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2E82D0E3-C0EC-4ACE-B118-133E4770E315
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Update Title: 2E82D0E3-C0EC-4ACE-B118-133E4770E315
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The poem “Lift Every Voice and Sing” was written by acclaimed African American poet James Weldon Johnson in 1900 and set to music by his brother John Rosamond Johnson in 1905. The Edward B. Marks Music Company first published the song in 1921, which remains strongly associated with social justice and patriotism, particularly in African American communities. While at one time it could be found pasted to the back of some hymnals used in African American Churches, today the song is formally printed under headings such as “national songs” or “social justice” in many modern hymnals. Other versions include a concert setting published in 1978 for SATB chorus and piano by Roland Carter, a setting by Hale Smith for SATB chorus and orchestra also dating from the 70s, and a modern R&B recorded version released in 1990 featuring Dione Warwick, Stevie Wonder and Take 6.
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SATB Chorus, Piano
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The poem “Lift Every Voice and Sing” was written by acclaimed African American poet James Weldon Johnson in 1900 and set to music by his brother John Rosamond Johnson in 1905. The Edward B. Marks Music Company first published the song in 1921, which remains strongly associated with social justice and patriotism, particularly in African American communities. While at one time it could be found pasted to the back of some hymnals used in African American Churches, today the song is formally printed under headings such as “national songs” or “social justice” in many modern hymnals. Other versions include a concert setting published in 1978 for SATB chorus and piano by Roland Carter, a setting by Hale Smith for SATB chorus and orchestra also dating from the 70s, and a modern R&B recorded version released in 1990 featuring Dione Warwick, Stevie Wonder and Take 6. Throughout this new arrangement, the original tune and meter is retained. The soloist is featured prominently from the start and remains the indomitable heart and soul of the piece. With combinations of flowing ostinato sections and powerful chordal accents, the piano accompaniment provides a dramatic landscape of varying textures and colors. The choir, in solidarity with the soloist, powerfully pays tribute to the sacrifice of past generations while fervently praying for the strength and courage to remain on the path that leads to justice and peace. It is hoped that this new arrangement will help to rescue this beautiful and timeless poem of James Weldon Johnson’s from it’s solitary confinement as the “Black National Anthem.” It is traditional to stand during the singing of “Lift Every Voice and Sing,” as it is with Handel’s “Hallelujah Chorus” and Francis Scott Key’s “Star Spangled Banner.” With respect for this national tradition, it is understood that standing for the duration of the “Lift Every Voice and Sing” concert version may be impractical. Prior to performance, an acknowledgement of this for the benefit of the audience is encouraged. -ZR
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