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Away in a Manger [orchestration for low voice, G]: Low Voice, Orchestra Accompaniment, Conductor Score & Parts

$55.00 USD
$55.00 USD
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Away in a Manger [orchestration for low voice, G] Cover Image
Away in a Manger [orchestration for low voice, G]: Low Voice, Orchestra Accompaniment, Conductor Score & Parts

Away in a Manger [orchestration for low voice, G]: Low 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-A834390
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Away in a Manger [orchestration for low voice, G]: 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 low voice and orchestra (key of G) 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 Low Voice. A version for high voice and orchestra (A834490) in the key of B-flat 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: 612735637286
SKU: 36-A834390
Instrumentation: 2.1+1(EH).2.2: 4.0.0.0: Timp.Perc(1): Hp: Str (9-8-7-6-5 in set): Solo Low Voice

More about this title

About the Composer: James Ramsey Murray

James Ramsey Murray (1841-1905) was an American hymnist and composer who shaped congregational singing in the late nineteenth century. His gift for crafting singable melodies combined with accessible, devotional texts made his work standard in American churches and schools. Murray's 1887 collection Dainty Songs for Little Lads and Lasses introduced what would become one of the most enduring Christmas melodies in the English-speaking world, cementing his legacy as a composer who understood what audiences of all ages would embrace and remember.

Why we love this

This orchestration transforms a beloved carol into a legitimate concert piece while honoring the simplicity that makes the tune so universally known. The full orchestra setting gives low voice soloists a substantial vehicle for a winter program without demanding virtuosity, and the conductor score and parts mean immediate access to everything needed for performance.

What to expect

Intimate and reverent. The familiar melody sits comfortably in a low voice range, creating warmth rather than strain. Cohen's orchestration surrounds the soloist with color and harmonic depth while preserving the carol's stillness and devotional simplicity.

Who it's for

Low voice soloists seeking a substantial Christmas concert piece with orchestral support. Conductors programming winter performances who want a familiar carol elevated by professional orchestration while remaining accessible to singers at intermediate and advanced levels.

How to get the most out of it

  • Balance the low voice soloist carefully against the orchestra; this carol's strength lies in its melody remaining clear and intimate despite full instrumental accompaniment.
  • Draw the orchestra into the reverent character of the text rather than treating the arrangement as background music; each instrumental section should support the vocal line's expressive shape.
  • Take time with the opening phrases to establish warmth and stillness before building any dynamic movement.

How to use it

Anchor a holiday concert's second half with this carol as a moment of calm reflection after brighter opening numbers. Its orchestral fullness and solo voice make it work well as a closing piece before an ensemble finale, or as a centerpiece balancing more energetic winter repertoire.

Skills your students will build

  • Singing a lyrical melody in a low voice tessitura while maintaining legit tone and phrase shape
  • Listening to and blending with full orchestra accompaniment
  • Performing familiar material with expressive maturity and musical intention
  • Managing breath and sustain in longer phrases over orchestral support

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