In Heaven and on Earth for SATB chorus, flute, and pedal or lever harp or piano 4-Part - Digital Sheet Music

SKU: A0.953621

One of the most powerful passages in scripture set to music! Good length for an anthem, interesting and idiomatic use of flute and harp, nice mix of beautiful melodic passages and crunchy bits!

A Setting of Philippians 2:5-11 from New Revised Standard Version

For SATB chorus, flute, and clàrsach (Scottish lever harp) or harp or piano

Duration approximately 5:00 

The Letter of Paul to the Philippians 2:5-11 (NRSV)*

"Let the same mind be in you that was in Christ Jesus,

who, though he was in the form of God,

did not regard equality with God

as something to be exploited,

but emptied himself,

taking the form of a slave,

being born in human likeness.

And being found in human form,

he humbled himself

and became obedient to the point of death -

even death on a cross.

Therefore God also highly exalted him

and gave him the name

that is above every name,

so that at the name of Jesus

every knee should bend,

in heaven and on earth and under the earth,

and every tongue should confess

that Jesus Christ is Lord,

to the glory of God the Father."

*New Revised Standard Version Bible, copyright © 1989 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.

Composed by Adrienne Inglis in 2014 and premiered in 2014 in Austin, Texas, by the Westminster Presbyterian Church Sanctuary Choir, In Heaven and on Earth for SATB chorus, flute, and clàrsach, draws inspiration from the tune "Love is the Cause of my Mourning" from The Caledonian Pocket Companion Book 1, p. 27. The piece opens with the tune altered to G mixolydian mode. As the word "exploited" appears, a sinister-sounding E flat enters the harmony. Open octaves between soprano and bass show the emptying, followed by a shift to E phrygian mode with the word "slave." Several dissonances emerge as the narrative gets darker. The flute and clàrsach represent chaos or hell with an aleatoric interlude of extended techniques involving tongue rams, flutter tonguing, multiphonics, spoken syllables, and lever glissandi. The harp then joyfully proclaims the new tonality of G major in a fanfare to introduce the text of praise and exaltation. The original source tune returns harmonically restored to G major.