: 36-A834490
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Away in a Manger [orchestration for high voice, B-flat]: Low Voice, Orchestra Accompaniment, Conductor Score

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Description
The beautiful Christmas carol AWAY IN A MANGER has long been thought to be the work of the German reformer of religion, Martin Luther, though the text is now believed to have originated in America. While a setting of the text to music by William J. Kirkpatrick is also commonly heard, the setting by American hymnist James Ramsey Murray, first published in his 1887 collection Dainty Songs for Little Lads and Lasses as LUTHER'S CRADLE HYMN, remains the most popular. It is from this publication that the attribution to Martin Luther comes, and an additional spurious attribution to a "Carl Mueller" in 1914 created further confusion, with the melody itself sometimes called "Mueller." Murray's authorship is now fairly established. This version of the beloved carol has been orchestrated and arranged for high voice and orchestra (key of B-flat) by Steve Cohen. Instrumentation: 2.1+1(EH).2.2: 4.0.0.0: Timp.Perc(1): Hp: Str (9-8-7-6-5 in set): Solo High Voice. A version for low voice and orchestra (A834390) in the key of G is also available from the publisher.

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Additional Details
Series: Kalmus Christmas Carols for Voice and Orchestra
Publisher: Keiser Productions, Inc.
UPC: 612735592233
SKU: 36-A834490
Instrumentation: 2.1+1(EH).2.2: 4.0.0.0: Timp.Perc(1): Hp: Str (9-8-7-6-5 in set): Solo High Voice

More about this title

About the Composer: James Ramsey Murray

James Ramsey Murray (1841-1905) was an American hymnist and music publisher who shaped Protestant church music in the late 19th century. His 1887 collection Dainty Songs for Little Lads and Lasses introduced what would become the most enduring melody for "Away in a Manger," a carol that has since appeared in countless hymnals and holiday programs worldwide.

Why we love this

Steve Cohen's orchestration captures the carol's essential warmth while giving it concert hall stature. The full orchestra setting transforms a familiar tune into a vehicle for featuring a skilled high voice soloist, making it equally at home in a holiday pops concert or a traditional Christmas service. The arrangement respects the melody's simplicity while surrounding it with rich harmonic support that never overwhelms.

What to expect

The music unfolds with quiet reverence and intimate tenderness. Murray's melody, now wrapped in Cohen's sympathetic orchestration, speaks directly to the carol's original character: a lullaby born from stillness and wonder. The full ensemble provides warmth and gravitas without breaking the meditative spell.

Who it's for

This orchestration suits accomplished high voice soloists performing in full orchestra settings, including advanced community orchestras, professional ensembles, and university orchestras seeking a reliable, musically substantial holiday standard. Conductors programming a Christmas concert will find this version offers the familiarity audiences expect alongside genuine artistic substance.

How to get the most out of it

  • Balance the solo voice prominently over the full orchestra; this arrangement supports rather than competes with the singer. The conductor should shape orchestral dynamics to keep the high voice line clearly audible throughout.
  • Communicate the carol's gentle reverence in your opening tempo choices and bow attacks with the strings. The score will settle into its own unhurried pace once the soloist enters.
  • Work the alto flute and English horn parts with special care during their exposed moments; these orchestral colors frame the melody without drowning it out.
  • Rehearse the percussion and timpani entries separately from the strings and winds to ensure the rhythmic foundation stays buoyant rather than heavy-handed.

How to use it

This arrangement works beautifully as a concert centerpiece during the holiday season, offering contrast to purely instrumental selections while maintaining the sophistication expected of a full orchestra program. Consider pairing it with other seasonal works to create a thematic arc, or feature it as a sophisticated opening or closing moment that bridges classical and popular tradition.

Skills your students will build

  • Balancing a solo line with full orchestra support
  • Sustaining clean intonation across extended phrases with orchestral accompaniment
  • Responding to conductor cues while managing independent vocal line independence
  • Maintaining consistent tone quality and phrasing across dynamic ranges with ensemble accompaniment

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