The Cry of Jeremiah ROSEPHANYE POWELL
Winston-Salem State University Singing Rams
Maestra D’Walla Simmons-Burke, conductor
LaShon R. Hill, narrator
Arianna Bohning, accompanist
Tony Lawrence, percussionist
Sunday, March 19, 2023 4:00 PM
PROGRAM
Performance Notes from the Composer
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?
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. Is not His Word like a fire shut up in my bones…
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. O LORD, YOU HAVE DECEIVED ME
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 African-American spiritual. The sense of dejection and loneliness experienced by the prophet is painted in the organ introduction.
III. CURSED BE THE DAY
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!
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.
D'Walla Simmons-Burke is the Director of Choral and Vocal Studies and founder of three of the five choral ensembles currently existing within the Department of Music at Winston-Salem State University. One of the choral ensembles is the Grammy-nominated Winston-Salem State University Choir (aka WSSU Singing Rams). The Choir is the first student organization founded at the university. Maestra Simmons-Burke’s choirs and ensembles have performed with regional and national symphony orchestras, performing master choral works/ Negro spirituals/social justice and world music. Maestra Simmons-Burke and her choirs have performed on national stages while also performing internationally (Prague, Czech Republic; Nassau, Bahamas; Accra, Cape Coast & Kumasi, Ghana - West Africa; and Pilanesberg, Cape Town and Johannesburg – South Africa). Under Maestra Simmons-Burke's baton, her ensembles have also performed for and with regional, national, and international dignitaries. She has been the recipient of several teaching, community service and performance awards for her national achievements in music and research (i.e. Winston-Salem State University Patterson Outstanding Teacher of the Year Award, Winston-Salem State University Cedric Rodney Service Award and The John F. Kennedy Center for The Performing Arts 105 Voices of History National Conductor's Award).
D’Walla is in high demand for guest appearances as a conductor, clinician, adjudicator, speaker and guest lecturer for choral festivals and workshops.
LaShon R. Hill, a native of High Point, NC, is an accomplished actress, singer, and performer. LaShon studied voice at Winston-Salem State University, under the tutelage of the legendary Maestra D’Walla Simmons-Burke whom she now calls mentor, friend and sister. She has traveled and performed internationally with professional recording groups. Her lead vocals can be heard on multiple professionally recorded projects with artists such as the WSSU Singing Rams and also on the independent movie soundtrack, What Fairytale? Other accomplishments include a Carnegie Hall feature (2017) and TEDx Talk (Greensboro) - “Road to Empathy” (2018). She has performed in musicals and dramatic theatrical productions over the last 17 years. Some of her more recent stage credits include: A Raisin in The Sun (Mrs. Johnson); The Color Purple (Sofia); The Colored Museum (LaLa LaMazing); Dinah Was! (Dinah Washington); Mahalia (Mahalia Jackson); The Crucible (Tituba); The Wiz (Evillene); Hairspray! (Motor Mouth Maybelle); DreamGirls (Edna); CROWNS (Velma); Glory of Gospel (Elder); Jelly’s Last Jam (Gran Mimi - National Black Theatre Festival); Nuncrackers (Mary Hubert) and Leap of Faith (Ida Mae). Film/TV Credits include: What Fairytale? (Therapist); A Matter of Heart (Mama Tamera) and Mama’s Girls (Gertrude).
Arianna Bohning is a collaborative pianist from the Midwest currently residing in Winston-Salem, NC. An active freelance musician, she has collaborated with both large and small ensembles in the area including the Piedmont Wind Symphony and, most recently, as the rehearsal pianist for the Winston-Salem/Forsyth County Schools’ 2022 Summer Enrichment production of Elf: The Musical. She currently serves as adjunct faculty at Winston-Salem State University as the piano accompanist for the Winston-Salem State University Choir (aka The WSSU Singing Rams). She is also a member of the piano staff at the University of North Carolina School of the Arts, Wake Forest University and Winston-Salem State University, where she accompanies students and classes. In April 2021, Arianna was awarded the Artpreneurship Grant for her app idea, Colllab, which is an app for connecting partners in need of collaborative pianists, and she continues to pursue this endeavor alongside her other playing duties.
Arianna is originally from Seward, Nebraska, and has been a multi-instrumentalist since starting on piano at age seven and oboe in sixth grade. She holds a Bachelor of Arts degree in Music and International Studies from Iowa State University and both a Master of Music degree and a Professional Artist Certificate in Collaborative Piano from the University of North Carolina School of the Arts. When she is not playing the piano, she enjoys playing pickle ball and tending to her assortment of house plants.
The Grammy-nominated Winston-Salem State University Choir (aka WSSU Singing Rams) is the oldest student organization on the campus of Winston-Salem State University. There is evidence to prove that the institution of the choir predates the Department of Music. Under the leadership of Maestra Simmons-Burke, this choir has performed commissioned works, such as “On Imagination” and “I, Too” (Undine Smith Moore), “Recent Reflections on Deep River” (Michael Williams), “Come Sunday” (arr. S. Van Dixon), “Holdin’ On” and “Oh! What a Beautiful City” (arr. Stacey Gibbs) and has traveled both nationally and internationallyrecording and performing with professional ensembles and major symphony orchestras when major works are programmed.
Currently, the Winston-Salem State University Choir has recorded eleven compact disks under Maestra Simmons-Burke’s leadership with one of them - Somewhere Far Away - recorded in Prague, Czech Republic, and published by a major recording label (Albany Records). The Winston-Salem State University Choir has traveled and performed under the leadership of Maestra D’Walla SimmonsBurke since 1989 and is highly sought-after for its moving renditions of major choral works, spirituals and world music.
Alexandra E. Adames, soprano
Ja’quan Z. Applewhite, bass
Junior Azurin, tenor
Re’Ana G. Barrentine, alto
Nakaria Brooks, soprano
Kayla Brown, alto
Julius Z. Brown, baritone
Duone L. Campbell, countertenor
Makala S. Crawford, soprano
Donnell J. Dorsey, baritone/bass
Adrean N. Fairley, tenor
Mya M. Hopper, soprano
Bernard Lee, tenor
Ndia Z. Lee, alto
Whitney S. Lowery, alto
Brea Marshall-Brittingham, alto
Cody M. Mazie, baritone
Jacaila Martin, soprano
Ja’deya McCauley, alto
Lauryn C. Mitchell, alto
Madison A. Murrell, soprano
Myla N. Ratchford, alto
Cheyenne S. Smith, alto
Jayvin L. Shaw, baritone
Juston N. Staton, tenor
Emily E. Steele, alto
Jordann B. Stephenson, soprano
Karmen A. Sturdivant, soprano
Maurice A. Sumner, baritone
Kayla M. Ward, soprano
