Performance Notes from the Composer

The Cry of Jeremiah Rosephanye Powell

The Cry of Jeremiah is a four-movement work based textually on the 20th chapter of Jeremiah. The prophet Jeremiah, having experienced ridicule and imprisonment because of his prophecies, laments his present state.

I. Is Not His Word Like A Fire (Jeremiah 20:9)

Is not His Word like a fire shut up in my bones?

I am weary. When I hold it, it consumes me.

I must declare the Word of the Lord. Is not His Word like a burning fire!

If I say, “I will not mention Him, nor will I speak in His name.” His word is like a burning fire. I have no peace until I speak. How I am weary of trouble, weary of holding it in.

My sorrow consumes me. Bring peace, O Lord, by Thine own Word.

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 BaroqueEuropean 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 introduction 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. Oh Lord You Have Decieved Me (Jeremiah 20:7-9)

O

Lord,

You have deceived me, I was deceived

and overpower’d.

All day long, I stand here ridiculed. You have deceived me. You have prevailed. They all mock me when I cry out. They all mock me at your word.

I am weary of being ridiculed. You have deceived me. You have prevailed.

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; an underlay of African drums; exotic colors in the orchestra; jazz flavors in the vocal and organ parts; and vocal moans and wails associated with the AfricanAmerican 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)

Cursed be the day! Cursed be the day I was born!

Cursed be the day my mother bore me.

Cursed be the man who brought the news.

Cursed be the day he told my father.

Cursed! If I say, “I will not mention Him, nor will I speak in His name.” His word is like a burning fire. I have no peace until I speak. How I am weary, weary of trouble, weary of holding it in. My sorrow consumes me.

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)

Hallelujah! Praise the Lord above. He will deliver me.

Hallelujah! Faithful God of love; His glory I will see.

Rest in the Lord, O my soul. Trust in God.

Fear not; He’s always near. Stand on the Word of the Father. Pray in the spirit; believing God always hears.

Hallelujah! Sing to the Lord of love, for He will provide for me.

Hallelujah! Almighty God above; His glory I will see.

Rest in the Lord, O my soul. Trust in God. Fear not; He’s always near.

Stand on the Word of the Father.

Pray in the spirit; believing God always hears.

Rejoice! Rejoice! Rejoice! God will deliver me.

Rejoice! Rejoice! Rejoice! His glory I will see.

God is my refuge, strong mighty tower. He is my deliverer.

Hallelujah! Praise the Lord!

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 introduction is stylistic of the 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 and contrast with accents and varied parts to build to the climax. As in the gospel style, a drum set provides the rhythmic foundation.

About the Artists

Westminster Jubilee Singers

Composed of students selected by audition, the Westminster Jubilee Singers is modeled after the historically acclaimed Fisk Jubilee Singers. Its repertoire, while specialized and select, is very diverse and focuses on solo and ensemble artistic expressions from its singers. Part of Westminster Choir College’s Sacred Music Department, the ensemble performs literature that includes AfricanAmerican spirituals and folk songs; classical music by African-American composers; gospel music and secular songs by musical greats such as William Dawson, Duke Ellington, Walter Hawkins, Andraé Crouch, Richard Smallwood, Kirk Franklin and Dr. Nathan Carter, as well as Westminster graduates, Rosephanye Powell, Donald Dillard and M. Roger Holland. Also explored and performed are works by non-African-American composers, including George Gershwin, Alice Parker, Robert Shaw, Robert Page, Gail Poch, Steve Pilkington and others who have composed and/or arranged music of the AfricanAmerican experience.

In addition to its rich repertoire of African-American spirituals, hymn arrangements and gospel songs, the Westminster Jubilee Singers has performed classical works, such as AndTheyLynchedHimOnaTreeby William Grant Still and ShoutforJoyand IWillLiftUpMyEyesby Adolphus Hailstork. Highlights of recent seasons include the performance of Duke Ellington’s SacredConcertsand R. Nathaniel Dett’s TheOrderingofMoses . The ensemble’s 2021-2022 season included concerts in Lawrenceville, participation in AnEveningofReadingsandCarolsin Princeton, and a concert at the Bent But Not Broken Choral Festival in Wilmington, Delaware.

Previous seasons have included appearances at the Music Educators National Conference (MENC) in Kansas City and Regional Conference in Baltimore; the American Choral Directors Association (ACDA) Eastern Regional Convention in Boston; a performance with Denyce Graves at New York’s Apollo Theater to celebrate the 30th anniversary of the Children’s Defense Fund; a joint concert entitled LivingtheDreamwith Penn State University’s Essence of Joy ensemble as a tribute to Rev. Dr. Martin Luther King, Jr.; and its Lincoln Center debut performing in AnEveningofChoralArtistry , presented by the American Choral Directors Association. The ensemble has performed at Carnegie Hall with the New York Pops Orchestra, under the baton of Skitch Henderson, in a concert version of Porgy and Bess. At the New Jersey Performing Arts Center in Newark, Westminster Jubilee Singers presented joint concerts with the Fisk University Jubilee Singers and the legendary Sweet Honey in the Rock.

VINROY D. BROWN, JR., CONDUCTOR

Vinroy D. Brown, Jr. holds credits in conducting, sacred music and music education. He is a member of the choral studies, music education and sacred music faculty at Westminster Choir College of Rider University, where he conducts the Westminster Jubilee Singers and teaches in the Baccalaureate Honors Program. A church musician, he is director of music & worship arts at Elmwood United Presbyterian Church. He is also artistic director and conductor of Capital Singers of Trenton.

A sought-after clinician and lecturer, he has presented at numerous academic institutions and education conferences, and conducted honor choirs and headlined festivals throughout the country. This year, he will lecture at both Yale and Princeton universities, conduct the Central Jersey Region II Intermediate Treble Choir, headline the Bucks County Women’s Chorus Festival in addition to residences and guest conducting opportunities nationwide. He will also serve as Cover Conductor for the North Carolina premiere of Rihannon Gidden's Omar with Carolina Performing Arts Center.

Professor Brown holds active membership in numerous music and educationbased organizations. In addition, he is Vice President of the Board of Trustees of Essence of Harmony Choral Society, a Board Member of the Open Arts Performing Center, a grant panelist for the Arts Institute of Middlesex County and sits on the board of the National Association of Negro Musicians, Inc. for which he is Eastern Region Director and Chief Editor of EMERGENCE: Research & Performance Topics in Black Music, a scholarly publication which will be released in 2023. Brown is also a proud member of Alpha Phi Alpha Fraternity, Incorporated and Phi Mu Alpha Sinfonia Fraternity, Inc. He holds the Master of Arts in Practical Theology degree from Regent University, and Bachelor of

Music degrees in Sacred Music and Music Education from Westminster Choir College of Rider University.

AKIKO HOSAKI, PIANO/ORGAN & ACCOMPANIST

A native of Osaka, Japan, Dr. Akiko Hosaki is acclaimed for her sensitive playing, and one of the most sought-after collaborative pianist and vocal coach in the New York – New Jersey area. She is currently an adjunct assistant professor and the pianist coordinator of the University Accompanist Program at Westminster Choir College of Rider University, and a staff member at the College of New Jersey and Bard College.

Dr. Hosaki was the assistant to Dalton Baldwin, legendary collaborative pianist, at Académie internationale d’été de Nice since 2013 until his passing in 2019, and at Mozarteum Sommerakademie in 2017 and 2018. She has collaborated with opera companies, such as Castleton Festival, New Jersey State Opera, Opera North, Opera New Jersey, Boheme Opera, and Princeton Festival Opera. She also enjoys collaborating with instrumentalists, and frequently performs in chamber music concerts and the keyboard/basso continuo in orchestras.

Dr. Hosaki holds degrees from Musashino Academia Musicae in Japan, Westminster Choir College, and University of Minnesota. Her future engagements include Voice Advantage Princeton Immersion during Summer 2023.