Love Abide for Alto, Bass-Baritone, Choir (SSAATTBB), Organ, Harp and Strings (Vocal Score) Cover Image

Love Abide for Alto, Bass-Baritone, Choir (SSAATTBB), Organ, Harp and Strings (Vocal Score): Book, Voice

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Love Abide for Alto, Bass-Baritone, Choir (SSAATTBB), Organ, Harp and Strings (Vocal Score) Cover Image

Love Abide for Alto, Bass-Baritone, Choir (SSAATTBB), Organ, Harp and Strings (Vocal Score): Book, Voice

By Roxanna Panufnik / text Rumi Rumi / trans. Andrew Harvey

Item: 98-EP71816B

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Additional Details
Series: Edition Peters
Publisher: Edition Peters
Page Count: 72
ISBN10: 0-57-700308-9
ISBN13: 979-0-5770-0308-5
SKU: 98-EP71816B

More about this title

About the Composer: Roxanna Panufnik

Roxanna Panufnik is a British-Polish composer whose work spans orchestral, choral, and chamber music. Her compositions are rooted in accessible tonality and emotional directness, qualities that have made her music increasingly present in concert halls and choral festivals across Europe and North America.

Why we love this

Panufnik writes for choirs with genuine understanding of voice leading and the particular resonance of organ, harp, and strings together. The piece sits comfortably across the full SSAATTBB spectrum without forcing any section into an awkward range, and the instrumental accompaniment elevates rather than overwhelms the singers.

What to expect

Love Abide unfolds with quiet dignity and harmonic warmth. The orchestration creates an intimate, luminous sound that feels both contemporary and grounded in choral tradition, with the harp and organ weaving together like light through stained glass.

Who it's for

This work is written for choirs with access to professional or advanced string players, an organist, and a harpist. It suits both cathedral and concert settings where you have soloists capable of carrying substantial lines over full choral accompaniment.

How to get the most out of it

  • Balance the alto and bass-baritone soloists carefully against the full choir; their lines should emerge clearly without the ensemble retreating.
  • Work with your organist and harpist to establish a unified approach to the instrumental foundation; both instruments have distinct roles that must be coordinated.
  • Shape the choral phrases with attention to text declamation; Panufnik's harmonic language rewards singers who commit to clear vowels and natural speech rhythm.
  • Allow time in rehearsal for the string players to lock in with the choir's sectional releases and entrances.

How to use it

This is a strong centerpiece for a concert exploring contemporary sacred or reflective choral music. It pairs well with both earlier liturgical works and other living composers, and functions beautifully in services of evening prayer or as a concert closer where the organ and strings can resonate fully.

Skills your students will build

  • Balancing solo lines against choral texture
  • Singing sustained lines over complex harmonic movement
  • Coordinating with string and keyboard instrumental partners
  • Maintaining ensemble cohesion across eight voice parts with exposed divisi

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