On Sunday, December 15th, I walked along S. Broad Street, filled with excitement as I approached what I lovingly call “the House that Tindley Built”—Tindley’s Temple—experiencing it for the first time. A century ago, Rev. Dr. Charles A. Tindley referred to this sanctuary as “God’s Cathedral” during its construction. I could envision his dream: the soft glow of Sunday morning sun drenching the tan brick facade of the Art Deco-Romanesque eastward wall in a golden light, illuminating the grand entrances that symbolically led to Heaven’s Gates. It seems fitting that Tindley, an accomplished composer, envisioned a sanctuary akin to a concert hall, featuring a fan-shaped seating arrangement, concrete floors, and a reinforced concrete balcony—all converging toward the central pulpit, backed by a massive Moler 4-manual organ with 6,000 pipes. It is equally appropriate that a building named after a man who advocated for equality and social justice would host the Singing City Choir, an organization dedicated to creating social impact and fellowship through song. Their mission is further exemplified by Artistic Director Dr. Rollo Dilworth, a music educator and composer known for his work promoting social change. I witnessed this powerful vision in action as the Singing City Choir delivered a beautiful and inclusive performance in Tindley Temple.
Hundreds of people were in attendance to take part in a riveting performance that allowed audience members to spectate and sing along during the concert. The choir demonstrated great skill, musicianship and emotional engagement throughout the performance. Their performance of Vivaldi’s “Gloria” was nothing short of captivating. The 100-member ensemble eloquently performed the baroque masterpiece, showcasing remarkable vocal agility and lyricism. The jubilant “Gloria in excelsis Deo” soared through the hall, resonating within the hearts of the audience. Dr. Dilworth should be commended on his remarkable command of the choir and virtuosic chamber orchestra, whose play was exquisite and sensitive to the Baroque style.
The choir presented two movements of Maurice Poulenc’s Quatre motets pour le temps de Noël. Passionately led by Assistant Conductor Alexander Nguyen, Poulenc’s “O Magnum Mysterium” exquisitely captures the contemplative intensity of Tomás Luis de Victoria’s Renaissance era arrangement with his quintessential harmonic language of the 20th century. With its lush harmonies and profound contemplative nature, the haunting beauty of the piece was accentuated by the choir’s impeccable dynamics and phrasing, capturing the essence of mystery and reverence.
A standout highlight was the concert’s finale. Raymond Wise’s Shine the Light is built around the theme of the classic song This Little Light of Mine. Dr. Dilworth, who had already engaged the audience in a riveting moment of musicking within the Aural/Oral tradition earlier in the performance, encouraged the audience to sing when they recognized the classic tune. Wise’s Gospel-centric arrangement brought the evening to a rousing and spirited conclusion!
The Singing City Choir accomplished its mission of fellowship and social impact in one of the most fittings places to do so. With a thoughtful program, and a dedication to excellence, Dr. Dilworth and the Singing City Choir changed an appreciative audience into a “singing city”.
