When the first notes of “Lift Every Voice” rose inside the newly renovated Powell Symphony Hall—now part of the Jack C. Taylor Music Center—they carried a charge that felt both familiar and newly awakened. Under Kevin McBeth’s steady direction in his 15th year with the St. Louis Symphony IN UNISON Chorus, classical strings met gospel fire, Afro‑spiritual rhythms met orchestral warmth, and together they shaped a musical experience deeply rooted in culture and tradition.
Guest soloist Imara Miles, joined by electric guitarist Vince Clark and drummer Bernard Long Jr., merged effortlessly with the IN UNISON Chorus and the St. Louis Symphony Orchestra. Together, they delivered a musical experience that honored tradition while expanding its reach—an offering grounded in joy, reverence, and the unmistakable heartbeat of Black sacred music.
The program paid tribute to renowned vocalist, scholar, and choral composer Dr. Rosephanye Dunn Powell. Her work has become an essential repertoire for choirs seeking to honor the depth of the African American sacred tradition. Powell is widely regarded as one of the most influential living composers of choral music, celebrated for her ability to merge classical technique with the emotional vocabulary of gospel, spirituals, and the Black church. Her compositions often carry the architecture of European choral writing, but the soul, phrasing, and call‑and‑response patterns remain unmistakably rooted in Black musical lineage.
Her pieces “Keep Yo’ Lamps” and “The Word Was God” were featured in the celebration. Though unable to attend, Powell appeared in a video message, expressing gratitude for the recognition.
“I am grateful for your performance of my music, especially my ‘Gospel Trinity,’ which holds a very special place in my heart,” she said. “I hope it fills you and the audience with strength, joy, and praise.”
Her Gospel Trinity—led by Miles—did exactly that. The performance was soul‑stirring, moving audience members and even some in the chorus to tears. Bathed in deep blue light, the Trinity opened with “The Lord Is in His Holy Temple,” a joyful, upbeat proclamation that immediately lifted the atmosphere inside Powell Hall.
“Jesus, Son of God” followed, swelling into something that felt cinematic. With the full chorus and orchestra behind it, the piece grew into a moment larger than the room—layered, textured, and emotionally expansive. Powell’s writing, which often bridges the sacred intimacy of the Black church with the grandeur of symphonic sound, came alive in a way that felt both contemporary and ancestral.
Two angelic ballads, “Holy Spirit, Come” and “Gloria Patri,” continued the journey under soft red lighting that wrapped the hall in warmth and peace. Addressing the structure of the work, McBeth offered a gentle clarification: “The question came up, ‘If it’s a Trinity, why are there four movements?’ Well, here we get the chance to hear about the Father, Son, Spirit, and then how they all come together to bless us.”
Each movement was connected by spoken word that echoed the cadence of a Sunday sermon—reminders of God’s love and mercy that tied the music together in both message and mood.
Black American traditions were woven throughout the performance, especially through the drums. “Keep Yo’ Lamps” was performed a cappella, anchored only by a conga‑style drum whose Afro‑inspired beat grounded the piece in ancestral rhythm. That foundation shifted with “Jericho,” which introduced a full drum set—bass drum, cymbal, and a jazz‑inflected pulse that signaled both evolution and continuity.
The transition from Afro‑percussive to jazz‑driven rhythms traced the journey of Black sound across generations —carrying history, resilience, and the enduring heartbeat of a people who continue to create, adapt, and uplift.
Living It content is produced with funding by the ARPA for the Arts grants program in partnership with the Regional Arts Commission of St. Louis and the Community Development Administration.
