The concert was opened by a series of Christian Worship Songs, hymnals, to include “Alleluia Fanfare/ Praise to the Lord, the Almighty,” “With Joyful Voices Ringing,” and “Alleluia,” all arranged by Mack Wilberg. Though each piece had unique characteristics such as the Irish folk influence in “With Joyful Voices Ringing,” I found these select pieces to invoke grand interest that allowed me to continue listening, and even await the next selections. The choir’s performance of “How Excellent Thy Name and Alleluia,” by George Frideric Handel had a rather joyous presentation. As the music transitioned, to more of the “Alleluia, From Psalm 150,” by Alberto Ginastera, the utilization of xylophones and other instruments created a sense of total praise. The presentation of “Ah, El Novio No Quere Dinero,” a traditional Sephardic wedding song immediately ignited curiosity within me through its unique vocal and instrumental arrangement. As the choir began performing “Gamelan,” by R. Murray Schafer, I quickly took notice of the formation of choir member’s mouths along with the sound they produced in the beginning. These performances all held differing arrangements, contributing to their unique characteristics. Through the unique characteristics, I found “Cindy,” an American Folk Song to have similarities with the previous selection, in addition the choir’s clapping created more excitement. As the hosts described the next hymns, the audience learns they are utilized to uplift and convey hope. This is something I have learned through my studies in the Survey of African American Music. The hymns, “Music Everywhere,” “In the Garden,” and “To God Be the Glory,” all arranged by Ryan Murphy, successfully embody hymnals. 

   After the Morehouse College and Spelman College Glee Clubs were introduced, the gentlemen began. Their first selection was “Great and Glorious,” by Franz Joseph Hadyn, a selection that conveys themes of holding strong faith through its lyrics. Additionally, the Glee Club transitioned to an African American spiritual, “I Ain’t Got Weary Yet,” this one truly displays a theme of strength and resilience, as many spirituals do.  

    The start to Spelman’s performance of the spiritual, “Wade in the Water,” was dominating as it grasped my attention. “Children Go Where I Send Thee,” another African American Spiritual, was first ignited by the usage of a drum. This fiery performance continued with the sharp swaying and motioning of the Glee Club. As I have experienced this arrangement before, the usage of rap always accents this perfectly. The last selection was “A Choice to Change the World,” also arranged by Kevin Johnson. As this is my favorite arrangement, I truly felt connected and appreciated the rendition style. 

    Kristin Chenoweth then appeared onstage to perform “Angels Among Us,” arranged by Sam Cardon. This selection brought on a calming effect that conveyed the importance of kindness. Next, Ms. Chenoweth performed “How Great Thou Art.” This rendition style was similar to that of the first, but demanded a bit more power. 

    The performance then turned into a joint transition of “Songs for the People,” by Kevin Johnson, arranged by Mack Wilberg. In addition, “Come Thou Fount of Every Blessing,” an American Folk Tune was sung. The Morehouse College Glee Club and Spelman College Glee Club, joined by the Tabernacle Choir, all came together to perform these pieces. Their voices together allowed me to find a message of unity. 

    As the concert ended, the Tabernacle Choir took the stage to sing, “Battle Hymn of the Republic,” and “Georgia On My Mind,” an American Hymn Tune that invoked a sense of strength.