Being Alive: Choral Instrumental Pak
By Stephen Sondheim / Arranged by Mac Huff
Item: 35-PK00236739
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Description
From the 1970 Broadway musical "Company" by Stephen Sondheim, this is the Act II "summing up" number sung by the character Robert who finally learns that "alone is alone, not alive." Set over a chaconne-like ostinato, the melody builds from an introspective solo line into full-voiced and dramatic choral harmonies. A sophisticated setting for advanced choirs. Duration: ca. 3:35.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00236739
More about this title
About the Composer: Stephen Sondheim
Stephen Sondheim fundamentally changed what lyrics could accomplish in musical theater. His intricate rhyme schemes, psychological depth, and willingness to let characters contradict themselves made him a composer and lyricist of unusual sophistication. For music educators, Sondheim's catalog offers a masterclass in how melody and harmony can support emotional complexity rather than oversimplify it.
Why we love this
Mac Huff's arrangement respects the song's architectural integrity while opening it up for choir. The chaconne-like foundation gives singers a harmonic anchor, and the journey from introspective to climactic works perfectly as a dramatic arc. Programming this alongside lighter pop selections gives your concert intellectual weight without sacrificing accessibility.
What to expect
The song captures a moment of hard-won clarity. Vulnerability opens into recognition, then strengthens into resolve. There's no false comfort in this music; the orchestration and harmony acknowledge both the loneliness Robert has experienced and the connection he's learned matters.
Who it's for
Advanced choirs that are ready for music that demands both technical control and emotional maturity. This works for directors preparing concert programs that honor Broadway's theatrical and compositional legacy. Singers who love contemporary song cycles and character-driven material will find genuine satisfaction here.
How to get the most out of it
- Shape the opening solo line with rubato and space; this is Robert's private realization, not a broadcast announcement. Let the silence breathe.
- Treat the ostinato as a meditation tool for the ensemble. Once the rhythm locks, singers can focus entirely on the lyrical content and harmonic blend.
- Build dynamics gradually across the choral sections. Avoid jumping to forte too early; the power comes from accumulated intensity, not immediate volume.
- Pay close attention to Sondheim's lyrical rhythm. These syllables fall at specific moments for dramatic effect, not melodic convenience.
How to use it
This belongs on a concert exploring modern musical theater as serious art form, paired with other Sondheim selections or songs from sophisticated scores. The three-and-a-half minute duration makes it a strong anchor for a thematic set about maturity, connection, or self-knowledge. It also works as a season closer, offering singers a chance to demonstrate both vulnerability and vocal control.
Skills your students will build
- Maintaining steady harmonic support against a chaconne-based ostinato
- Shaping lyrical phrases with dramatic intention rather than purely musical phrasing
- Balancing ensemble blend while supporting a soloistic melodic line
- Reading and interpreting Sondheim's rhythmic complexity and asymmetries
- Moving from intimate, solo-like vulnerability into full-voiced choral power