Hidden Gems

Featuring Cry of Jeremiah by Rosephanye Powell
Saturday, March 25, 8pm | Monday, March 27, 7:30pm

First Baptist Church, 1000 W Friendly Ave, Greensboro

Bel Canto Company and Gate City Voices weave a majestic story expressing wonder and awe of the eternal. Opening the concert, Dan Forrest’s In Paradisum describes one perspective of humanity’s understanding of what happens after death. His Three Nocturnes on poems by Sara Teasdale, Emily Dickinson, and Walt Whitman explore celestial wonders. Rosephanye Powell’s first major work, The Cry of Jeremiah, concludes the concert. The dramatic narrative is heightened by her use of narrator, percussion, brass, winds, and organ. These lesser-known works are certainly deserving of a more prominent place in today’s choral repertory.

Rosephanye Powell’s program notes for The Cry of Jeremiah: 

Source: www.rosephanyepowell.com/piece/cry-of-jeremiah

The Cry of Jeremiah is a four-movement work based textually on the 29th chapter of Jeremiah. The prophet Jeremiah, having experienced ridicule and imprisonment because of his prophecies, laments his present state.

The orchestral score calls for an orchestra of 1,2 (first and second) violins, viola, cello, bass; piccolo, flute, oboe, Bb clarinet; 1,2 Bb trumpets, trombone, 1,2 French horns in F, tuba; three percussionists incl. timpani and drum set; and organ. There is also the option for organ and percussion (but I normally suggest adding at least the flute and,oboe to the second movement if possible. They add exotic colors. And if possible adding trumpets and French horn for color and power in the first and third movements expecially). It can also be done with piano and chorus alone (but I suggest adding the congas and/or djembe and flute for O Lord (the second movement) and drum set for Hallelujah (final movement).

I. Is Not His Word Like A Fire (Jeremiah 20:9). The work opens with Jeremiah boldly proclaiming that he prophesies, not because he wants to, but because he is compelled to. This song exemplifies the inner struggle within the prophet: confident yet insecure;doubtful yet resolved.

Musically, the A section is full of “fire,” (intensity) expressing a commitment to the task. This is contrasted by a B section that expresses a weary prophet who longs to be silent and done with the whole matter. The vocal development of this song grew out of a Baroque-European influence of contrapuntal writing in the A section and chant-like or recitative style singing in the B section. The A section is declamatory while the B section is more docile. It includes jazz harmonies and rhythmic vitality. The energetic, fiery organ intro paints the compelling power of the Almighty God to drive Jeremiah onward. The coda (“I must declare it”) exposes Jeremiah’s resolve to persevere.

II. O Lord You Have Deceived Me (Jeremiah 20:7-9).

The dejected prophet complains, accusing the Lord of deception—making false promises of success and victory over his enemies. He feels alone, betrayed by God and despised of men. Jeremiah laments and despairs to the point of utter exhaustion, heard in the final “huh” of the song. It is as if the prophet has been punched in the gut by the very hand of God. In contrast to the previous song, O Lord, You Have Deceived Me is a ballad that begins with a lamenting A section, contrasted with an angry B section, as Jeremiah remembers the mocking of his enemies.

This song is characterized by African-influenced, percussive vocalizations; anunderlay of African drums; exotic colors in the orchestra; jazz flavors in the vocal and organ parts; and vocal moans and wails associated with the African-American spiritual. The sense of dejection and loneliness experienced by the prophet is painted in the organ intro.

III. Cursed Be the Day (Jeremiah 20:14-18).

In his despair, Jeremiah not only accuses God of deceit but calls his wisdom into question, cursing the very day he was born. The A section of this song is full of anger which can be heard in the vocal, organ and orchestral parts—harmonically, rhythmically and melodically. There is much dissonance and tension in this section through the use of seconds and repeated pitches. The B section is a return to the middle section of the opening movement.  I repeated this idea to demonstrate the fluctuation of emotions and thoughts one experiences when in despair. One moment he is speaking forth curses and the next, he is quite calm. In spite of his anger, disillusionment and dejection, Jeremiah is still compelled to speak.

IV. Hallelujah! (Jeremiah 20:11-13).

Jeremiah’s complaint grows into praise as he reconciles that God is faithful to his promise to deliver the righteous. Jeremiah encourages himself to “Praise the Lord,” (v13), knowing that he will be vindicated and his enemies brought to shame.

Musically, Hallelujah begins serenely revealing that Jeremiah has resolved his issues with God. The song builds to a joyful celebration of God’s faithfulness. The organ intro is stylistic of piano or Hammond organ solos found in many contemporary gospel songs. The specific style of gospel song in which Hallelujah is composed is the praise and worship style. Indicative of gospel, in the final section, called the “special,” vocal parts are repeated independently and in harmony to build energy and develop to a climax. The orchestra and organ provide energy with and contrast with accents and varied parts to build to the climax. As in the gospel style, a drum
set provides the rhythmic foundation.

To read more, please visit Rosephanye Powell’s website.