Evening star., 1946-06-04
By Alice Eyersmon

The Tuskegee Choir came to this
city last night as many another
chorus has done, but it left a re-
membrance that will not be forgot
ten soon. OF the near capacity
audience in Constitution Hall, where
the group overcame all obstacles to
give its program, there were few who
did not carry away softened spirit
and an unfamiliar peace of soul
The material success of the con-
cert could be measured by the size
of the audience and the enthusi-
astic applauding after each song.
The choir is modest appearing
group led by the alert and musically
sensitive William L. Dawson. 1t
can sing with full awareness of all
technical matters, in which it often
eXcels the skill of more publicized
groups. But in listening to the men
and women Of this ensemble the
mechanics are something ones mind
appreciates while the heart is moved
by the sheer beauty of the per-
formance. 1t was not a performance
that called for a passive acquies-
cence on the part of the audience
but one in which singers and public
we're held together in strong emo
tional bond.
With the exception of Palmgren's
Summer Evening"" the program
was made up of spirituals. They
were varied in style but all CEN
tered around a religious motif and
the tender fantasy that created
them was not spoiled in a concert
version. AS the Tuskegee singers
sang them, the simple, unquestion-
ing faith and the affectionate ma
turalness in regarding it, was felt
potently.
The vocal tinbre of the ensemble
is richly toned. 1t is resonant and
warm with an even distribution of
volume in the sections that resem-
bles the tonal gamut of an orches-
ira. The basses are perhaps the
most noteworthy division, for they
have much of the depth and So
nority of the Russian voices of this
range. The full tone of the group
which sings a cappella is powerful
yet its strength is seldom called
upon as light flexible handling and
chiaroscuro of color is Mr. Daw-
sons speciality. The precision with
which the singers respond, their
superior sense of rhythm and their
elasticity in nuances achieves a
flowing line that bends at the will
Of the conductor.
1t would be difficult to single out
particular numbers from the fine
selection made by Mr. Dawson and
the finished manner in which they
were sung. A few took precedence,
such as James "Oh, Po' Little Jesus, "
in which the lovely voice of Ella w.
Norwood added rare beauty in the
soft high notes of short solo. Daw-
sons Behold the Star" was eXcep-
tional in its dramatic style and the
thrilling effect of Otis D. Wright's S
solo backstage and Elinor Fosters
singing of the solo bits on the stage.
The conductors Alma That Good
News" with its syncopated rhythm,
and Works equally rhythmic
"Rockin' Jerusalem" were two out
standing numbers in another vein.
The traditional spirituals, "Oh,
Rise an Shine" and "He Is King of
Kings" were sung with eloquent
intent, with solos finely taken by
Dan Andrews in the former and
Floydelh Anderson in the latter.
Burleigh's Deep River" in the ex-
quisitely harmonized choral version,
had its first understanding interpre-
tation in many moons in the rise
and fall Of vibrant tone and the
moving sentiment with which the
singers invested it. A group for
male chorus included Dorsey's Nah
God Is So High" a hummed accom-
paniment to Charles R. Foxx's solo,
Palmgren's Summer. Evening"" with