The Cry of Jeremiah
Dr. Rosephanye Powell
In this evening's performance, the lyrics drawn from the book of Jeremiah are narrated by the composer. Further insights from Dr. Powell about each movement are as follows:
I. Is Not His Word Like A Fire (Jeremiah 20:9)
The work opens with Jeremiah boldly proclaiming that he prophesies, not because he wants to, but because he is compelled to. This song exemplifies the inner struggle within the prophet: confident yet insecure; doubtful yet resolved. Musically, the A section is full of “fire,” (intensity) expressing a commitment to the task. This is contrasted by a B section that expresses a weary prophet who longs to be silent and done with the whole matter. The coda (“I must declare it”) exposes Jeremiah’s resolve to persevere.
II. O Lord You Have Deceived Me (Jeremiah 20:7-9).
The dejected prophet complains, accusing the Lord of deception —making false promises of success and victory over his enemies. He feels alone, betrayed by God and despised of men. Jeremiah laments and despairs to the point of utter exhaustion, heard in the final “huh” of the song. It is as if the prophet has been punched in the gut by the very hand of God. This movement begins with a lamenting A section, contrasted with an angry B section, as Jeremiah remembers the mocking of his enemies. It is characterized by African-influenced, percussive vocalizations; an underlay of African drums; exotic colors in the orchestra; jazz flavors in the vocal and organ parts; and vocal moans and wails associated with the African-American spiritual.
III. Cursed Be the Day (Jeremiah 20:14-18)
In his despair, Jeremiah not only accuses God of deceit but calls his wisdom into question, cursing the very day he was born. One moment he is speaking forth curses and the next, he is quite calm. In spite of his anger, disillusionment and dejection, Jeremiah is still compelled to speak.
IV. Hallelujah! (Jeremiah 20:11-13)
Jeremiah’s complaint grows into praise as he reconciles that God is faithful to his promise to deliver the righteous. Jeremiah encourages himself to “Praise the Lord,” (v13), knowing that he will be vindicated and his enemies brought to shame. Hallelujah begins serenely revealing that Jeremiah has resolved his issues with God. The song builds to a joyful celebration of God’s faithfulness. The intro is stylistic of piano solos found in many contemporary gospel songs. The specific style of gospel song in which Hallelujah is composed is the praise and worship style. Indicative of gospel, in the final section, called the “special,” vocal parts are repeated independently and in harmony to build energy and develop to a climax. The orchestra provides energy with and contrast with accents and varied parts to build to the climax. As in the gospel style, a drum set provides the rhythmic foundation.