Page 76 - CJOct25

Choral Review
Choral Review

highest point in this section before descending rapidly lush, moving moments, particularly when the wind en-
on a vocal glissando. Following this symbolic auditory semble has a more supportive role in measure 243. The
illusion of “burning it down,” the instrumental part is final measures in this section bring the return of the
fast, tense, and accented. symbolic time signature pattern from Section 2—8/8,
4/4, 6/4—allowing the piece to become cyclical; its
Section 5: The March call to action is fed by pain of the past while looking
As the birth of this revolution continues in the text, into the future as the final section of this piece begins.
the music arrives at the most active part of the move-
ment. The music and text promote unity between the Section 6: The Mobilization
parts and in the larger context of the social movement. “Peace.” One word shifts the tone of the entire
The melody in this section is complete with foot stomps piece. The final lines of the poem Weather are a signal
from the choir to add to the imagery of the piece. to unity and resolve, giving direction and hope to the
When voices enter on the text, “whatever contracts cause of social justice. Dilworth reflects this musically
keep us social, compel us now to disorder the disorder,” by bringing back “Stand the Storm” in the instrumen-
they layer on top of each other in the style of a fugue tal forces, this time in C major, in a gospel-style setting
(Figure 4). in 6/4. The music is hopeful, reminiscent, and familiar
As this section progresses, harmonies become stron- to the audience. Several moments in this section recall
ger and more complex. Each part creates and supports earlier moments from the piece, such as the thunder

74 CHORAL JOURNAL October 2025 Volume 66 Number 3