(audience cheering and applauding) (audience continues cheering and applauding) (spectator whistling) (audience continues cheering and applauding) (light percussion music) (energetic percussion music) (energetic percussion music continues) (energetic percussion music continues) (energetic percussion music continues) (energetic percussion music continues) (energetic percussion music continues) (energetic percussion music continues) (choir singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (energetic percussion music continues) (audience cheering) (energetic percussion music continues) (energetic percussion music continues) (vocalists ululating) (energetic percussion music continues) (gentle percussion music continues) (audience cheering and applauding) (audience applauding) (mysterious orchestral music) (mysterious orchestral music continues) (mysterious orchestral music continues) (mysterious orchestral music continues) (mysterious orchestral music continues) (dramatic orchestral music) (dramatic orchestral music continues) (suspenseful orchestral music) (suspenseful orchestral music continues) (suspenseful orchestral music continues) (suspenseful orchestral music continues) (dramatic orchestral music) (dramatic orchestral music continues) (somber orchestral music) (footsteps plodding) (somber orchestral music continues) (somber orchestral music continues) (footsteps continue plodding) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (instrument clattering) (suspenseful orchestral music) (dramatic orchestral music) (dramatic orchestral music continues) (dramatic orchestral music continues) (dramatic orchestral music continues) (dramatic orchestral music continues) (dramatic orchestral music continues) (dramatic orchestral music continues) (cymbals resonating) (no audio) - Dr. Ames, it is such an honor to experience "Requiem for Colour" alongside you.

So first, the opening moments are vibrant.

They're emotional and incredibly meaningful.

So can you walk us through those first moments and their deeper cultural roots?

- Thank you so much, Amber.

We began the performance with West African drumming, dancing, and singing.

The rhythms that were heard are some of the most popular performed in celebrations of the Susu culture in Guinea.

The celebration ended when the drum bells alerted the community of an impending threat.

We know something's about to happen.

- The energy was electric, and then the sudden shift was chilling.

The second movement was unsettling in the most powerful way.

So what are you hoping the audience feels at that moment?

- Indeed, as the full orchestra begins, the second movement, "Terrorized, Trapped, Trafficked," the music is chaotic, and the meter changes rapidly.

This is to signify people being chased and terrorized.

After such horror, another horror begins being trapped within the dungeons of slave castles located on the West African coast.

Here, you may have recognized a melody to "Go Down Moses."

And the final part of the movement is when the Africans set sail.

They're trafficked across the Atlantic.

- The way "Go Down Moses" rose from the chaos, it felt like a cry from the soul.

It gave the moment historical weight and intimacy.

So where does the story go from here?

- Well, now a new life begins.

The very first words the enslaved sing are kyrie eleison, translated as, "Lord, have mercy," in a Native West African language.

And at the end of this movement, the phrase is spoken in seven other West African languages before it ends with the first line of the Latin chant.

The enslaved continued to sing in a strange land.

What began as a slave song evolved into the Negro spiritual, and these spirituals were passed from generation to generation by the oral tradition.

For me, it was a necessity to have the Negro spiritual as the foundation of "Requiem for Colour: A Journey Through Lament and Joy."

Just as "Go Down Moses" was heard in the orchestral movement, this next segment ends with the profound spiritual sung by the soprano soloist, "Lord, how come me here?

I wish I never was born."

- Well, that title alone holds a history all its own.

It's haunting, and yet there's beauty in the lament.

So let's continue the journey.

(solemn orchestral music) (drums resonating) (choir singing in foreign language) (solemn music continues) (choir singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (drum resonating) (solemn music continues) (drum continues resonating) (solemn music continues) (choir singing in foreign language) (drum resonating) (choir singing in foreign language) (drum continues resonating) (solemn music continues) (choir singing in foreign language) (solemn music continues) (choir singing in foreign language) (dramatic music) (choir singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (instrument clanking) (solemn music) (captive speaking in foreign language) - [Captive] Lord, have mercy.

(captive speaking in foreign language) - [Captive] Have mercy.

(captives moaning and clamoring) Lord, have mercy.

- [Captive] Lord, have mercy.

(captives clamoring and moaning) - [Captive] Lord, have mercy.

- [Captive] Lord, have mercy.

- [Captive] Lord, have mercy.

(captives moaning and clamoring) - [Captive] Lord, have mercy.

- [Captive] Lord, have mercy.

(captives moaning and clamoring) - [Captive] Have mercy.

(captives sobbing) (solemn music continues) (instrument clanking) (captive speaking in foreign language) (instrument clanking) (solemn music continues) (choir singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (no audio) (no audio) - How can we sing in a strange land?

A reading from "The Life and Narrative of William J. Anderson, 24 Years a Slave."

"The slaves are made to shave and wash in greasy pot liquor to make them look sleek and nice, their heads combed and their best clothes put on.

When called out to be examined, they are to stand in a row, the women and men apart.

Then, they are picked out and taken into a room, stripped, and examined as a pig, or a hen, or merchandise.

After men and women had followed each other, they are sold separately, although their hopes would be to be sold together."

- The sting of slavery resonates in this narrative of James Green.

(gentle flute music) "I never knowed my age till after the war when master got out a big book, and it showed I was 25 years old.

Shows I was 12 years old when I was bought.

$800 they paid for me.

My mammy was owned by John Williams in Petersburg in Virginia, and I come born to her on that plantation.

Then along come a Friday, and I playing around the house, and Master Williams come up and say, "Delia, will you allow Jim to walk down the street with me?"

My mammy say, "All right, Jim, you be a good boy," and at the last time I ever heard her speak or ever see her."

How can we sing in a strange land?

(gentle flute music continues) (gentle flute music continues) (gentle flute music continues) (pensive orchestral music) (pensive orchestral music continues) (pensive orchestral music continues) (chimes tinkling) ♪ Lord ♪ ♪ How come me here ♪ ♪ Lord ♪ ♪ How come me here ♪ ♪ Lord ♪ ♪ How come me here ♪ ♪ I wish ♪ ♪ I wish ♪ ♪ I never was born ♪ (pensive orchestral music continues) ♪ There ain't no freedom down here ♪ ♪ There ain't no freedom down here ♪ ♪ There ain't no freedom down here ♪ ♪ I wish ♪ ♪ I wish ♪ ♪ I never was born ♪ (pensive orchestral music continues) ♪ They treat me so mean here, Lord ♪ ♪ They treat me so mean here ♪ ♪ They treat me ♪ ♪ So mean down here ♪ ♪ I wish ♪ ♪ I wish ♪ ♪ I never was born ♪ (tense music) ♪ They sold my children away, Lord ♪ ♪ They sold my children away ♪ ♪ They sold ♪ ♪ All my children away ♪ ♪ I wish ♪ ♪ I wish ♪ ♪ That I ♪ (dramatic music) (singer vocalizing) (singer continues vocalizing) (dramatic music continues) (singer continues vocalizing) (dramatic music continues) (singer continues vocalizing) (dramatic music continues) (somber music) (singer continues vocalizing) (somber music continues) (singer continues vocalizing) (somber music continues) (somber music continues) ♪ I wish ♪ ♪ I wish ♪ ♪ I ♪ ♪ Never was born ♪ (xylophone chiming) (singer vocalizing) (singer inhales) (no audio) - Dr. Ames, the addition of narration brings gravity to the performance.

It deepens the emotional connection in a really profound way.

So as we move forward, what can we expect in the next movement of the work?

- The next two movements become, or they became, my bookends of the work.

The "Dies Irae," translated as day of wrath, was the very first movement of the requiem I composed.

Felt like I needed to get it off of me.

This was in January or February of 2022.

In many requiem settings, the dies irae is the most aggressive movement.

You think of Mozart, think of Verdi, for example.

But even more interesting is the use of the dies irae theme in well-known movies such as "The Shining" or "Star Wars: A New Hope."

And it is the infamous John Williams whose compositional style heavily influenced this movement.

It is the dark side of the requiem, if you will.

And while composing, I imagined Darth Vader or Emperor Palpatine leading the empire into battle.

- Well, the Star Wars imagery is unexpected, but it's powerful, and the movement is undeniably intense.

But I also sensed something sacred beneath the storm.

Is that reverence intentional?

- Reverence is correct.

My attempt to bring honor to those whose names are only known to God is represented in "Elegy for Lost Souls," scored for solo cello and strings.

I composed this movement in September of 2022.

It's filled with emotion and passion.

My desire was to evoke an aesthetic like Dario Marianelli's "Elegy for Dunkirk" or Brian Tyler's theme song from "1883."

I believe this was achieved with one hollow-sounding unison pitch to serve as the foundation for the cellist's improvisation.

The melody becomes enhanced with the first violins, who continue on in the second section's incorporation of the Negro spiritual, "Sometimes I Feel Like a Motherless Child."

- The cello's voice felt like it was grieving but also remembering, and that blend of sadness and honor is just so moving.

So now let's return to the music and hear where this journey leads next.

- A second reading from the "Life and Narrative of William J.

Anderson."

"My master came down, put irons on my hands and feet and laughed in anger.

He took me back upon the cotton farm, stripped me naked, drove down four stakes about nine feet apart, then with a large ox whip laid on me 500 lashes till the blood ran freely upon the ground, and mother Earth drank it freely in."

In the words of Harriet Tubman, "Slavery is the next thing to hell."

♪ Steal away ♪ (voice resonating) ♪ Steal away ♪ (voice resonating) ♪ Steal away ♪ (voice resonating) - From "David Walker's Appeal," "The inhuman system of slavery is raging in the United States of America, and slavers are so happy to keep the enslaved in ignorance and degradation, they forget that God rules in the armies of heaven and among the inhabitants of the earth.

His ears are continually open to the cries, tears, and groans of his oppressed people."

♪ To Jesus ♪ (voice resonating) ♪ Steal away ♪ (singer inhales) ♪ Steal away home ♪ (voice resonating) - "Being a just and holy being, God will one day appear fully on behalf of the oppressed and arrest the progress of the avaricious oppressors.

The Lord our God will bring destructions upon them.

Judgment day is coming."

♪ I ain't got long ♪ ♪ To stay here ♪ (pensive orchestral music) (choir singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (pensive orchestral music continues) (dramatic orchestral music) (choir singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (dramatic orchestral music continues) (choir continues singing in foreign language) (dramatic orchestral music continues) (choir singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (dramatic orchestral music continues) (audience applauding) (audience continues applauding) - The trans-Atlantic slave trade transported over 12 million Africans kidnapped from their native homelands to the Americas, Caribbean, Britain, and Europe.

The brutal conditions for the captives began in the dungeons of slave castles on the West African coast.

In the narrative of the enslavement of Ottobah Cugoano, a survivor of the Middle Passage, he stated.

- "The horrors I soon saw and felt cannot be well described.

I saw many of my miserable countrymen chained two by two, some handcuffed and some with their hands tied behind.

We were conducted along by a guard.

And when we arrived at the castle, I was soon conducted to a prison.

For three days, I heard the groans and cries of many and saw some of my fellow captives."

- Imagine being held in a dungeon where the heat was suffocating, where there was hardly any light and ventilation, where you inhaled the foul stench of urination, defecation, and menstruation.

Meanwhile, just two and three floors above the dungeon, one's captors and officials roam freely with large living quarters, an abundance of light, crosswinds, and even a designated space for worship.

It is unfathomable how these people could sing praises to heaven while God's children were experiencing a living hell.

- Cugoano continued by saying, "When a vessel arrived to conduct us away to the ship, it was a most horrible scene.

There was nothing to be heard but the rattling of chains, smacking of whips, and the groans and cries of our fellow men.

Some would not stir from the ground when they were lashed and beat in the most horrible manner."

The journey across the Atlantic was just as fierce, being bound by chains and shackles.

Traveling up to 5,000 miles could last for weeks, even several months.

Sickness was inevitable, dysentery, smallpox, fever, and an array of nervous, digestive, and mental disorders.

Historians estimate between 15 and 25% of enslaved Africans bound for the Americas died aboard slave ships, their bodies uncaringly tossed overboard.

Who were those lost souls?

- [Both Presenters] Those whose names are known only to God.

(somber orchestral music) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) (somber orchestral music continues) - Dr. Ames, "Elegy for Lost Souls" draws from a powerful tradition.

I imagine its historical weight as a spiritual played a key role in your decision to include it in your requiem, so can you speak to the influence?

- Absolutely.

Historians attest that the Negro spiritual is essentially ground zero of all idiomatic musical stylings within the Black culture.

The Reverend Dr. Wyatt Tee Walker argues that from the slave moans and the utterances come the Negro spiritual.

And from here, all manner of Black idiomatic styles are born including ragtime, blues, jazz, R&B, Black metered music, Black hymnody, and traditional gospel.

The next four movements are celebratory and reverent.

- That connection, the spiritual as the root of so many Black musical forms, gives a depth to what's coming next.

A celebration feels not only appropriate but essential.

So how do these movements honor that musical history?

- Well, the "Sanctus" is a tribute to the Black community who developed jazz.

The movement begins with the smooth or cool jazz styling before enveloping into the traditional big band sound made famous by Harlem Renaissance composer Duke Ellington.

This movement features the tenor soloist.

The very reverent "Benedictus" follows, "Blessed it is he who comes in the name of the Lord."

The melody is shared by two soloists, oboe and soprano.

- Well, that pairing, oboe and soprano, feels intimate and unexpected.

So I'd love to hear more about how you shaped the final two movements in this sequence.

- Well, the "Agnus Dei" begins quietly and reflects the simplicity of the choral music found from the Renaissance period.

However, the accompaniment is patterned after Fauré's "Libera Me" from his requiem.

My choice to use this accompaniment became the bridge needed to blossom the harmonic language into something that becomes romantic with lush chords and cluster harmonies.

The "Communion: In Remembrance" was published in 2006 as a separate piece for choir, horn, and piano.

Yet what was composed so long ago has become a pillar within "Requiem for Colour."

It has been shared that "In Remembrance" ushers a person through the stages of grief, denial, anger, bargaining, depression, and acceptance.

And upon hearing this movement, I can understand this revelation.

- That journey through grief towards healing and acceptance, it feels universal 'cause I imagine that many in the audience will feel their own stories reflected in it.

So now let's allow the music to speak from here.

- Yes, and God knew their names, those lost souls and the living souls.

For those who suffered hardship, there had to be a turning point.

Change had to come because trouble don't last always.

They believed in an all powerful God, the great emancipator.

Hear the words of Samuel Boulware.

- "I members like yesterday, the Yankees coming along.

Master tried to hide the best stuff on the plantation, but some of the slaves that helped him hide it showed the Yankee soldiers just where it was when they come there.

They say, "Here's the stuff hid here 'cause us put it there."

Then, the soldiers went straight to the place where the valuables was hid, and dug 'em out, and took 'em.

Sure set old master down.

Us slaves were sorry that day for master and mistress.

They was getting old, and now they had lost all they had, and more than that, they know their slaves was set free."

- "Emancipation" by Priscilla Jane Thompson.

"'Tis a time for much rejoicing.

Let each heart be lured away.

Let each tongue its thanks be voicing for Emancipation Day.

Day of victory, day of glory, for thee, many a field was gory.

Many a time in days now ended hath our fathers' courage failed.

Patiently their tears they blended, ne'er they to their, Maker, railed.

Well we know they're groans, he numbered, when dominions fell, asundered.

As of old the Red Sea parted and oppressed passed safely through, back from the North, the bold South started, and a fissure wide she drew, drew a cleft of liberty.

Through it marched our people free, and in every memory grateful of the day they reached the shore, meet we now with hearts e'er faithful, joyous that the storm is o'er.

Storm of torture, may grim past hurl thee down his torrents fast.

Bring your harpers.

Bring your sages.

Bid each one the story tell.

Waft it on to future ages.

Bid descendants learn it well.

Kept it bright and minds now tender.

Teach the young their thanks to render.

Come with hearts all firm united in the union for a race.

With your loyalty well plighted, look your brother in the face.

Stand beside him.

Forsake him never.

God is with us now, forever."

(drumsticks clicking) (mellow jazz music) (mellow jazz music continues) (choir singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (soloist singing in foreign language) (soloist continues singing in foreign language) (soloist continues singing in foreign language) (choir singing in foreign language) (mellow jazz music continues) (soloist singing in foreign language) (soloist continues singing in foreign language) (choir singing in foreign language) (soloist singing in foreign language) (choir singing in foreign language) (choir continues singing in foreign language) (soloist singing in foreign language) (choir singing in foreign language) (soloist singing in foreign language) (choir singing in foreign language) (soloist and choir singing in foreign language) (soloist and choir continue singing in foreign language) (soloist and choir continue singing in foreign language) (soloist and choir continue singing in foreign language) (soloist and choir continue singing in foreign language) (soloist and choir continue singing in foreign language) (soloist and choir continue singing in foreign language) (soloist and choir continue singing in foreign language) (audience cheering and applauding) (audience continues cheering and applauding) (gentle orchestral music) (gentle orchestral music continues) (gentle orchestral music continues) (gentle orchestral music continues) (gentle orchestral music continues) (gentle orchestral music continues) (gentle orchestral music continues) (gentle orchestral music continues) (gentle orchestral music continues) (gentle orchestral music continues) (gentle orchestral music continues) (soloist singing in foreign language) (gentle orchestral music continues) (soloist singing in foreign language) (soloist continues singing in foreign language) (soloist continues singing in foreign language) (gentle orchestral music continues) (soloist singing in foreign language) (soloist continues singing in foreign language) (soloist continues singing in foreign language) (soloist continues singing in foreign language) (gentle orchestral music) (bright orchestral music) (choir singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (bright orchestral music continues) (bright orchestral music continues) (bright orchestral music continues) (choir singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (gentle orchestral music) (gentle orchestral music continues) (gentle orchestral music continues) (gentle orchestral music continues) (choir singing in foreign language) (gentle orchestral music continues) (soloist singing in foreign language) (soloist continues singing in foreign language) (soloist continues singing in foreign language) (soloist continues singing in foreign language) (gentle orchestral music continues) (gentle orchestral music continues) (gentle orchestral music continues) - [Spectator] Bravo.

(audience cheering and applauding) (audience continues applauding) (audience continues applauding) (pensive orchestral music) (choir singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (gentle orchestral music continues) (gentle piano music) (choir singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (gentle orchestral music continues) (choir singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (pensive orchestral music) (choir singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (pensive orchestral music continues) (pensive music orchestral continues) (choir singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (voices resonating) (gentle orchestral music) (gentle orchestral music continues) (choir singing in foreign language) (bell ringing) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (gentle orchestral music continues) (gentle orchestral music continues) (choir singing in foreign language) (choir continues singing in foreign language) (gentle orchestral music continues) (choir singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (dramatic orchestral music) (choir vocalizing) (dramatic orchestral music continues) (singers continue vocalizing) (gentle orchestral music) (choir singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (gentle orchestral music continues) (choir continues singing in foreign language) (gentle horn music) (horn resonating) (gentle horn music continues) (choir singing in foreign language) (gentle orchestral music resumes) (choir singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (gentle orchestral music continues) ♪ Lord ♪ ♪ In your infinite mercy ♪ (voices resonating) ♪ Grant them rest ♪ (voices resonating) ♪ Rest forever more ♪ (gentle orchestral music continues) (gentle orchestral music continues) (bell rings) - By this point, it's clear we're not just witnessing a performance.

We're on a journey, and you're guiding the audience through a deeply intentional quest for understanding, reflection, and truth.

So tell us more about that.

- Well, it was extremely important that I provide a historical glance on how people of color navigated and continue to navigate the American caste system and systemic racism.

Through research, my findings yielded narratives of the former enslaved, poetry and prose from Black authors.

History has shown that, after the emancipation, the majority of Black Americans were not treated fairly while sharecropping and became trapped within the iron grip of Jim Crow laws.

During the Civil Rights era, Black Americans, with support from others, fought for their inalienable rights.

Yet with each sometimes labored breath, they've remained steadfast in the fight for social justice.

- Well, we know that fight remains deeply relevant today, and by weaving historical truths into the musical fabric, you've allowed your audience not just to witness these stories but to feel them.

- Yes, the "Libera Me" I may becomes that fight for social justice.

"Deliver me Lord from death eternal."

This has been the clarion call for a resilient culture since 1619.

The harmonic foundation of this movement is based upon the similar chord progressions found in "Ave Maria," attributed to Caccini, Gloria Gaynor's "I Will Survive," and famous renditions of "Killing Me Softly" performed by Roberta Flack.

These timeless harmonic progressions are enhanced with the flavor of hip hop and rap, which addresses our current political and societal issues.

- The sacred and the contemporary, classical lines meeting modern resistance, the message that echoes across centuries, so let's listen to this powerful call for deliverance.

- From the arrival of a ship filled with African cargo in 1619 to over 400 years of enslavement, either on the plantation or incarceration, to lynchings and Jim Crow laws, to the murders of women and men in the 21st century, racism has plagued Black Americans.

Countless violent acts like the Red Summer massacre of 1919, Tulsa massacre of 1921, the 1963 bombing of the 16th Street Baptist Church in Birmingham, Bloody Sunday of 1965 in Selma, Alabama, and the senseless killings in 2015 at the Mother Emanuel AME Church in Charleston, South Carolina.

Tell me.

How can we sing in a strange land?

Claude McKay penned one of his most famous sonnets, "If We Must Die," in response to the atrocity of the Red Summer massacre.

"If we must die, let it not be like the hogs hunted and penned in an inglorious spot while round us bark the mad and hungry dogs, making their mock at our accursed lot.

If we must die, O let us nobly die so that our precious blood may not be shed in vain.

Then, even the monsters we defy shall be constrained to honor us, though dead.

O kinsman, we must meet the common foe.

Though far outnumbered, let us show us brave and for their thousand blows deal one death blow.

What, though, before us lives the open grave?

Like men we'll face the murderous, cowardly pack, pressed to the wall, dying, but fighting back."

(no audio) (gentle piano music) (gentle piano music continues) (gentle piano music continues) (gentle orchestral music) (gentle orchestral music continues) (gentle orchestral music continues) (soloist singing in foreign language) (soloist continues singing in foreign language) (soloist continues singing in foreign language) (soloist continues singing in foreign language) (soloist continues singing in foreign language) (dramatic orchestral music) (choir singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (soloist and choir singing in foreign language) (soloist and choir continue singing in foreign language) ♪ Deliver us, Lord, through death eternal ♪ ♪ Fighting every day, but we still got hurdles ♪ ♪ Spelling free without the R ♪ ♪ No resolution, a fee for the fall, no solution ♪ ♪ We carry freedom on our shoulders ♪ ♪ With the weight still on our back ♪ ♪ Marching streets like the '60s, we're under attack ♪ ♪ The lack of legislation and the lack of self-control ♪ ♪ My people up in heaven in God's hands to hold ♪ ♪ Trayvon, Breonna, George, Eric, Andre ♪ ♪ Tamir, Danielle, Tanisha, and Daunte ♪ ♪ Speak their names, remember their worth ♪ ♪ Even the ones forgotten will cause rebirth ♪ ♪ On this earth and in this nation ♪ ♪ Change the station ♪ ♪ The world will soon know the Lord of creation ♪ ♪ So together we stand hand in hand ♪ ♪ Praying for deliverance ♪ ♪ God, please end this ♪ (choir singing in foreign language) - I'm sick and tired of being sick and tired.

(choir singing in foreign language) - If I am truly free, how much of my freedom can I have today?

(choir singing in foreign language) - If you don't speak out, ain't nobody gonna speak out for you.

(choir singing in foreign language) - Deliver us.

Deliver us, Lord.

(soloist and choir singing in foreign language) (soloist and choir continue singing in foreign language) (soloist and choir continue singing in foreign language) (soloist and choir continue singing in foreign language) (choir singing in foreign language) (soloist and choir singing in foreign language) (soloist singing in foreign language) (soloist continues singing in foreign language) (gentle orchestral music continues) (gentle orchestral music continues) (gentle orchestral music continues) (gentle orchestral music continues) (audience cheering and applauding) (audience continues cheering and applauding) (audience continues applauding) (gentle piano music) - "The bounteous mercies of the Lord are hid beyond the sky, and holy souls that love his word shall taste them when they die.

The humble soul shall fly to God and leave the things of time.

Stand forth as 'twere at first the word to taste the things divine."

(choir singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (gentle orchestral music continues) (choir singing in foreign language) (choir continues singing in foreign language) - "Behold, the soul shall waft away whene'er we come to die and leave its cottage made of clay in twinkling of an eye."

(choir singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) - "When God shall send his summons down and number saints together, blest angels chant, triumphant sound, 'Come live with me forever.'"

(gentle music) (choir singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (choir continues singing in foreign language) (gentle orchestral music continues) (gentle orchestral music continues) ♪ I am the resurrection and the life ♪ ♪ Whoever believes in me ♪ ♪ Even if they die ♪ ♪ They will live ♪ ♪ And all who live ♪ ♪ And believe in me ♪ ♪ Will never die ♪ ♪ Will never die ♪ ♪ Will never die ♪ ♪ Will never die ♪ ♪ Will never die ♪ ♪ Will never die ♪ (voices resonating) - Well, the journey continues, but we're not quite at the end.

There's still one final chapter to unfold.

- You are correct.

(Amber laughing) Amid centuries of struggle, injustice, and success, generations of Black American sojourners sought for an eternal home in heaven.

Composed in the traditional gospel style, this closing movement of the requiem infuses excerpts from two Negro spirituals, "Oh, What a Beautiful City" and "Two Wings."

You will also hear excerpts from the traditional gospel hit "12 Gates to the City."

- These selections carry a profound spiritual weight and a rich cultural legacy.

And as we approach the final moments of the requiem, what do you hope will stay with the audience long after the last note fades?

- Well, through our requiem, we have chronicled the Black American experience, happiness, terror, fear, depression, freedom, celebration, honor, reverence, reckoning, peace, joy, and hope, hope that our ancestors are proud of our accomplishments, hope that keeps us fighting for justice and equality each day we live, and hope for our home in that city called heaven, where the streets are paved with gold.

- A journey of emotion, history, and truth, culminating in hope.

Dr. Ames, thank you for guiding us through "Requiem for Colour."

Let's experience the conclusion of this extraordinary work together.

- Black Americans have learned to survive and thrive in this strange land.

A large part of this survival has been ushered, nurtured, and propelled by the Black religious tradition.

- Whether the saints gathered for Sunday worship or galvanized themselves on the eve of a nonviolent protest, the music of the Black church served as a catalyst for hope, hope for a better day.

- It was this music that functioned as the balm in Gilead to make the wounded whole.

Lyrics such as... ♪ Ain't gonna let nobody ♪ ♪ Turn me round ♪ Encourage the people to fight on when faced with peril or sword.

It was this music that gave them freedom, and heart, and mind to sing of that city called heaven, where the streets are paved with gold.

- The Black religious tradition is based on the hope in the great by and by, the beautiful belief of the afterlife as described by John in the book of Revelation 21.

"Then I saw a new heaven and new earth, for the earth that was first had passed away.

There was no longer any sea.

I saw the holy city, the new Jerusalem, coming down out of heaven from God, prepared as a bride beautifully dressed for her husband.

And I heard a loud voice from the throne saying, 'Look, God's dwelling place is now among the people, and he will dwell with them.

They will be his people, and God himself will be with them and be their God.

He will wipe every tear from their eyes.

There will be no more death, or mourning, or crying, or pain, for the old order of things has passed away.'"

Don't you wanna go to that city called heaven?

(upbeat music) - [Drummer] One, two, three, four.

(upbeat music continues) (upbeat music continues) ♪ Oh, heaven, heaven ♪ ♪ I'm going there ♪ ♪ Heaven, heaven ♪ ♪ I'm going there ♪ ♪ One of these mornings, it won't be long ♪ ♪ You'll look for me, and I'll be gone ♪ ♪ Going up to heaven to sing and shout ♪ ♪ Nobody there to turn me out ♪ ♪ I'm going ♪ ♪ To a city called heaven ♪ ♪ Oh, yes, I'm going ♪ ♪ To a city called heaven ♪ ♪ Going to heaven ♪ ♪ To a city called heaven ♪ ♪ Going to heaven ♪ ♪ To a city called heaven ♪ ♪ Heaven, I'm going ♪ ♪ Ooh ♪ ♪ Heaven, heaven ♪ ♪ I'm going there ♪ ♪ I'm going there ♪ ♪ Ooh, yeah ♪ ♪ Heaven, heaven ♪ ♪ Oh, I'm going there ♪ ♪ I'm going there ♪ ♪ One of these mornings, it won't be long ♪ ♪ You'll look for me, and I'll be gone ♪ ♪ Going up to heaven to sing and shout ♪ ♪ Nobody there to turn me out ♪ ♪ I'm going ♪ ♪ To a city called heaven ♪ ♪ Oh, yes, I'm going ♪ ♪ To a city called heaven ♪ ♪ Going to heaven ♪ ♪ To a city called heaven ♪ ♪ Going to heaven ♪ ♪ To a city called heaven ♪ ♪ Whoo ♪ ♪ Yeah, I'm going there ♪ ♪ My God built a-that city ♪ ♪ He said it was just a-four square ♪ ♪ And he wanted all of y'all children ♪ ♪ To meet him a-in the air ♪ ♪ There are 12 gates in the city ♪ ♪ 24 elders in the city ♪ ♪ Waiting for me in the city ♪ ♪ Hallelujah ♪ ♪ Meet me, Jesus, meet me ♪ ♪ Meet me in the middle of the air ♪ ♪ And if these wings shall fail me ♪ ♪ Meet me with another pair ♪ ♪ There are 12 gates to the city ♪ ♪ 24 elders in the city ♪ ♪ Waiting for me in the city ♪ ♪ Hallelu ♪ ♪ Have you heard of a city ♪ ♪ The streets are paved with gold ♪ ♪ Have you heard of a city ♪ ♪ The streets are paved with gold ♪ ♪ Have you heard of a city ♪ ♪ The streets are paved with gold ♪ ♪ 12 gates to the city, hallelu ♪ ♪ Three gates in-a the east ♪ ♪ Three gates in-a the west ♪ ♪ Three gates in-a the north ♪ ♪ Three gates in-a the south ♪ ♪ Have you heard of a city ♪ ♪ The streets are paved with gold ♪ ♪ 12 gates to the city ♪ ♪ 24 elders in the city ♪ ♪ 48 angels in the city ♪ ♪ Waiting for me in the city ♪ ♪ Joy in the city ♪ ♪ Peace in the city ♪ ♪ Happiness in the city ♪ ♪ Shout hallelujah in the city ♪ ♪ No more crying in the city ♪ ♪ No more dying in the city ♪ ♪ Waiting for me in the city, hallelu ♪ ♪ I'm going there ♪ ♪ I'm going there ♪ ♪ I'm going there ♪ ♪ I'm going there ♪ ♪ I'm going there ♪ ♪ I'm going there ♪ ♪ I'm going there ♪ ♪ I'm going there ♪ ♪ Ooh ♪ ♪ I'm going, yes, I'm going ♪ ♪ To a city called heaven ♪ ♪ You know that I'm going ♪ ♪ I'm going, yes, I'm going ♪ ♪ To heaven ♪ ♪ To a city called heaven ♪ ♪ Yes, I'm going ♪ ♪ I'm going, yes ♪ ♪ Yes, I'm going to heaven ♪ ♪ I'm going ♪ ♪ To a city called heaven ♪ ♪ Had to cry sometimes ♪ ♪ I'm going to, yes ♪ ♪ On my way to heaven ♪ ♪ I'm going to, yes ♪ ♪ I'm going to heaven ♪ ♪ Whoo-hoo-hoo-hoo ♪ ♪ I'm going, yes ♪ ♪ I'm going ♪ ♪ I'm going to heaven ♪ ♪ To a city called heaven ♪ ♪ Yeah, yeah, I'm going ♪ ♪ I'm going, yes ♪ ♪ I'm going to heaven ♪ ♪ To a city called heaven ♪ ♪ Don't you wanna go ♪ ♪ To a city called heaven ♪ ♪ Oh, to heaven ♪ ♪ To a city called heaven ♪ ♪ And nothing but joy ♪ ♪ Nothing but joy ♪ ♪ To a city called heaven ♪ ♪ 12 gates to the city ♪ ♪ Yeah, yeah ♪ ♪ 12 gates to the city ♪ ♪ Yeah, yeah ♪ ♪ Yeah ♪ ♪ Waiting for me ♪ ♪ In the city ♪ ♪ Halle ♪ ♪ Hallelujah ♪ ♪ Lujah ♪ (voices resonating) (voices resonating) (audience cheering and applauding) (audience continues cheering and applauding) (audience continues cheering and applauding) (audience continues cheering and applauding) (singer vocalizing) (upbeat music resumes) ♪ 12 gates to the city ♪ ♪ Yeah, yeah ♪ ♪ 12 gates to the city ♪ ♪ Yeah, yeah ♪ ♪ Yeah ♪ ♪ Waiting for me in the city ♪ ♪ Halle ♪ ♪ Hallelujah ♪ ♪ Lujah ♪ (voices resonating) (audience cheering and applauding) (bright music)