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SUMMARY:Les Fauristes - Essential Spiritual concert - lundi 23 mai 20h
DESCRIPTION:Les Fauristes – Essential Spiritual Concert\n  \nProgramme \nWade in the Water\nTraditional Spiritual \nShenandoah\nAmerican Folksong (Arr. James ERB) \nGo Down Moses\nTraditional Spiritual (Arr. Ruth Morris GRAY) \nAmazing Grace\nChristian Hymn. Tune ‘New Britain’ (Arr. Judith & Alain CHARRON) \nDeep River\nTraditional Spiritual (Arr. Judith & Alain CHARRON) \nSwing Low\, Sweet Chariot\nTraditional Spiritual (Arr. Judith & Alain CHARRON) \nNigra Sum\nSong of Solomon (Old Testament) – Pablo CASALS \nThe Road Home\nTune ‘Prospect’ from ‘Southern Harmony’ (1835) – Arr. Stephen PAULUS \nCrossing the Bar\nHubert PARRY \nThe Long Day Closes\nArthur SULLIVAN \nWill the circle be unbroken\nChristian Traditional Appalachian Hymn (Arr. J. David MOORE) \nOver the Rainbow\n‘The Wizard of Oz’ (Arr. Joanna FORBES after Eva CASSIDY) \nDown to the river to pray\nChristian Traditional Appalachian Hymn (Arr. Sheldon CURRY) \n  \n  \nLes Fauristes \nSoprano\nAlix Arnould\, Vanessa Graveraud\, Juliette Hannay\, Eléonore de Pommereau\, Marie-Stéphanie Prévot\, Aude Saint-Paul\, Solène Tomas\, Corinne Tonelotto\, Julie Vercoutter-Willot. \nAlto\nPhilippine de Beauregard\, Emeline Loukil\, Marie Madelin\, Bérengère Parmly\, Aurélie Riant\, Emily Wetherell. \nTenor\nJack Apperley\, Nicolas Guenet\, Nicholas Madelin\, David Powton\, Maxime Spay. \nBass\nFrançois Cézard\, Boris Dosseh\, Alexandre Ladmirault\, Florent Tonelotto\, Jean de Vannoise. \n  \n  \nThe French choir of London Les Fauristes was founded in 2010 by a group of music lovers keen to share their passion for singing. For more than ten years\, they have performed several concerts per year in London or abroad. \nThe choir counts between 20 and 30 singers of various ages and nationalities\, although mainly French\, and is currently the only French speaking choir in London and the UK. Les Fauristes are eager to produce quality concerts\, all while maintaining their friendly and informal feel. The choir is conducted by Blandine de Raulin and receives regular vocal coaching masterclasses from professional singer and vocal coach Doriane Chomiac de Sas\, who also works with the BNP and Société Générale choirs in Paris. \nLes Fauristes last programme with orchestra and soloist was Mozart Coronation Mass and Solemn Vespers of the Confessor at St Paul’s Knightsbridge in June 2018. \nIn 2019\, the choir gave four performances of their French songs programme ‘500 hundred yerars of French Music’ at fundraising concerts for Notre Dame de France in Leicester Square and the French Protestant Church in Soho\, and at the final event of the French Institute Literature Festival ‘Beyond Words’ \nLes Fauristes are regularly invited to perform the French and British National anthems at the French Ambassador’s residence on 14th July; they performed the national anthems at the France-England football match in Wembley in November 2015\, and they also appeared on the BBC1 Sunday Morning Live Show with Naga Munchetty in July 2016. More recently in 2018 they took part in commemorations for WW1 Allied Forces Commander Marshall Foch\, an event organised by the British government and French Diplomacy in London\, which gave them the opportunity to sing with the Queen’s Band of the Irish Guards. \n  \nContact : lesfauristes@gmail.com\nFacebook : Les Fauristes Chamber Choir\nWebsite : www.lesfauristes.com\nSoundcloud : https://soundcloud.com/lesfauristes \n  \n  \nBlandine de RAULIN – Conductor \nBorn in Paris\, Blandine began her musical education at a young age learning the piano. She arrived in London in 2001 and rapidly developed an interest in choir conducting. She sang with the Ensemble Vocal Français for a few years which gave her the opportunity to perform a wide range of choral repertoires. She was a founding member of l’Ensemble Vocal de Notre Dame de France and became its conductor in 2002. In 2010\, she founded Les Fauristes\, whose first performance was Fauré’s Requiem at Notre Dame de France and St James Spanish Place. Since then she has conducted the choir with orchestra in London (Westminster Cathedral\, St Patrick’s Church Soho\, St Paul’s Knightsbridge\, St Saviour’s Pimlico and the French Protestant Church)\, at Quarr Abbey on the Isle of Wight\, and in France (Basilique Sainte Clotilde and Temple du St Esprit in Paris\, Notre-Dame Church in Niort). \nBesides her day job at Eurostar\, she has been developing her conducting technique over the past years: she trained with conductor Alain Charron in 2012. She also attended extended conducting courses with the ABCD (Association of British Choral Directors) with some of Britain’s leading conductors such as Peter Broadbent\, David Lawrence\, Amy Bebbington\, Sarah Tenant-Flowers\, Neil Ferris and Patrick Russill. In 2013\, she attended a conducting master class\, with Therees Hibbard’s Nebraska-Lincoln University Chamber Choir at a choral convention in Oxford\, tutored by Nicholas Cleobury. She validated her training with ABCD to Intermediate Level with Merit in 2014\, and completed the final Advanced Level course in choral conducting in 2017. In 2015 she also attended an orchestra conducting master class led by Peter Broadbent with the Brandenburg Sinfonia at St Martin’s in the Fields. She is mentored by conductor and teacher Amy Bebbington. \n  \nJudith CHARRON – Soprano\, Composer \nJudith Charron is a French pianist\, singer and composer residing in London. Both her parents being professional musicians\, her musical training came naturally from a very young age. She studied piano and lyrical singing and completed her studies in the Conservatoire of Paris where she was also part of the Jeune Choeur de Paris conducted by Laurence Equilbey. She performed as a soloist across Europe in venues such as the Opera Comique and La Seine Musicale in Paris and her repertoire includes among others Mozart’s Requiem\, Coronation Mass\, Vespers\, Bach’s Magnificat\, Faure’s Requiem\, Handel’s Messiah\, Pergolesi’s Stabat Mater. She has also sung roles in various operas such as Nozze di Figaro\, Incoronazione di Poppea\, Dido and Aeneas. Despite her classical background\, Judith also works in a wide range of musical genres\, working as an arranger and vocalist for the pop world (Robbie Williams…). As a composer\, she co-wrote and produced the album “In heaven’s river” which has been performed at the Opera du Rhin in Strasbourg and recently at the Festival ‘Fil Bleu’ in the South of France. \nDuring the pandemic when everyone found themselves suddenly at ‘home’\, Judith took this opportunity to reflect on what it is TO REALLY BE HOME by revisiting well-known Spirituals. Songs that express the longing we all have inside of us to find our inner home (Deep River) and how sometimes we feel it is ‘over Jordan’\, where we belong is over a river that we can’t quite yet cross. Songs that express what it truly feels to find ourselves ‘found’ when we were so lost before (Amazing Grace). Songs that express the hope and trust that we will all find our ‘Sweet chariot’ to bring us home (Swing low\, Sweet chariot). Two years after the lockdown\, she’s delighted and grateful to hear these songs that she arranged\, sung for the first time by Les Fauristes. \n  \nMichael ROSSI – Piano \nMichael was born in Scotland\, not far from the banks of Loch Lomond and began studying piano at 9 years old. He moved to St. Andrews as a teenager\, where he continued his piano studies\, as well as taking up the organ with the University of St. Andrews organist and vocal studies at his school. \nHe moved south to London in 1998\, to study music at Kings College London\, where he was also an organ scholar. \nSince 2006 he has worked for BBC Radio\, where in between producing daily weekly music programmes he also makes documentaries as well regularly contributing on air to the BBC World Service radio with artist interviews (proudest moment to date – being able to interview the great Quincy Jones). \nMichael has been associated with Notre Dame de France and Les Fauristes for many years now\, as both a rehearsal pianist and occasionally helping to bolster the bass section. He’s ever grateful to the members for their patience in putting up with his assault on the language of Molière at rehearsals. \nMichael continues to play the organ and piano regularly (any weddings needing an organist?! Ask after the concert!). \n  \n  \nPROGRAMME NOTES\n\nWade in the Water\n(Traditional Spiritual – 1901)\nWade in the Water is an African American jubilee song\, a spiritual\, in reference to a genre of music created and first sung by African Americans in slavery. The lyrics to Wade in the Water were first co-published in 1901 in New Jubilee Songs as Sung by the Fisk Jubilee Singers (an African American a cappella ensemble of students from Fisk University). \nWhile it has not been proven\, it is believed that Wade in the Water was one of the songs associated with the Underground Railroad: a network of secret routes and safe houses used by slaves in the United States to find freedom. Harriet Tubman was the conductor of the Underground railroad and helped free more than 70 people; she used this song to warn slaves to get off the trail and into the water to hide their scent from the slavecatching dogs on their trail. \nThe chorus refers to healing. In the Christian Bible\, John 5:4 says: ‘From time to time an angel of the Lord would come down and stir up the waters. The first one into the pool after each such disturbance would be cured of whatever disease they had.’ \nWade in the water\,\nWade in the water\, children\,\nWade in the water\nGod’s gonna trouble the water. \nSee that host all dressed in white\, …\nThe leader looks like the Israelite. \nSee that band all dressed in red\, …\nLooks like the band that Moses led. \nLook over yonder\, what do I see ?\nThe Holy Ghost a coming on me. \nIf you don’t believe I’ve been redeemed\,\nJust follow me down to Jordan’s stream. \n\nShenandoah\n(American Folksong\, Arr. James ERB – 1991)\nOh Shenandoah is a traditional folk song\, sung in the Americas\, of uncertain origin\, dating to the early 19th century. \nThe song Shenandoah appears to have originated with American and Canadian voyageurs or fur traders traveling down the Missouri River in canoes and has developed several different sets of lyrics. Some lyrics refer to the Oneida chief Shenandoah and a canoe-going trader who wants to marry his daughter. By the mid-1800s versions of the song had become a sea shanty heard or sung by sailors in various parts of the world. \nOh Shenandoah\, I long to see you\,\nAnd hear\, you rolling river.\nOh Shenandoah\, I long to see you\,\nWay\, we’re bound away\nAcross the wide Missouri \nI long to see your smiling valley\nAnd hear your rolling river\nI long to see your smiling valley\nWay\, we’re bound away\nAcross the wide Missouri. \n‘Tis seven long years since last I’ve seen you\nAnd hear your rolling river\n‘Tis seven long years since last I’ve seen you\nway\, we’re bound away\nAcross the wide Missouri. \n  \n\nGo Down Moses\n(Traditional Spiritual\, Arr. Ruth Morris GRAY – 2018)\nGo Down Moses is a spiritual phrase that describes events in the Old Testament of the Bible\, specifically Exodus 5:1: ‘And the LORD spoke unto Moses\, Go unto Pharaoh\, and say unto him\, Thus said the LORD\, Let my people go\, that they may serve me’\, in which God commands Moses to demand the release of the Israelites from bondage in Egypt. This phrase is the title of the one of the most well-known African American spirituals of all time. The song discusses themes of freedom\, a very common occurrence in spirituals. In fact\, the song had multiple messages\, discussing not only the metaphorical freedom of Moses and the liberation of the ancient Jewish people from Egyptian slavery but also the physical freedom of runaway slaves. \nFor enslaved African Americans\, the story was very powerful because they could relate to the experiences of Moses and the Israelites who were enslaved by the pharaoh\, representing the slave holders\, and it holds the hopeful message that God will help those who are persecuted. The song also makes references to the Jordan River\, which was often referred to in spirituals that described finally reaching freedom because such an act of running away often involved crossing one or more rivers \nWhen Israel was in Egypt’s land\nLet my people go\nOppress’d so hard they could not stand\nLet my people go \nGo down\, Moses\nWay down in Egypt’s land\nTell old Pharaoh\nLet my people go \nThe Lord told Moses what to do\,\nLet my people go\,\nTo lead the children of Israel through\,\nLet my people go. \nCome on Moses\, you won’t get lost\nStretch your rod and come across.\nIsrael stood by the river side\,\nAnd the waters did divide.\nYour foes shall not before you stand\,\nLet my people go! \n  \n\nAmazing Grace\n(Christian Hymn. Tune ‘New Britain’\, Arr. Judith & Alain CHARRON – 2021)\nAmazing Grace is a Christian hymn published in 1779\, with words written in 1772 by the English poet and Anglican clergyman John Newton (1725–1807). It is an immensely popular hymn\, particularly in the United States\, where it is used for both religious and secular purposes. \nWith the message that forgiveness and redemption are possible regardless of sins committed and that the soul can be delivered from despair through the mercy of God\, Amazing Grace is one of the most recognisable songs in the English-speaking world. Author Gilbert Chase writes that it is ‘without a doubt the most famous of all the folk hymns’. Jonathan Aitken\, a Newton biographer\, estimates that the song is performed about 10 million times annually. \nIt has had particular influence in folk music\, and has become an emblematic black spiritual. Its universal message has been a significant factor in its crossover into secular music. Amazing Grace became newly popular during a revival of folk music in the US during the 1960s\, and it has been recorded thousands of times during and since the 20th century. \nAmazing grace! How sweet the sound\nThat saved a wretch like me.\nI once was lost\, but now am found\,\nWas blind but now I see. \nDeep River\n(Traditional Spiritual\, Arr. Judith & Alain CHARRON – 2021) \nDeep River is an anonymous African-American spiritual. The song was first mentioned in print in 1867\, when it was published in the first edition of The Story of the Jubilee Singers: With Their Songs. \nBy 1917\, when Harry Burleigh completed the last of his several influential arrangements\, the song had become very popular in recitals. It has been called ‘perhaps the best known and best-loved spiritual’. \nDeep river\, my home is over Jordan.\nDeep river\, I want to cross over into campground. \nOh\, don’t you want to go to that Gospel-feast?\nThat Promised Land\, where all is peace? \n  \n  \nSwing Low\, Sweet Chariot\n(Traditional Spiritual\, Arr. Judith & Alain CHARRON – 2021)\nSwing Low\, Sweet Chariot is one of the best-known Christian hymns. Originating in early oral and musical African-American traditions\, it was composed in 1862 by Wallace Willis\, a former choctaw Indian slave. He was inspired by the Red River (The Mississippi) which reminded him Jordan and the Prophet Elijah who would have reached heaven in a chariot. Performances by the Hampton Singers and the Fisk Jubilee Singers brought the song to the attention of wider audiences in the late 19th century. \nThe song uses the theme of death to remind the audience of the glory that awaits in Heaven\, when Christians believe they will transcend the earthly world of suffering and come to rest in their final home. Specifically\, the text refers to the Old Testament account of the Prophet Elijah‘s ascent into Heaven by chariot. \nThe stylistic elements and thematic content are highly typical to those of other spirituals. The song is characterized by its use of repetition as a key poetic element\, powerful imagery\, personal rhetoric\, and potentially coded lyrics. \nSwing Low\, Sweet Chariot has been sung by rugby players and fans for some decades. An article published in Tatler in 1966 described a ‘tradition’ at the West Park bar at Twickenham of patrons singing the song whilst swaying as one\, shoulder-to-shoulder. It became associated with the English national side from 1988. \nSwing low\, sweet chariot\,\nComing for to carry me home.\nSwing low\, sweet chariot\,\nComing for to carry me home. \n  \n\nNigra Sum\n(Song of Songs – Old Testament\, Pablo CASALS – 1942)\nPablo Casals (1873 – 1973) the famous Castilian cellist is barely known as a composer today\, but at least two of his works continue to be performed O vos omnes (ca. 1932)\, and Nigra sum\, written in 1942. \nNigra sum sets a collection of biblical verses that are used in various combinations in medieval liturgical plainchant and polyphonic works (by Jean Lheritier\, Tomas Luis de Victoria or William Billings amongst others). \nIt’s not clear what this text is doing in the Bible… Some believe that the Bible is the literal word of God; some consider it symbolic and allegorical; some see it as a guide to living; some view it as a historical record. The ‘Song of Solomon’ is one of the shortest books in the Bible\, with a mere eight chapters. It is also\, hands down\, the raciest\, for the text is frankly erotic. Christian tradition holds that the ‘Song of Solomon’ in the Old Testament is an allegorical representation of God’s relationship with Israel as compared to that of man and wife\, or Christ’s love for his Church. Scholars free from needing a sacred explanation for its inclusion in the Bible have seen it differently\, assuming that\, for ancient compilers\, its text was just too beautiful not to be preserved. \nCasals’s work uses verses I:4–5 and II: 10–11 from the ‘Song of Solomon’ (also called the ‘Song of Songs’)\, with an added Alleluia. \nNigra sum sed formosa filiae Jerusalem\n(I am black but beautiful\, O daughters of Jerusalem) \nIdeo dilexit me Dominus et introduxit in cubiculum suum et dixit mihi:\n(Therefore I have pleased the Lord and he has brought me into his chamber and said to me:) \nSurge amica mea et veni.\n(Arise my love and come). \nJam hiems transiit\, imber abiit et recessit\,\n(For now the winter is past\, the rain is over and gone\,) \nFlores apparuerunt in terra nostra\, tempus putationis advenit.\n(The flowers have appeared in our land\, the time of pruning has come.) \nAlleluia \n  \n  \nThe Road Home\n(Tune ‘Prospect’ from ‘Southern Harmony’ – 1835\, Arr. Stephen PAULUS – 2001)\nThis beautiful folk song is an adaptation of a tune from ‘Southern Harmony’\, an American hymns and songs book compiled in 1835 by William Walker\, considered the most important and influential books of American music. The tune has been arranged by Stephen Paulus (1949 – 2014) to words by Michael Dennis Browne (b.1940) in the spring of 2001. The piece is an eloquent evocation about ‘returning’ and ‘coming home’ after being lost and wandering\, and has become one of the most popular Paulus piece for choirs. \nTell me\, where is the road\nI can call my own\,\nThat I left\, that I lost\nSo long ago?\nAll these years I have wandered\,\nOh when will I know\nThere’s a way\, there’s a road\nThat will lead me home? \nAfter wind\, after rain\,\nWhen the dark is done\,\nAs I wake from a dream\nIn the gold of day\,\nThrough the air there’s a calling\nFrom far away\,\nThere’s a voice I can hear\nThat will lead me home. \nRise up\, follow me\,\nCome away\, is the call\,\nWith the love in your heart\nAs the only song;\nThere is no such beauty\nAs where you belong;\nRise up\, follow me\,\nI will lead you home. \n  \n  \nCrossing the Bar\n(Hymn ‘Freshwater’\, Hubert PARRY\, 1893)\nCrossing the Bar is an 1889 poem by Alfred\, Lord Tennyson (1809 – 1892) set to music as the hymn ‘Freshwater’ by Sir Hubert Parry (1848 – 1918). It is considered that Tennyson wrote it in elegy: the narrator uses an extended metaphor to compare death with crossing the ‘sandbar’ between the river of life\, with its outgoing ‘flood’\, and the ocean that lies beyond death\, the ‘boundless deep’\, to which we return. \nThe poem contains four stanzas that generally alternate between long and short lines. Tennyson employs a traditional ABAB rhyme scheme. Scholars have noted that the form of the poem follows the content: the wavelike quality of the long-then-short lines parallels the narrative thread of the poem. \nThe extended metaphor of ‘crossing the bar’ represents travelling serenely and securely from life through death. The Pilot is a metaphor for God\, whom the speaker hopes to meet face to face. Tennyson explained\, ‘The Pilot has been on board all the while\, but in the dark I have not seen him…[He is] that Divine and Unseen Who is always guiding us’. \nSunset and evening star\,\nAnd one clear call for me!\nAnd may there be no moaning of the bar\,\nWhen I put out to sea\, \nBut such a tide as moving seems asleep\,\nToo full for sound and foam\,\nWhen that which drew from out the boundless deep\nTurns again home. \nTwilight and evening bell\,\nAnd after that the dark!\nAnd may there be no sadness of farewell\,\nWhen I embark; \nFor tho’ from out our bourne of Time and Place\nThe flood may bear me far\,\nI hope to see my Pilot face to face\nWhen I have crost the bar. \n  \n  \nThe Long Day Closes\n(Arthur SULLIVAN\, 1868)\nThe Long Day Closes is a part song by Henry F. Chorley (1808-1872) and Arthur Sullivan (1842-1900) published in 1868. This song is one of seven part songs that Sullivan published that year\, and it became his best-known part song. He wrote most of his twenty part songs prior to the beginning of his long collaboration with W. S. Gilbert. \nWith the growth of choral societies during the Victorian era\, part songs became popular in Britain (as they had earlier in Germany and elsewhere). The term ‘part song’ is used here to mean a song written for several vocal parts\, usually with the highest part carrying the melody and the other voices supplying accompanying harmonies. \nThe plaintive harmonies of The Long Day Closes and the text’s touching meditation on death have made the song a frequent selection at events of remembrance\, mourning or funerals. \nNo star is o’er the lake\,\nIts pale watch keeping\,\nThe moon is half awake\,\nThrough grey mist creeping\,\nThe last red leaves fall round\nThe porch of roses\,\nThe clock hath ceased to sound\,\nThe long day closes. \nSit by the silent hearth\nIn calm endeavour\,\nTo count the sounds of mirth\,\nNow dumb for ever.\nHeed not how hope believes\nAnd fate disposes:\nShadow is round the eaves\,\nThe long day closes. \nThe lighted windows dim\nAre fading slowly.\nThe fire that was so trim\nNow quivers lowly.\nGo to the dreamless bed\nWhere grief reposes;\nThy book of toil is read\,\nThe long day closes. \n  \n  \nWill the circle be unbroken\n(Christian Traditional Appalachian Hymn. Arr. J. David MOORE – 2011)\nWill the circle be unbroken is a popular gospel song written in 1907 by English Christian hymnist Ada R. Habershon (1861 – 1918). The song is often recorded unattributed and\, because of its age\, has lapsed into the public domain. The song is generally played to be uplifting to the congregation\, and is a frequent standard in gospel revivals. Tonight we are singing by J. David Moore who has arranged this work for SATB\, SSAA and TTBB (his arrangements are currently widely performed). \nWill the circle be unbroken\nBy and by\, lord\, by and by\nThere’s a better home a-waitin’\nif we try\, Lord\, if we try. \nI was singing with my sisters\, (brothers)\nI was singing with my friends\,\nAnd we all can sing together\,\n’cause the circle never ends.\nWill the circle be unbroken\nBy and by\, lord\, by and by\nThere’s a better home a-waitin’\nif we try\, Lord\, if we try. \nI was born down in the valley\nWhere the sun refuse’ to shine\nBut I’m climbing up to the highland\,\nGonna make that mountain mine!\nWill the circle be unbroken\nBy and by\, lord\, by and by\nThere’s a better home a-waiting\nIn the sky\, lord\, in the sky. \n  \n  \nOver the Rainbow\n(‘The Wizard of Oz’\, Arr. Joanna FORBES after Eva CASSIDY – 2006)\nOver the Rainbow is a ballad by Harold Arlen (1905 – 1986) with lyrics by Yip Harburg (1896 – 1981). It was written for the 1939 film The Wizard of Oz\, in which it was sung by actress Judy Garland in her starring role as Dorothy Gale. It won the Academy Award for Best Original Song and became Garland’s signature song. \nThe song has known many versions since the original recording by Judy Garland\, most notably those by Israel Kamakawiwo’ole\, Eva Cassidy and Cliff Richard. \nThe plaintive melody and simple lyrics of the song tell a little girl’s desire to escape the world’s ‘hopeless jumble’\, sadness and rain\, and to reach a new world full of colours ‘over the rainbow’. The song also expresses the childish belief that skies will open a way towards a place where ‘troubles melt like lemon-drops’. \nThe song was originally written with a long introductory verse which was not sung but instead spoken by Judy Garland in the film: ‘Someplace where there isn’t any trouble…. Do you suppose there is such a place\, Toto? There must be. It’s not a place you can get to by a boat\, or a train. It’s far\, far away…. Behind the moon\, beyond the rain’ \nSomewhere over the rainbow\, way up high\nIn the land that I heard of\, once in a lullaby\nSomewhere over the rainbow\, skies are blue\nAnd the dreams that you dare to dream really do come true \nSomeday I’ll wish upon a star and wake up where the clouds are far behind me\nWhere troubles melt like lemon drops\, away above the chimney tops\nThat’s where you’ll find me \nSomewhere over the rainbow\, skies are blue\nAnd the dreams that you dare to dream really do come true\nIf happy little bluebirds fly beyond the rainbow\nWhy\, oh\, why can’t I? \n  \n  \nDown to the river to pray\n(Christian Traditional Appalachian Hymn\, Arr. Sheldon CURRY – 2002)\nDown in the River to Pray is a traditional American song variously described as a Christian folk hymn\, an African-American spiritual\, an Appalachian song\, and a Southern gospel song. The exact origin of the song is unknown. \nThe earliest known version of the song\, titled ‘The Good Old Way’\, was published in Slave Songs of the United States in 1867. \nIn some versions\, ‘in the river’ is replaced by ‘to the river’. The phrase ‘in the river’ is significant\, for two reasons. The more obvious reason is that the song has often been sung at outdoor baptisms (such as the full-immersion baptism depicted in the 2000 film ‘O Brother\, Where Art Thou?’). Another reason is that many songs sung by victims of slavery contained coded messages for escaping. When the enslaved people escaped\, they would walk in the river because the water would cover their scent from the bounty-hunters’ dogs. Similarly\, the ‘starry crown’ could refer to navigating their escape by the stars. And ‘Good Lord\, show me the way’ could be a prayer for God’s guidance to find the escape route\, commonly known as ‘the Underground Railroad’. \nAs I went down in the river to pray\nStudying about that good ol’ way\nAnd who shall wear the starry crown\nGood Lord\, show me the way \nO sisters\, let’s go down\nLet’s go down\, come on down\nO sisters\, let’s go down\nDown in the river to pray \nAs I went down in the river to pray\nStudying about that good ol’ way\nAnd who shall wear the robe and crown\nGood Lord\, show me the way \nO brothers\, let’s go down\nLet’s go down\, come on down\nCome on\, brothers\, let’s go down\nDown in the river to pray \nAs I went down in the river to pray\nStudying about that good ol’ way\nAnd who shall wear the starry crown\nGood Lord\, show me the way \nO fathers\, let’s go down\nLet’s go down\, come on down\nO fathers\, let’s go down\nDown in the river to pray \nAs I went down in the river to pray\nStudying about that good ol’ way\nAnd who shall wear the robe and crown\nGood Lord\, show me the way \nO mothers\, let’s go down\nCome on down\, don’t you wanna go down?\nCome on\, mothers\, let’s go down\nDown in the river to pray \nAs I went down in the river to pray\nStudying about that good ol’ way\nAnd who shall wear the starry crown\nGood Lord\, show me the way \nO sinners\, let’s go down\nLet’s go down\, come on down\nO sinners\, let’s go down\nDown in the river to pray \nAs I went down in the river to pray\nStudying about that good ol’ way\nAnd who shall wear the robe and crown\nGood Lord\, show me the way
URL:https://www.egliseprotestantelondres.org.uk/events/les-fauristes-essential-spiritual-concert-lundi-23-mai-20h/
LOCATION:Eglise protestante française de Londres\, French Protestant Church\, London\, London\, W1D 3QD
CATEGORIES:Animation
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