Black is Beautiful

Eugene Concert Choir & Orchestra | Dr. Diane Retallack Artistic Director & Conductor
EXIGENCE: A Sphinx Vocal Ensemble | Dr. Eugene Rogers Artistic Director & Conductor

Undine Smith Moore composer
Joel Thompson composer

Release Date: February 9, 2024
Catalog #: NV6599
Format: Digital
21st Century
Vocal Music
Choir
Orchestra

BLACK IS BEAUTIFUL from Dr. Diane Retallack and The Eugene Concert Choir is an ode to hope in the face of injustice. This Navona Records release showcases music by Black composers that shed light on the Black experience including two choral masterworks: Seven Last Words of the Unarmed by Joel Thompson and the world premiere recording of Dr. Undine Smith Moore’s oratorio Scenes from the Life of a Martyr.

Thompson’s composition is modeled after Haydn’s The Seven Last Words of Christ; in this work, Joel Thompson quotes the last words of seven unarmed African American men killed by police or authority figures. Moore’s oratorio depicts the life of Martin Luther King, Jr, from birth to carefree childhood, young love, a calling to amplify the voice of his people, the hatred he experienced for his commitment, the grief of his untimely death, and the power of his message.

These works are joined by the world premiere of The Hymn! by Stacey V. Gibbs and an arrangement of Glory from the film Selma by Dr. Eugene Rogers.

Listen

Hear the full album on YouTube

Track Listing & Credits

# Title Composer Performer
01 The Hymn! Stacey V. Gibbs EXIGENCE | Eugene Rogers, conductor; Olman Piedra, snare drum 6:44
02 Seven Last Words of the Unarmed: I. Kenneth Chamberlain Sr., 68 “Officers, why do you have your guns out?” Joel Thompson EXIGENCE | Eugene Rogers, artistic director; Eugene Concert Choir and Eugene Concert Orchestra | Diane Retallack, artistic director; Eugene Rogers, conductor 2:14
03 Seven Last Words of the Unarmed: II. Trayvon Martin, 17 “What are you following me for?” Joel Thompson EXIGENCE | Eugene Rogers, artistic director; Eugene Concert Choir and Eugene Concert Orchestra | Diane Retallack, artistic director; Eugene Rogers, conductor 1:27
04 Seven Last Words of the Unarmed: III. Amadou Diallo, 23 “Mom, I’m going to college." Joel Thompson EXIGENCE | Eugene Rogers, artistic director; Eugene Concert Choir and Eugene Concert Orchestra | Diane Retallack, artistic director; Tyrese Byrd, soloist; Eugene Rogers, conductor 3:15
05 Seven Last Words of the Unarmed: IV. Michael Brown Jr., 18 “I don’t have a gun! Stop shooting!” Joel Thompson EXIGENCE | Eugene Rogers, artistic director; Eugene Concert Choir and Eugene Concert Orchestra | Diane Retallack, artistic director; Eugene Rogers, conductor 0:54
06 Seven Last Words of the Unarmed: V. Oscar Grant III, 22 “You shot me!” Joel Thompson EXIGENCE | Eugene Rogers, artistic director & conductor 1:23
07 Seven Last Words of the Unarmed: VI. John Crawford III, 22 “It’s not real.” Joel Thompson EXIGENCE | Eugene Rogers, artistic director; Eugene Concert Choir and Eugene Concert Orchestra | Diane Retallack, artistic director; Eugene Rogers, conductor 2:15
08 Seven Last Words of the Unarmed: VII. Eric Garner, 43 “I can’t breathe." Joel Thompson EXIGENCE | Eugene Rogers, artistic director; Eugene Concert Choir and Eugene Concert Orchestra | Diane Retallack, artistic director; Eugene Rogers, conductor 3:23
09 Glory from the film Selma John Stevens, Lonnie Lynn, Che Smith arr. Eugene Rogers, orch. Joel Thompson EXIGENCE | Eugene Rogers, artistic director; Eugene Concert Choir and Eugene Concert Orchestra | Diane Retallack, artistic director; LaVonté Heard, soloist; Monique Holmes-Spells, soloist; Ruben Reyes, piano; Andre Dowell, drums; Nick Burton, electric bass; Eugene Rogers, conductor 6:37
10 Scenes from the Life of a Martyr: Prologue 1, 2, 3 Undine Smith Moore, orch. Donald Rauscher Marques Jerrell Ruff, narrator 1:31
11 Scenes from the Life of a Martyr: I. Whenever a People is Oppressed They Wait in Hope Undine Smith Moore, orch. Donald Rauscher Eugene Concert Choir and Eugene Concert Orchestra | Diane Retallack, artistic director; EXIGENCE | Eugene Rogers, artistic director; Elaine Alvarez, soprano; Marques Jerrell Ruff, bass; Diane Retallack, conductor 2:28
12 Scenes from the Life of a Martyr: II. His Mother Rocked Him Gently with Love and Freedom on Her Mind Undine Smith Moore, orch. Donald Rauscher Eugene Concert Orchestra | Diane Retallack, conductor 0:45
13 Scenes from the Life of a Martyr: III. Songs at the Cradle, No. 1 Undine Smith Moore, orch. Donald Rauscher Rehanna Thelwell, mezzo-soprano; Eugene Concert Orchestra | Diane Retallack, conductor 2:08
14 Scenes from the Life of a Martyr: IV. Songs at the Cradle, No. 2 Undine Smith Moore, orch. Donald Rauscher Rehanna Thelwell, mezzo-soprano; Eugene Concert Orchestra | Diane Retallack, conductor 0:47
15 Scenes from the Life of a Martyr: V. Songs at the Cradle, No. 3 Undine Smith Moore, orch. Donald Rauscher Rehanna Thelwell, mezzo-soprano; Eugene Concert Orchestra | Diane Retallack, conductor 1:30
16 Scenes from the Life of a Martyr: VI. Ring Game Undine Smith Moore, orch. Donald Rauscher Marques Jerrell Ruff, narrator; Eugene Concert Orchestra | Diane Retallack, conductor 2:32
17 Scenes from the Life of a Martyr: Narration - Young Manhood Undine Smith Moore, orch. Donald Rauscher Marques Jerrell Ruff, narrator 0:24
18 Scenes from the Life of a Martyr: VII. The Voice of My Beloved Undine Smith Moore, orch. Donald Rauscher Marques Jerrell Ruff, narrator; Elaine Alvarez, soprano; Eugene Concert Orchestra | Diane Retallack, conductor 1:57
19 Scenes from the Life of a Martyr: VIII. Arise My Love, My Fair One Undine Smith Moore, orch. Donald Rauscher Demetrious Sampson, Jr., tenor; Eugene Concert Orchestra | Diane Retallack, conductor 1:48
20 Scenes from the Life of a Martyr: IX. Set Me as a Seal on Thy Heart Undine Smith Moore, orch. Donald Rauscher Elaine Alvarez, soprano; Demetrious Sampson, Jr., tenor; Eugene Concert Orchestra | Diane Retallack, conductor 1:49
21 Scenes from the Life of a Martyr: X. He Hath Anointed Me to Preach the Gospel Undine Smith Moore, orch. Donald Rauscher Marques Jerrell Ruff, narrator; Demetrious Sampson, Jr., tenor; Eugene Concert Choir | Diane Retallack, artistic director; EXIGENCE | Eugene Rogers, artistic director; Eugene Concert Orchestra | Diane Retallack, conductor 2:30
22 Scenes from the Life of a Martyr: XI. I Never Felt Such Love In My Soul Before Undine Smith Moore, orch. Donald Rauscher Eugene Concert Choir | Diane Retallack, artistic director; EXIGENCE | Eugene Rogers, artistic director; Diane Retallack, conductor 2:49
23 Scenes from the Life of a Martyr: Narration - The People Loved Him Undine Smith Moore, orch. Donald Rauscher Marques Jerrell Ruff, narrator 0:44
24 Scenes from the Life of a Martyr: XII. Martin’s Song Undine Smith Moore, orch. Donald Rauscher Demetrious Sampson, Jr., tenor; Eugene Concert Orchestra | Diane Retallack, conductor 4:15
25 Scenes from the Life of a Martyr: Narration - A Good Man Undine Smith Moore, orch. Donald Rauscher Marques Jerrell Ruff, narrator 0:45
26 Scenes from the Life of a Martyr: XIII. Martin’s Lament Undine Smith Moore, orch. Donald Rauscher Demetrious Sampson, Jr., tenor; Eugene Concert Orchestra | Diane Retallack, conductor 2:02
27 Scenes from the Life of a Martyr: XIV. Oh God, How Many are Them that Hate Me Undine Smith Moore, orch. Donald Rauscher Eugene Concert Choir and Eugene Concert Orchestra | Diane Retallack, artistic director; EXIGENCE | Eugene Rogers, artistic director; Marques Jerrell Ruff, narrator; Diane Retallack, conductor 1:26
28 Scenes from the Life of a Martyr: Poem - Words in the Mourning Time Undine Smith Moore, orch. Donald Rauscher Marques Jerrell Ruff, narrator 1:07
29 Scenes from the Life of a Martyr: XV. They Tell Me Martin is Dead Undine Smith Moore, orch. Donald Rauscher Eugene Concert Choir and Eugene Concert Orchestra | Diane Retallack, artistic director; EXIGENCE | Eugene Rogers, artistic director; Diane Retallack, conductor 1:45
30 Scenes from the Life of a Martyr: XVI. Tell All My Father’s People Don’t You Grieve for Me (Alleluia) Undine Smith Moore, orch. Donald Rauscher Eugene Concert Choir and Eugene Concert Orchestra | Diane Retallack, artistic director; EXIGENCE | Eugene Rogers, artistic director; Elaine Alvarez, soprano; Rehanna Thelwell, mezzo-soprano; Demetrious Sampson, Jr., tenor; Marques Jerrell Ruff, bass; Diane Retallack, conductor 6:18

Andre Dowell Chief of Artist Engagement, Sphinx Organization
Aaron King Vaughan EXIGENCE Tour Manager
Lukáš Janata, Musical Transcription
Troy DeShazer ECC Director of Operations
Alyssa Morar ECC Director of Marketing & PR
Jill Switzer ECC Donor Relations & Records
Matt Yuknas Orchestra Personnel Manager
Peter Patricelli Cover Photo and Disc Tray Photo

Scenes from the Life of a Martyr
By Undine Smith Moore
Copyright © 1969 by Carl Fischer, Inc.
All rights assigned to Carl Fischer, LLC.
All rights reserved. Used by permission.

BLACK IS BEAUTIFUL is a live recording of the Black is Beautiful concert, presented by the Eugene Concert Choir on May 7, 2023 at the Hult Center for the Performing Arts, Silva Concert Hall in Eugene OR
Recording Session Producer Brian McWhorter
Recording Session Engineer Bill Barnett
Recording Session Engineer George Relles, Relles Sound, Inc.
Mixed by Bill Barnett at Gung-Ho Studio
Mastering Melanie Montgomery

This project was supported in part by the National Endowment for the Arts.

Executive Producer Bob Lord

VP of A&R Brandon MacNeil
A&R Danielle Sullivan

VP of Production Jan Košulič
Audio Director Lucas Paquette

VP, Design & Marketing Brett Picknell
Art Director Ryan Harrison
Design Edward A. Fleming
Publicity Chelsea Kornago

Artist Information

Eugene Concert Choir

Choir

The Eugene Concert Choir organization was formed in 1974 and has grown to include the masterworks chorus Eugene Concert Choir, Eugene Concert Orchestra, and chamber choir Eugene Vocal Arts. A Resident Company of the Hult Center for the Performing Arts in Eugene OR, they present an annual concert series of great choral masterworks and diverse artistic experiences, and feature a growing discography of recordings and videos on streaming platforms and their website eugeneconcertchoir.org

Diane Retallack

Conductor

Dr. Diane Retallack has been Artistic Director of the Eugene Concert Choir organization since 1985 and is the founding director of the chamber ensemble Eugene Vocal Arts and the Eugene Concert Orchestra. She earned a Doctor of Music in Choral Conducting from Indiana University where she studied conducting with Margaret Hillis, founding director of the Chicago Symphony Chorus, and score analysis with master choral scholar Julius Herford. She has also drawn experience and inspiration from workshops and festivals with Helmuth Rilling and Robert Shaw. 

EXIGENCE

Ensemble

EXIGENCE is the professional vocal ensemble of the Sphinx organization, led by founding conductor Eugene Rogers and composed of vocal artists including solo performers, educators, conductors, and composers. The name EXIGENCE is inspired by the definition of the word — “an urgent need or demand.” Their mission is to promote excellence and diversity through choral music within Black and Latinx communities by creating a platform for soloists and composers of color while inspiring and challenging audiences around the country and world.

Eugene Rogers

Eugene Rogers

Conductor

A two-time Michigan Emmy Award winner, a 2017 Sphinx Medal of Excellence recipient, and a 2015 Grammy® Award nominee, Eugene Rogers is recognized as a leading conductor and pedagogue throughout the United States and abroad. In addition to being the founding director of EXIGENCE and the director of choirs and an associate professor of conducting at the University of Michigan, Rogers is the artistic director of The Washington Chorus (Washington DC). 

Joel Thompson

composer

Joel Thompson, composer of Seven Last Words of the Unarmed, is an Emmy-winning artist and educator, committed to creating spaces for healing and community through music. Thompson has collaborated with numerous orchestras and opera companies across the nation. He is composer-in residence with Houston Grand Opera, which commissioned and premiered his opera The Snowy Day, based on the beloved children’s book by Ezra Jack Keats. Thompson was awarded the 2023 Sphinx Medal of Excellence and serves on the advisory board of the New Muses Project.

Undine Smith Moore

composer

Undine Smith Moore (1904-1989) was a prolific composer and steadfast music educator. She has been called “The Dean of Black Women Composers,” and she described herself as “a teacher who composes, rather than a composer who teaches.” In her early years, Moore did not think herself capable of becoming a composer, commenting on one occasion that “one of the most evil effects of racism in my time was the limits it placed upon the aspirations of blacks, so that though I have been ‘making up’ and creating music all my life, in my childhood or even in college I would not have thought of calling myself a composer or aspiring to be one.” Moore composed Scenes from the Life of a Martyr, her self-described “most significant work,” between 1978 and 1981, earning her a Pulitzer Prize in Music.

Sphinx Organization

Sphinx Organization is a social justice organization dedicated to transforming lives through the power of diversity in the arts. Focused on increasing the representation of Black and Latinx artists in classical music and recognizing excellence, Sphinx programs serve beginner students to seasoned classical music professionals, cultural entrepreneurs, and administrators. Founded by poet, journalist, and social entrepreneur Aaron Dworkin and now led by President and Artistic Director Afa S Dworkin, Sphinx envisions a day where the classical music field looks like our communities: where every young person has the opportunity to express themselves and learn classical music; where audiences reflect the people we see on our streets; and where leadership—on stage and off—includes all deserving voices.

Afa Dworkin, President and Artistic Director
Andre Dowell, Chief of Artist Engagement

Soloists for Scenes from the Life of a Martyr

Elaine Alvarez

Soprano

Demetrious Sampson, Jr.

Tenor

Marques Jerrell Ruff

Bass Soloist and Narrator

Rehanna Thelwell

Mezzo-soprano

Eugene Concert Orchestra Members

Dr. Diane Retallack, Artistic Director & Conductor

VIOLIN I
Wyatt True, concertmaster
Hannah Willard
Alwyn Wright
Allison Quade
Jay Sedloff
Lisa McWhorter
Marilyn Tyler
Julia Frantz

VIOLIN II
Jannie Wei, principal
Sophie Therrell
Ben Ehrmentraut
Christopher Stark
Andy Strietelmeier
Ben Gardener
Sofie Yang
Elin Schlichthing

VIOLA
Kim Uwate, principal
Shauna Keyes
Pamela Burovac
Adam Fishburn
Annissa Bolder

CELLO
Eric Alterman, principal
Alex Abrams
Elizabeth Donovan
Austin Bennett
Dale Bradley

BASS
Kevin Brown, principal
Forrest Moyer
Rhys Gates

FLUTE
Alexis Evers, principal
Elaine Martir
Robert Wakely, piccolo

OBOE
Cheryl Wefler, principal
Amanda Givens
Kris Klavik, English horn

CLARINET
Daniel Cathy, principal
Russell Sweet
Max Mabry, bass clarinet

BASSOON
Joseph Hartman, principal
Kelly Cunningham
Bronson York, contrabassoon

HORN
Jonathan Kuhns-Obana, principal
Claire Worsey
Lydia Van Dreel
Justin Stanley

TRUMPET
Logan Thane Brown, principal
Dave Bender
Stephen Dunn

TROMBONE
Henry Henniger, principal
Bailey Schmidt
James Kuzmic

TUBA
Troy DeShazer, principal

HARP
Jane Allen, principal

TIMPANI
Kathie Hsieh, principal

PERCUSSION
Timothy Cogswell, principal
Bob Brudvig
Will Irish

Eugene Concert Choir Members

Dr. Diane Retallack, Artistic Director & Conductor Brad Schultz, Accompanist

SOPRANO I
Bree Boesiger
Susan Edson
Amanda Hammond
Sara Mansfield
Robin Philips
Brittanie Sorensen
Cynthia Stenger Riplinger
Linda Stiegler
Karen Stingle
Nancy Toth
Sandra Weingarten
Kim Wollter

SOPRANO II
Jessica Bittner
Jolene Bradford
Nancy Brendle
Sarah Cooper
Lynn Frost
Teresa Lin
Jennifer Love
Angie Neustel
Carol Snider
Alayne Switzer
Jill Switzer
Alyssa Warnick-Hesse

ALTO I
Marian Brod
Debra Dean
Corlies Delf
Carey Garber
Kathy Heater
Jackie Kennedy
Jennifer McConochie
Patri McKinley
Susan Morrison
Megan Rae
Denita Strietelmeier
Amy Unfred
Daphne Weller

ALTO II
Nancy Evergreen
Kathleen Heinz
Kami Hendrix
Lisa Johnson
Stephanie Kramer
Marian Lill
Kajanda Love
Marilyn Nelson
Amy Newland
Tasha Proudfoot
Deborah Rissman
Hannah Schoen
Theresa Tonnesen-O’Brien
Kimberly Wick
Sandra Wignot
Elona Wong

BASS II
John Bredesen
Loren Crow
Jon Hofmeister
George Hutto
Matt Laubach
Curt Miller
Mike Snider
Jim Whipple

TENOR I
Rick Buck
Dan Close
Chris Dobson
Greg Heinz
Jack Jordan
Glenn Newland
Colin Redmond
Austin Walker

TENOR II
Wayne Amondson
Bruce Cooley
Justus Grose
Ron Heater
Curt McKinney
Harold Thompson
Eric Wick

BASS I
William Baugh
Mike Bricker
Yevgeny Genin
Lynn Kahle
Markus Melancon
Gary Millhollen
Nathan Philips
Bob Tozer
Doug Worley

EXIGENCE Members

Dr. Eugene Rogers, Artistic Director & Conductor

SOPRANO I
Rabihah Davis
Dunn Nicole Joseph *
Taylor Mackenzie Adams

SOPRANO II
Maia Aramburú
Lenora Green-Turner
Kaci Timmons

ALTO I
Lori Celeste Hicks
Lianna Wimberly Williams

ALTO II
Melissa Connor
Monique Holmes-Spells *
Betzabé Juárez

TENOR I
Tyrese Byrd
David Miranda
Matthew Valverde *

TENOR II
LaVonté L. Heard
Julio César Morales Pineda

BASS I
Branden Hood
Stephen Lancaster

BASS II
Steven Berlanga *
Marquess Jerrel Ruff
Joel Thompson

*Section Leaders

Instrumentalists for:

The Hymn!
Olman Piedra, snare drum

Glory
Ruben Reyes, piano, Andre Dowell, drums
Nick Burton, electric bass

Notes

The global choral community was stunned by the composition Seven Last Words of the Unarmed by Joel Thompson. Modeled after Haydn’s The Seven Last Words of Christ, each movement quotes the last words of seven unarmed African American men killed by police or authority figures. Premiered by the University of Michigan’s Men’s Glee Club under the direction of Dr. Eugene Rogers in 2015, this moving work won the American Prize for composition and is in demand across the nation. Thompson has since scored the work for SATB choir and orchestra.

As we stood still in the height of the global pandemic, the nation was riveted at the horror of the killing of George Floyd on May 25, 2020. I had to program Thompson’s moving work to grapple with my feelings. I have since learned that Thompson himself composed Seven Last Words of the Unarmed as a “musical diary” to cope with his reaction to the senseless death of Eric Garner and lack of accountability, never intending his private expression to become a published work. As the words of Garner in 2014, “I can’t breathe,” continued to resonate through George Floyd, Thompson’s extraordinary work has become overwhelmingly relevant.

The pandemic shutdown also gave me an extra year to research and prepare for the Eugene Concert Choir’s In Celebration of Women concert, performed in June of 2021 by our chamber choir Eugene Vocal Arts and released on our YouTube channel. Through that experience, I became aware of the vast repertoire of women composers, especially Black women composers, that has been overlooked or historically marginalized. Dr. Undine Smith Moore’s oratorio Scenes from the Life of a Martyr, which depicts the life of Martin Luther King Jr., was performed to acclaim at Carnegie Hall in 1982, but is largely unknown. At the start of the score, Dr. Moore writes:

“The lives of all martyrs have much in common. This work, written specifically in memory of Martin Luther King, Jr., is, therefore, intended to evoke memories of others who have been Valiant-for-Truth. Portions of the text not written by the composer are chosen from the Bible and a few other poets of different times, races, and places. The composer conceives the variety in text and variety in musical styles to be appropriate to the memory of a man of all the people; who had a dream for all men, of all times, everywhere.”

The oratorio presents “scenes” of the man, from birth, to carefree childhood, to young love, to his deep seated call to serve his people, the hatred he experienced for his commitment, the grief at his death, and the power of his message. At the funeral for Martin Luther King, Jr., bells were rung across the nation 39 times – once for every year of his inspirational life. The score indicates that the bells chime ad lib. It was my editorial decision to extend the ringing 39 times.

I set out to find a way to perform both of these choral masterworks in a concert I wanted to call “Black is Beautiful.” In our overwhelmingly white community which good-heartedly aspires to “celebrate diversity,” I wanted to join together with an authentic voice and mix the colors of our humanity together in performance. I contacted Rogers, who premiered Seven Last Words, and told him my vision. Our rapport was instantaneous, and we could not contain our mutual enthusiasm. Collaboration with Rogers’ professional vocal ensemble EXIGENCE and the Sphinx organization fulfilled this vision entirely.

In addition to these two extraordinary choral masterworks, we are honored to feature EXIGENCE in a world premiere composition by Stacey V. Gibbs, The Hymn!, and to join them on Rogers’ arrangement of the Academy Award winning song Glory from the film Selma. As Rogers and I agree, we do not want this program to be just a lament for those we have lost, but a call to action.

This is a program of beautiful classical music by beautiful Black composers about beautiful Black lives. I hope our entwined vibrations continue to bind us all closer together, on into the future.

— Dr. Diane Retallack

Texts

Stacey V. Gibbs
Words — Julia Ward-Howe, James Weldon Johnson

My country tis of thee, you’ve not been good to me,
Laid down my life for you, ever been tried and true,
Freedom you have each day has not been passed my way,
But, we’ll march on ‘til victory is won!
Marchin’ on.
Mine eyes have seen the glory of the coming of the Lord.
He is trampling out the vintage where the grapes of wrath are stored. He hath loosed the fateful lightning of his terrible swift sword.
His truth is marching on.
Glory, glory hallelujah,
His truth is marching on.
God of our weary years, God of our silent tears,
Thou who has brought us thus far on the way,
Thou who hast by thy might let us into the light,
Keep us forever in the path, we pray.
Glory, glory hallelujah,
His truth is marching on.
In the beauty of the lilies, Christ was born across the sea,
With a glory in the bosom that transfigures you and me;
As he died to make men holy, we’ll live that all be free!
While God is marching on.
On the battlefield for my Lord with truth and sword.
Marching for truth and liberty in one accord.
Glory, glory hallelujah,
His truth is marching,
Truth is marching on.
We are on the battlefield, we are marching everyday.
We fight on in one accord with shield and sword, shield and sword.
We stand strong in unity as we march on to victory in the service of the Lord.
Let’s live in harmony, unity, liberty and freedom for all,
Harmony, unity, liberty and freedom for all mankind!

Kenneth Chamberlain, “Officers, why do you have your guns out?”
Encapsulating the sense of gloom that arises upon the news of the death of another unarmed Black man, the chorus rises from the funeral piano ostinato singing Kenneth Chamberlain’s last words interpolated with the medieval tune, L’homme armé doit on doubter — “The armed man must be feared.” After the final iteration of the 66-year-old’s dying breath, the chorus repeats one important word: “Why?”

Trayvon Martin, “What are you following me for?”
This movement uses the classical form of the fugue not only to portray Trayvon Martin’s last moments trying to escape death, but also to sonically capture the daily paranoia of the Black experience while driving on roads, walking on sidewalks, and congregating at various social gatherings. Quotes of L’homme armé in the strings underneath the imitative counterpoint in the voices lead to a climactic yell of surprise at the movement’s end.

Amadou Diallo, “Mom, I’m going to college.”
In New York, February of 1999, four police officers fired 41 shots at Amadou Diallo, a 23-year-old immigrant from Guinea. His last words are from a phone message he left his mother. The undulating pattern in the piano simultaneously yields a sense of calm with its simple harmonic underpinning and unease with its odd 5/4 meter.

Michael Brown, “I don’t have a gun! Stop shooting!”
Of the seven movements, this one contains the most anger. Through the use of agitated rhythms and multiple harmonic exclamations on the word “stop,” the target of the rage is media portrayal of Black men on the news, and images used to describe the deceased was markedly appalling across all media. This was the case, especially, for Michael Brown.

Oscar Grant, “You shot me. You shot me!”
Oscar Grant III’s exclamations of surprise and incredulity were caught on several cellphone recordings in the BART station in which he was murdered. The movement honoring his life is a sonic representation of this epidemic. Aleatoric spoken exclamations of the last words crescendo alongside the humming of L’homme armé in the style of the Negro spiritual. Underneath the cacophony, the pulsing C of the piano, violin, and viola persist unflinchingly like a heart monitor until the end.

John Crawford, “It’s not real.”
Although they were referring to the BB gun he was carrying in the Walmart where he was killed, John Crawford’s last words have escaped the lips of thousands of African-Americans. Thus, the movement’s beginning is the soundtrack to my mental utopia. Saccharine and soaring, the voices and strings are joined by the piano “heart monitor” which persists and gradually infects the strings, like reality interrupting a reverie.

Eric Garner, “I can’t breathe!”
The decision of a Richmond County grand jury to not indict the officer responsible for Eric Garner’s death was the impetus for this entire work, and it is only fitting that his last words end the piece. After using a mournful Byzantine texture for the first half of the movement, I tried to capture the panicked death thralls of asphyxiation in the music.

— Joel Thompson, composer

Stephens, Lynn, and Smith
arr. Dr. Eugene Rogers

One day when the glory comes, It will be ours, It will be ours.
Oh, one day, when the war is won. We will be sure, We will be sure. Oh, glory! Glory! Oh, glory! Glory!
Now the war isn’t over, Victory isn’t won. But we’ll fight on to the finish,
And then when it’s all done.
We’ll cry, glory!
This is not a problem for one group or one party,
each person must strive to end what was started.
MLK had a dream of a table where we’d all sit,
and moving toward this dream we cannot quit.
Each man and woman deserves their justice.
You can’t believe that it’s just us, ‘cause being persecuted everybody’s got a story.
I know one day everybody’s going to see the glory.
The glory is us, united as one
Neither hate, ignorance, judgment, or guns
can win this war against division and discrimination.
Can’t you see the greatness that’s in all of us?
Especially when you give love, honor, and trust
so let’s stop this abomination,
and start loving as one, giving as one, caring as one, feeling as one,
growing as one.
Yeah, that’s right.
I’m talking living as one!
One day when the glory comes, It will be ours, It will be ours.
Oh, one day, when the war is won. We will be sure, We will be sure. Oh, glory! Glory! Oh, glory! Glory!
Now the war isn’t over, Victory isn’t won. But we’ll fight on to the finish,
And then when it’s all done.
We must keep on pressing ‘til we reach the finish,
that’s when it’s all done.

Libretto by Undine Smith Moore

Prologue 1 (Narrator)
“…What is precious is never to forget…
The names of those who in their lives
fought for life,
Who wore at their hearts
the fire’s center.
Born of the sun they travelled
A short while toward the sun,
And left the vivid air
Signed with their honor.”

Prologue 2 (Narrator)
“O stay in the field, children
Stay in the field.
Stay in the field, children
Until the war is ended.”

Prologue 3 (Narrator)
“I know moon-rise; I know star-rise,
Lay dis body down.
I walk in de moonlight; I walk in de starlight,
To lay dis body down.
I’ll walk in the graveyard; I’ll walk through de graveyard
To lay dis body down;
I’ll lie in de grave and stretch out my arms;
Lay dis body down.
I go to the jedgement in de evenin’ of de day
When I lay dis body down
And my soul and your soul will meet in de day
When I lay dis body down.”

I. Whenever a People is Oppressed They Wait in Hope (Soprano, Bass, and Chorus)
As it was in the old days, so it is now. Whenever a people is oppressed They wait in hope for the one who will lead them.
And when a child is born, they look at him and say…
“Is this the one who will save us?” They know when he has the look. They look at him and they say, “This is the one who will save us.” This is the one!
They can tell!

II. His Mother Rocked Him Gently
(Orchestral Interlude)

III. Songs at the Cradle, No. 1
(Mezzo soprano)

His mother rocked him gently and slow, and ev’ry time that cradle rocked, she thought, my child we love you so.
God made this world for children like you,
He made it beautiful.
He made it beautiful just for you. Someday when time has passed us older ones by,
You’ll be a strong man.
You’ll be a free man.
You’ll love the world as we love you.

IV. Songs at the Cradle, No. 2
(Mezzo soprano)

His Mother rocked him, oh, how she rocked him.
She rocked him easy, gentle, and slow. And ev’ry time that cradle rocked, ‘twas love and freedom on her mind.

V. Songs at the Cradle, No. 3
(Mezzo soprano)

Oh she rocked him,
Love and freedom on her mind.
Oh Lord, rest.

VI. Ring Game
(Orchestral Interlude with Narrator)

O happy childhood—In the clay—
in the summer dust of Georgia.
I have forgotten much, but still remember.
The poinsettias red, blood red in warm December.
What weeks, what months,
what wild time of the mild year.
We cheated school to have our fling at tops.
What days our wine-thrilled bodies pulsed with joy.
Feasting upon blackberries in the copse –
Oh, Some I know!
I have embalmed
The days, even the sacred moments
When we played
All innocent of passion, uncorrupt,
At noon and evening in the flame-heart’s shade.
We were so happy, happy
I remember…

Narrator:
He grew to young manhood, and
With his beloved,
He lived the young man’s fancy –
“The time of the singing of birds is come;
The flowers appear on the earth;
The voice of the turtle is
heard in the land.”

VII. The Voice of My Beloved
(Soprano)

The voice of my beloved
Behold, he cometh leaping upon the mountain,
skipping upon the hills.
My beloved is like a roe, or a young hart.
Behold, he standeth behind our wall.
He looketh in at the window.
He showeth himself at the lattice.
My beloved spoke, and said unto me:

VIII. Arise My Love, My Fair One
(Tenor)

Arise my love, my fair one, and come away.
O, my dove that art in the clefts of the rocks, in the
covert of the steep place,
Let me see thy countenance
O my dove, Let me hear thy voice,
For sweet is thy voice and thy countenance is comely.

IX. Set me as a Seal on Thy Heart
(Soprano and Tenor)

Set me as a seal on thy heart,
Set me as a seal on thy arm,
For love is strong as death,
Many waters cannot quench love
Neither can the floods drown it.

X. He Hath Anointed Me
(Narrator, Tenor and Chorus)
Narrator:

Like the child, Samuel, of old,
This man had grown before the Lord, And now the time of his anointment is at hand.

Tenor and Chorus:
The spirit of the Lord is upon me. Amen.
Because he hath anointed me to preach the gospel to the poor. Amen.
He hath sent me to preach the gospel to the poor
He hath sent me to heal the broken hearted. Amen.
To preach deliv’rance to the captive
And receiving of sight to the blind. Amen.
To set at liberty them that are bruised.

XI. I Never Felt Such Love in My Soul Before (Chorus)
I never felt such love in my soul before. All the days of my life,
ever since I was born,
I never felt such love in my soul before.
I never heard a man speak like this man before.
All the days of my life,
ever since I was born,
I never heard a man speak like this man before.

Narrator:
The people loved him.
Crowds followed him.
He was clothed with honors.
But, far off; far off came
Rumors of evil; Shadows of trouble.
“There ariseth a little cloud
Out of the sea, like a man’s hand.”
But this man knew in whom
He had Believed.
In quietness and confidence
He spoke to his God.

XII. Lord, Thou knowest
(Tenor)

Lord, Thou knowest,
I have tried to do justly
and love mercy
and walk humbly before our God.
Lord, Thou knowest,
All the days of my life
I have loved peace and freedom for the bondsman.
I have believed that “love never faileth,”
I have not sought riches,
I have not sought honors;
Lord, Thou knowest,
I have not sought fame.
But Thou hast blest me to hear the voice of rejoicing
and salvation in the tabernacle.
Thou hast blest me to see the people come up after
me with great joy! O, Thou my God!

Narrator:
This was a good man –
Always remember,
This was a man who spoke.
In the days of moral crisis
He made choices.
As was said of the prophets of old:
“The word of the Lord
In this mouth was Truth.”
And thus, after many days,
Evil times came upon him.
His enemies rose against him.
They considered together how they
Might destroy him.

XIII. Martin’s Lament
(Tenor)

Now, Lord, I have come down from the mountain,
down from the mountain top.
I have journeyed from city to city, And I have seen the iniquity of the cities of the plain.
Evil days are upon me
When I have sought to aid thy suffering servants
Enemies have arisen against me.
Oppressors seek after my soul.
Oh God, How many are them that hate me!

XIV. Oh God, How Many Are Them That Hate Me (Narrator and Chorus)

Chorus:
Oh God,
How many are them that hate me.

Narrator:
Strangers are risen up against me. Oppressors seek after my soul. I have seen violence and strife in the city.

Chorus:
Oh God,
How many are them that hate me.

Narrator:
My heart is sore pained within me; and the terror of death are fallen upon me.

Chorus:
Oh God,
How many are them that hate me.

Narrator:
From Words in the Mourning Time
Voice in the Wilderness
— Robert Hayden

“Know that love has chosen you
to live his crucial purposes.
Know that love has chosen you.

And will not pamper you nor spare;
demands obedience to all
the rigorous laws of risk,
does not pamper, will not spare.

Oh, master now love’s instruments—
complex and not for the fearful,
simple and not for the foolish.
Master now love’s instruments.

I who love you tell you this,
even as the pitiful killer waits for me,
I who love you tell you this.”

XV. They Tell Me Martin Is Dead
(Chorus)

They tell me Martin is dead!
Have they killed him?
They say Martin is dead!
Is it true, is it true Martin is dead?
They have killed him.
Our leader is slain! Oh God!
He said death would come.
A shot rang out on the air.
His blood runs red in the street. They have killed him.
Oh! Yes! Martin is dead!
Kill’d him! Kill’d him! Kill’d him! Martin is dead!

XVI. Tell All My Father’s People
Woe.
Tell all my father’s people,
Don’t you grieve for me.
He has laid down his burden and gone home,
and the angels waiting at the door.
He has laid down his cross and gone home.
and the angels waiting at the door.
Tell all my father’s people,
don’t you grieve for me.
Alleluia. Amen. Alleluia.