H. Biggs: O Oriens/Wie schön leuchtet der Morgenstern
Expected to ship in 1-2 weeks.
Shipping Policy- Composer: Hayes Biggs (1957-)
- Instrumentation: SATB Choir
- Work: O Oriens/Wie schön leuchtet der Morgenstern
- Work Languages: German, Latin
- ISMN:
- Size: 8.9 x 12.0 inches
Description
Composer's Note:
O Oriens is one of the so-called "O Antiphons" for each day of the last week of Advent, so named because they all begin with the word "O". Each of these titles is a name for Christ, reflecting his attributes as mentioned in scripture. Many English speaking Christian worshipers know these from singing the Advent hymn "O Come, O Come, Emmanuel" (Veni Emmanuel), whose individual stanzas paraphrase the antiphons. O Oriens refers to Christ as the Rising Sun or Morning Star.
Both the words and tune of the chorale "Wie schön leuchtet der Morgenstern" are attributed to Philipp Nicolai (1556-1608), a German Lutheran pastor who also authored another celebrated chorale, "Wachet auf, ruft uns die Stimme." Both melodies are perhaps best known in their harmonizations and other adaptations (chorale preludes, movements of cantatas, etc.) by Johann Sebastian Bach. While this hymn is most often associated with Epiphany (the Star of Bethlehem followed by the Magi), it is said that Nicolai wrote it in response to a pestilence that had struck his village in 1597.
The piece begins with a fanfare-like declamation of O Oriens for soprano and alto soli, who shortly are joined by the rest of the chorus. Though this section is quite chromatic in its harmonic language, it is connected, if only tangentially, to the oddball in A Major tonality in which much of the work lives. After the initial music concludes, the first verse of the chorale tune abruptly barges in after a short pause, clothed in a very full and active contrapuntal texture. Once it has reached a high point, the piece immediately reverts to a continuation of the text and music of the original treble-voiced duo, followed by a brief final challenge by the full choir to "darkness and the shadow of death."
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
Digital Download
Digital, PDF version of the score.



