PROGRAM NOTES 

Written by Lalita Pérez Acosta

SYMPHONY NO. 4 IN D MINOR (1945)

Florence Beatrice Price (1887–1953) was a trailblazing composer, and her Symphony No. 4 in D minor is a remarkable example of her ability to blend European classical forms with African American musical traditions. Composed in 1945, the symphony reflects Price's deep connection to spirituals and folk music, incorporating syncopated rhythms, lush harmonies, and melodies that evoke the African American experience. The second movement, in particular, stands out for its graceful, flowing melody reminiscent of spirituals—a hallmark of her compositional style.

Price, the first African American woman to have her work performed by a major American orchestra, once wrote, “I have two handicaps—those of sex and race—but I am a woman first of all; however, I should like to be judged on merit alone.” Her Symphony No. 4 exemplifies her resilience and creativity, offering a unique and powerful voice in American music history that continues to inspire today.

Born in Little Rock, Arkansas, Price studied at the New England Conservatory, where she honed her craft in piano, organ, and composition. After moving to Chicago in the 1920s, Price flourished as a composer despite facing racial and gender barriers. This and more information about Florence Price's life and work can be found in Rae Linda Brown’s biography The Heart of a Woman: The Life and Music of Florence B. Price

SPIRITUALS

Urs and Chris Poston selected these spirituals for their ability to inspire joy and connection, emphasizing their powerful messages of hope, unity, and resilience. As Poston, the Men’s Choir director, noted, these songs uplift the spirit and unite people through shared musical experience and a sense of community.

The chosen spirituals— “Every Time I Feel the Spirit,” “This Little Light of Mine,” and “Lean on Me”—are deeply rooted in African American culture and symbolize perseverance and solidarity. “Every Time I Feel the Spirit” speaks to the strength that faith provides during challenging times, with its energetic rhythms offering a sense of triumph and joy.

“This Little Light of Mine” became an anthem of the Civil Rights Movement, representing the power of individuals to bring about change and light in dark times. Its message of empowerment and hope remains timeless, inviting all to embrace their inner strength.

“Lean on Me,” though more contemporary, continues this tradition of resilience and mutual support. Written by Bill Withers, it highlights the importance of community and standing together through adversity.

These spirituals offer the audience an opportunity to engage with music that celebrates both personal strength and the collective power of unity.

Performed by:

Acts Full Gospel Church Of God In Christ - Men’s Choir

The Acts Full Gospel Men’s Choir is a remarkable ensemble of dedicated individuals from our church community, including elders, deacons, ushers, security personnel, and overseers. Over the past six months, this diverse group—some of whom were initially tone-deaf and had no music reading skills—has undergone an inspiring transformation.

Through focused training, they have mastered essential vocal techniques, including pitch, tone control, breathing, phrasing, harmony, and music theory. Their commitment to learning and growth has culminated in the joy of unified group singing.

Now, they perform before the church body during two livestream services every fourth Sunday at Acts Full Gospel Church of God in Christ in Oakland, California. The GGSOC is delighted to sing alongside these inspiring individuals, celebrating their hard work, passion, and the spirit of community that resonates through their music.

TENOR

Keith Greene

Petri Gordon

Freddie Hall

Terry Weeks

Christopher Witherspoon

Marc Royal

Jeffrey Kelley

Otis Ward

Greg Bluitt

Ryan Stroh

BASS

Alfred Sanders

Samuel Ratcliff

ELIJAH’S CALL AN ORATORIO FOR AN ABOLITIONIST (2024)

Program notes written by Allison Lovejoy and Gary Kamiya

“Elijah’s Call” is a new oratorio that tells the extraordinary story of Elijah Parish Lovejoy (1802-1837), an American preacher and newspaper editor who was murdered by a mob in Alton, Illinois because he refused to stop denouncing slavery.

The development of the story and music began in 2020, when poet Jack Hirschman suggested to Allison Lovejoy that she write an opera about the Abolitionist martyr, who as fate would have it turned out to be a distant relative of hers.

Allison and librettist Gary Kamiya were inspired by Elijah Lovejoy’s heroism, and by his tragic story’s continued resonance today. As Elijah sings despairingly in his posthumous aria “I Lit a Lamp,” “24 years after I fell the nation tore itself apart…and we still haven’t put it together.”

The oratorio recounts Elijah’s gradual embrace of Abolitionism, the courage of his wife Celia, the official connivance in his murder, and the powerful inspiration the Abolitionist movement took from his death.

 Throughout the piece, the composer makes extensive use of leitmotifs, recurrent short melodic phrases that are associated both with the main characters and with themes in the story. The Prelude opens with Elijah’s leitmotif, which returns in the aforementioned “I Lit a Lamp.” As he walks across the country from Maine to St, Louis, the chorus in “The Call” asks Elijah “What are you going to do”? This question is later directed to the audience in the Finale, a gospel-inspired call for listeners to take inspiration from Elijah’s life.

 Each of “Elijah’s” movements reflects different musical influences. Jazz and musical theater are found in “Saturday Afternoon.” Late Romanticism informs “City of Sin” and “A Perfect Heroine,” while the choral writing in“It Has Entered My Soul” is a tribute to the Baroque-era oratorios of George F. Handel. Jazz elements fused with contemporary classical approaches, evidenced by alternating minor 3rd and major 3rd intervals of blues scales, 7th chords and syncopation, are found in “The Call” and the Finale.  The spiritual arrangements of the great African-American composer Harry T. Burleigh inspired the closing hymn “Come to the Valley,” a ringing call for justice and freedom for all.

CLICK HERE to read the text and lyrics of Elijah’s Call.