On October 6th, the esteemed vocal ensemble Elevation, part of the Elevate Vocal Arts organization, graced the stage at Abington Presbyterian Church (PA) as part of the Music At Abington Concert Series. This free concert showcased Elevation, Delaware’s sole professional vocal ensemble, leveraging its extraordinary vocal prowess to deliver a rich tapestry of musical styles.
Elevation demonstrates its technical excellence and artistic versatility, performing with remarkable authenticity in a range of genres, captivating audiences by seamlessly weaving music from the Western classical tradition, Afrocentric cultural traditions, commercial music and other diverse influences into their performances. The ensemble’s dedication to beauty and expression is evident in every note, establishing them as a significant cultural force in the realm of vocal arts.
The concert was a stunning tribute to the profound depth and diversity of music created by African American composers, showcasing the significant influence of Afrocentric culture on choral music. The evening commenced with a magnificent rendition of Lift Every Voice and Sing, masterfully arranged by Kirk Franklin, setting an uplifting tone for the performance. Under the insightful direction of founder Arreon Harley-Emerson and co-founder Dr. Jillian Harrison-Jones, the ensemble seamlessly intertwined 20th and 21st-century choral repertoire. They featured works such as I, Too by Undine Moore Smith and Eternity by Alvin Trotman, alongside gospel classics like M. Roger Holland II’s Lord, Make Me an Instrument. Dr. Jones’s powerful conducting brought to life Nathan Carter’s vivacious arrangement of Psalm 150, skillfully highlighting its classical era sensibilities.
One of the most significant musical offerings the ensemble presented to a grateful audience was Ulysses Kay’s Choral Triptych, a three-movement sacred cantata. Kay, a relatively unknown African American composer from the mid-to-late 20th century and a student of Paul Hindemith, showcases his profound understanding and mastery of harmonic language throughout this cantata. The work evokes a vibrant palette of sonic artistry, skillfully employing neo-classical forms and textures that enrich the harmonic fabric of the piece. Kay’s cantata has been significantly underperformed. Unlike most choral works, one attempting to listen to a recording online will find it virtual impossible. If not for a short clip from a Harley-Emerson’s Instagram post in 2023, there may not be any recording available online of any sort, let alone a full performance.
As the ensemble concluded the concert with Richard Smallwood’s gospel classic Total Praise, I reflected on a line from the program notes that encapsulated Elevation’s mission:
“Elevation is more than a performing ensemble—it’s a movement harnessing the transformative power of the vocal arts in Delaware and beyond to transform and heal communities.”
On this memorable evening, Elevation not only educated an eager audience about the richness of African American composers but also showcased the potential of a culturally diverse ensemble performing music from the Black Diaspora. Under the skillful guidance of Mr. Harley-Emerson and Dr. Harrison-Jones, Elevation exemplified how excellence and authenticity in choral performance can be both exhilarating and liberating.
