Page 42 - CJSept24

Choral Reviews
Choral Reviews

Compiled by Marques L. A. Garrett

Zion’s Walls the second verse. A strong rhythmic drive is important
Traditional Negro spiritual throughout the fugal section of the piece that leads to
Arr. William L. Dawson the grand climactic ending.
SATB divisi unaccompanied, Soprano solo
Neil A. Kjos Music Company (5:00) Colin Lett, M.Div, MA
Director of Vocal Studies
Center for the Visual and Performing Arts
at Suitland High School

There is a Balm in Gilead
Traditional Negro spiritual
“Zion’s Walls” is simply heavenly! It is one of Arr. William L. Dawson
Dawson’s finest choral arrangements in his Tuskegee SATB divisi unaccompanied, Soprano solo
Choir Series. His take on this traditional Negro spiri- (Also available for SSA and TTBB)
tual, “Great Day,” will test the musicianship of colle- Neil A. Kjos Music Company
giate and professional choruses alike. This majestic ar-
rangement has a celebratory tone that portrays Zion’s
celestial splendor. The chorus takes on the nature of a
symphony orchestra or pipe organ as Dawson develops
the piece with varied vocal textures. His use of divisi in
the lower voices is akin to a brass choir, and his contra-
puntal development in the upper voices has the sweet-
ness of woodwinds. Interpretively, conductors may take Dawson’s setting of the spiritual “There is a Balm
liberties to broaden the tempo in the measures that in Gilead” was published in 1939 while he was serving
precede the a tempo markings. The soprano solo pres- as director of the Tuskegee University Choir. The set-
ents a similar opportunity with a quicker strict tempo ting is voiced for SATB mixed choir with soprano solo
in the first verse and possibly a broader free tempo in but could be sung by any voice comfortable with the

40 CHORAL JOURNAL September 2024 Volume 65 Number 2