The Dessoff Choirs and Orchestra, conductor Malcolm J. Merriweather and soloists soprano Janinah Burnett and bass-baritone Dashon Burton, give world-premiere recordings of two seminal choral works by African American composer Margaret Bonds here on the just-released Credo and Simon Bore the Cross.

New York City-based The Dessoff Choirs, instrumental in re-establishing the music of 20th-century African American composer Margaret Bonds with the world-premiere recording of her Christmas oratorio The Ballad of the Brown King, present two more Bonds premieres: new orchestrations of her cantata Simon Bore the Cross created with long-time collaborator and friend Langston Hughes, and the large-scale Credo set to prose by W. E. B. Du Bois.

MARGARET BONDS (1913-1972)
CREDO
Text: W.E.B. Du Bois 1868-1963 ed. Rollo Dilworth
1. I. I Believe in God (2.30)
2. II. Especially do I Believe in the Negro Race (3.23)
3. III. I Believe in Pride of Race (3.03)
4. IV. I Believe in the Devil (1.32)
5. V. I Believe in the Prince of Peace (6.10)
6. VI. I Believe in Liberty (4.24)
7. VII. I Believe in Patience (2.19)

Credo bears Bonds’ evocative vocal writing style infused with elements from various black musical genres. The first complete performance of the work was given in 1973, to rave reviews, and opens here with the resonant timbre of I Believe in God, searingly poignant Especially do I Believe in the Negro Race, a quietly triumphant I Believe in Pride of Race, before we are brought forth the expertly Omen-esque I Believe in the Devil.

Up next is the is the more sedately paced, lighter fare of I Believe in the Prince of Peace, this first work rounding out on the soaringly heartfelt I Believe in Liberty, coming to a close on the sprightly, for the most part, yet grounded throughout I Believe in Patience.

SIMON BORE THE CROSS
Text: Langston Hughes 1901-1967
ed. & arr. Malcolm J. Merriweather
8. I. Prelude (4.55)
9. II. I Find No Fault (1.54)
10. III. The Trial (5.34)
11. IV. Who Is That Man? (4.02)
12. V. Don’t You Know, Mary? (4.06)
13. VI. Walkin’ to Calvary (8.38)
14. VII. The Crucifixion (4.18)
15. VIII. Postlude: Resurrection (5.34)

For the second work, Simon Bore the Cross, the essence of the late African-American composer Margaret Bonds is never too far, for this breathtakingly heartfelt new recording of it opens on the aching yearn of the Prelude, before that itself is backed by the sombre tones within I Find No Fault, the harmoniously-cultivated The Trial, and the earnest Who Is That Man?

Along next is the softly harmonized Don’t You Know, Mary? and the free flowing melodies within Walkin’ to Calvary, the recording, as a whole, rounding out on the sternly poignant of The Crucifixion, coming to a close on the pleasing Postlude: Resurrection.

With this release - coinciding with Black History Month - conductor Malcolm J. Merriweather, The Dessoff Choirs and Orchestra and soloists soprano Janinah Burnett and bass-baritone Dashon Burton, bring Margaret Bonds’ beautiful and spiritual music back to life, conveying a powerful message that remains poignant and relevant for music lovers today.

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