VOICES OF THE DIASPORA… HOSEA & HOPE

LAND & ANCESTOR ACKNOWLEDGEMENT:

Today we honour and acknowledge that we stand on the traditional land of many nations including the Mississaugas of the Credit First Nation, the Anishinabek, the Chippewa, the Haudenosaunee, and the Wendat peoples. This territory is governed by the Dish With One Spoon Wampum Belt Treaty. In the Spirit of that Treaty, we seek to place at the centre of our gatherings the values of respectful reciprocity, diversity, peace, responsibility, and mutual aid.

We acknowledge all Indigenous nations and African diasporic communities unjustly harmed by generations of imperial domination, subjugation, colonialism, displacement, and cultural genocide – wounding tribes, families, elders, children, and natural resources, from the continent of Africa and around the globe.

We acknowledge the brilliance, courageous leadership and presence of Black communities for hundreds of years on this territory. We offer gratitude for all who labour, both past, present, and future, to make Tkaronto a safer and more just environment for racialised peoples. We acknowledge centuries of Black and Indigenous solidarity, collaboration, love, mutual support and resilience. We commit ourselves to confronting, challenging, and uprooting racism and colonialism at all levels of our personal, social, and collective spaces.

We acknowledge all who came before us, all Black and Indigenous Ancestors of the territories we inhabit, and we extend our gratitude and respect.

Welcome Note

In one of R. Nathaniel Dett’s famous quotes he states, “We have this wonderful store of folk music—the melodies of an enslaved people … But this store will be of no value unless we utilise it, unless we treat it in such manner that it can be presented in choral form, in lyric and operatic works, in concertos and suites and salon music—unless our musical architects take the rough timber of Negro themes and fashion from it music which will prove that we, too, have national feelings and characteristics, as have the European peoples whose forms we have zealously followed for so long.”

 Tonight, we are delighted to present the works of two ‘musical architects’ who have both embraced and incorporated several Black idioms into their creations showcasing not only their compositional skill but highlighting also one of the most necessary and powerful of human emotions – hope.

 We begin the concert with Damien Geter’s ‘Cantata For A More Hopeful Tomorrow’. The work was commissioned by The Washington Chorus in 2020 during the COVID-19 pandemic lockdown and other events that heightened awareness of the challenges faced by Black communities; and was recorded virtually and released digitally. In November 2020, the composer stated, “It is a fact that the pandemic has touched the Black community in a much more aggressive manner than other communities. To highlight this atrocity, I chose to pay homage to the ancestors and Black [folx] by incorporating spirituals in this Cantata…2020 has been a tough year: not only because of the pandemic but because of the various other traumas that have been continuously inflicted on the Black community and our world at large… Even though things may seem tough in the present moment, there is a light that shines toward the future.”

 I invite you to read, listen and reflect on this work, and indeed the entirety of the evening’s repertoire, with our theme and title in mind. In the words of the featured poets: “Look everywhere: the deepest stars, your innermost, the farthest cry, the closest breath”; “Go back to the parts of you that house ambitions. Where you’ll find your glory, The drive to endure. Learn again to just breathe”; “Nothing is ever really lost, or can be lost… To frozen clods ever the spring’s invisible law returns, With grass and flowers and summer fruits and corn.”

 In the second work of the evening, we showcase ‘Hosea: An Oratorio’ written for The Nathaniel Dett Chorale by Dr. Stephen Newby – The Lev H. Prichard III Endowed Chair in the Study of Black Worship, Professor of Music and Ambassador for the Black Gospel Music Preservation Program at Baylor University. The work is a vibrant fusion of classical, jazz, hip-hop, and gospel idioms, written for chorus and soloists, and accompanied by a string quartet and a jazz/gospel combo. The overarching theme of the work is ‘To Return, with Love’. Inherent in this message are the ideas of hope, unconditional love, reconciliation, and compassion, the practice of which are so necessary in our current world ethos.

 The renowned author Toni Morrison stated, “This is precisely the time when artists go to work. There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language [to this I would add, we sing]. That is how nations heal.” Ms. Morrison goes on to say, “I know the world is bruised and bleeding, and though it is important not to ignore its pain, it is also critical to refuse to succumb to its malevolence. Like failure, chaos contains information that can lead to knowledge – even wisdom. Like art!”

 Tonight’s artists – composers and performers alike – have gone to work to be the ‘musical architects’ of a programme we trust will move you in wonderful ways and inspire you to be hopeful, no matter what. Welcome to Voices of the Diaspora…Hosea & Hope.

D. Brainerd Blyden-Taylor
Artistic Director

VOICES OF THE DIASPORA… HOSEA & HOPE

Grace Church-on-the-Hill, 300 Lonsdale Road, Toronto
Saturday February 21, 2026, 8:00pm
D. Brainerd Blyden-Taylor, conductor
 Dakota Scott-Digout, collaborative pianist

 PROGRAMME

Welcome & Opening Remarks

Lift Every Voice and Sing | J. Rosamond Johnson (1873–1954),
arr. Roland M. Carter (b. 1942)

 Cantata For A More Hopeful Tomorrow | J. S. Bach (1685-1750)/Damien Geter (b. 1980)
Annie Ramos, soprano
Samuel Bisson, cello
Chamber Singers:Athina Babayan & Gisele Kulak, sopranos
Théa Nappert, mezzo soprano
Benjamin MacDonald & Nicholas Gough, tenors
Matheus Coelho & Dave Yung, basses

1. Fear
2. The Prayer
3. Breathe
4. The Resolve
5. Hope

INTERMISSION

Hosea: An Oratorio | Stephen Michael Newby (b. 1961)
Dakota Scott-Digout, piano
Stephen Newby, electric piano

Corey Butler Trio
Corey Butler, organ
Randall Hall, bass
Ethan Groves, drums

The Odin String Quartet
Tanya Charles, violin
Bijan Sepanji, violin
Matthew Antal, viola
Samuel Bisson, cello

 Spoken Word: Statement 1

1. The Beginning of the Word of the Lord by Hosea (Hosea 1:2)
2. We Are the Heirs of the Living God (Hosea 1:10)

 Spoken Word: Statement 2

3. Contend (Hosea 2:2.3)
Ianjai Mounsey-Ndemo or Karen Weigold, alto
4. Then Said the Lord unto Me (Hosea 3:1.2.3)
Paul Williamson or Benjamin MacDonald, tenor
5. For Lack of Knowledge (Hosea 4:6)

Spoken Word: Statement 3

6. Hear Ye This (Hosea 5:1.2)
7. For I Desire Mercy (Hosea 6:6)
8. Ephraim’s Iniquity (Hosea 7:1)
Athina Babayan or Kaisha Lee, soprano
9. Reaping the Whirlwind (Hosea 8:1)
Alexandra McArthur, alto, or Athina Babayan or Maddalena Ohrbach, soprano
10. Rejoice Not, Oh Israel (Hosea 9:1)
Dave Yung or Josh Pâté, bass

Spoken Word: Statement 4

11. Israel Is An Empty Vine (Hosea 10:1.12)
Annie Ramos or Gisele Kulak, soprano
12. Unceasing Love (Hosea 11:1)
Ianjai Mounsey-Ndemo, or Karen Weigold, alto

Spoken Word: Statement 5

13. Idols and Altars (Hosea 12:11)
Darryl Huggins, bass, & Ianjai Mounsey-Ndemo, alto, or Josh Pâté, bass, & Alexandra McArthur, alto

Spoken Word: Statement 6

14. God Will Not Relent (Hosea 13:14)
Matheus Coelho, baritone & Karen Weigold, alto or Dave Yung, bass- baritone & Théa Nappert, mezzo-soprano

 Spoken Word: Statement 7

15. Return (Hosea 14:1; Zephaniah 3:14

PROGRAMME TEXT

Lift Every Voice and Sing

Lift every voice and sing,
Till earth and heaven ring,
Ring with the harmonies of Liberty;
Let our rejoicing rise
High as the listening skies,
Let it resound loud as the rolling sea.
Sing a song full of the faith that the dark past has taught us,
Sing a song full of the hope that the present has brought us;
Facing the rising sun of our new day begun,
Let us march on till victory is won.

Stony the road we trod,
Bitter the chastening rod,
Felt in the days when hope unborn had died;
Yet with a steady beat,
Have not our weary feet
Come to the place for which our fathers sighed?
We have come over a way that with tears has been watered.
We have come, treading our path through the blood of the slaughtered,
Out from the gloomy past,
Till now we stand at last
Where the white gleam of our bright star is cast.

God of our weary years,
God of our silent tears,
Thou who hast brought us thus far on the way;
Thou who hast by Thy might,
Led us into the light,
Keep us forever in the path, we pray.
Lest our feet stray from the places, our God, where we met Thee,
Lest our hearts, drunk with the wine of the world, we forget Thee;
Shadowed beneath Thy hand,
May we forever stand,
True to our God,
True to our native land.

~James Weldon Johnson (1871-1938)

Cantata For A More Hopeful Tomorrow

I. FEAR

Weinen, Klagen, Sorgen, Zagen
J.S. Bach (1685-1750) – BWV 12;
Text by Salomo Franck (1659‑1725) & Megan Levad (b. 1978)

Weinen, Klagen, Sorgen, Zagen,
Weeping, lamentation, worry, despair,
Angst und Not
Fear and need
Sind der Christen Tränenbrot,
Are the Christain’s bread of tears,
Die das Zeichen Jesu tragen.
Who carry the sign of Jesus.

First we sought to tame the fire, the flood,
the mountain and its bear.
We worshipped where we walked,
and praised each day.

We learned: look everywhere
for danger –
poison berry, poison charm;
sudden precipice. The stranger.

For we are born to trouble,
we are built for trouble.
We seek, we seek,
we seek and reach.

All our cares become shadows
on a long day.
All our cares become sorrows
as the sparks fly.

We seek to tame the fire, the flood,
the mountain and its bear,
the poison, the precipice. The stranger.

Look everywhere: the deepest stars,
your innermost,
the farthest cry,
the closest breath.

All our cares become sorrows
as the sparks fly.
All our cares become shadows
on a long day.

For we are born to trouble,
for we are made for trouble –
we are made to seek,
and try, and dream.

II. THE PRAYER

I Want Jesus to Walk with Me
Traditional African American Spiritual

I want Jesus to walk with me.
All along my pilgrim journey,
Lord, I want Jesus to walk with me.
In my trials, Lord, please walk with me.
When my heart is almost breaking,
Lord, I want Jesus to walk with me.

III. BREATHE

Text by Aminata Sei (b. 1973)

With effortless, simple repetitions,
No complex expectations shrouded by worry,
No disappointments imagined,
Just breathe.

Then interruptions,
Devastations leaving the world feeling sorry,
Questions, uncertainty emerge,
Now we don’t know how to breathe.

Standing in confidence of our decisions.
Shaken, with little hope to carry,
Movement halted, emotions stirred,
We must continue to breathe.

Go back to the parts of you that house ambitions.
Where you’ll find your glory,
The drive to endure.
Learn again to just breathe.

IV. THE RESOLVE

There’s a Balm in Gilead/By and By
Traditional African American Spirituals

There is a balm in Gilead,
To make the wounded whole.
There is a balm in Gilead,
To heal the sin-sick soul.

Sometimes I feel discouraged,
And think my work’s in vain.
But then the Holy Spirit,
Revives my soul again.

There is a balm in Gilead,
To make the wounded whole.
There is a balm in Gilead,
To heal the sin-sick soul.

Don’t ever feel discouraged.
Just lean on your friend.
And if you lack for knowledge,
They’ll never refuse to lend. 

There is a balm in Gilead,
To make the wounded whole.
There is a balm in Gilead,
To heal the sin-sick soul.

By and by, when the morning comes.
All of us are here together as one.
And we will tell the story of how we’ve overcome.
And we will understand it better by and by.
There is a balm in Gilead.

V. HOPE

“Continuities”
Text by Walt Whitman (1819-1892)
[From a talk I had lately with a German spiritualist.] 

Nothing is ever really lost, or can be lost,
No birth, identity, form—no object of the world.
Nor life, nor force, nor any visible thing;
Appearance must not foil, nor shifted sphere confuse thy brain.
Ample are time and space—ample the fields of Nature.
The body, sluggish, aged, cold—the embers left from earlier fires,
The light in the eye grown dim, shall duly flame again;
The sun now low in the west rises for mornings and for noons continual;
To frozen clods ever the spring’s invisible law returns,
With grass and flowers and summer fruits and corn. 

INTERMISSION

How does Hosea prove, legitimise, critique and serve our contemporary situations? What can we learn from these passages? How do we apply these notions to our current state of affairs and life nuances? And, if we believe these prophetic words, how do we apply the lessons of God’s righteousness and a transgressor’s stumbling, reconciling belief and behavior, and evaluating the text in terms of its historical meanings versus our present status? One can easily address these questions by considering what Holy Scripture is supposed to champion and how we intake its content. Music can be a great resource for teaching God’s Scripture and God’s story.

 When we embrace the meta-narrative of God’s Kingdom, we see how we fit into the story. From Hosea’s story, we learn lessons that shed light on how we ought to pursue God. James K. A. Smith, in his work entitled: Imaging the Kingdom/How Worship Works, speaks to this notion of how the meta-narrative works in our lives. “The formative power of cultural narratives cannot be adequately met or countered with mere didactics. Counter-formation requires countermeasures that capture our imagination and don’t just convince our intellect.”

 Hosea speaks messages of repentance, restoration, reconciliation and return. The prophet beckons the nation of Israel to return to Yahweh. We want to develop a series of liturgies that proclaim the message of Hosea. Due to the complex nature of the material, language and bewilderment within the text, most congregations succumb to dismissing material beyond Hosea 4. In this project, my goal, as a composer and theologian, is to create theologically and biblically sound art music, liturgy and communicative mediums that tell the Hosea story with practicality and intentionality. In the music this evening you should hear and experience the following:

• Musical ideas in the songs that captures the teaching of Hosea (both tonal and atonal).
• Text setting, through a King James interpretation of scripture, that funds and fuses newly composed funk, neo-soul, jazz, classical and gospel songs depicting the Hosea text.
• Music that is multi-ethnic, intergenerational and diverse.
• Music that finds its shape spiritually, theologically and biblically by portraying the Hosea text.
• Music that inspires us to dance. Hence, through our bodily movement we might examine the biblical text differently and theologically.
• The medium as oratorio to marry text and music with gospel choir/rhythm section and string quartet accompaniment.
• Songs and various other liturgical elements, allowing for congregational participation and reflection. For God is ultimately the audience of one.

I believe good music married with biblical and theological scholarship is a virtue. Music should inspire us to hold fast to our theological grammar and biblical storytelling. This is how I choose to create my scholarship. Art, in its very nature, is complex and prophetic. Therefore, we must continue to speak with prophetic and musical voices, pointing to Jesus Christ and the prophets before him.

While the prophet Hosea illustrates to us how the love of God, emerging in the most depraved dismal circumstances, transforms humanity, it is God’s duty to transform and resurrect creation. Hosea teaches today’s world that hope and love triumph over the sting of death and insignificant representations of the grave. It is the power of the resurrection and hope we find in the redeeming salvific life of Jesus Christ that points the way forward for the new creation God provides to all creation. When we return to God, new life returns to us. This is the gospel story we share with the world. For all of us are heirs of the Almighty Wise Eternal God. The ministry of music and worship arts should not shy away from presenting stories from the prophets. If we will discipline ourselves toward a rigorous exploration of Holy Scripture, we will find greater artistic means and creative expressions for portraying the story of redemption within the prophetic artistic mediums and literatures.  I hope you enjoy the music and take hold of the message.

~Reflections by Stephen Michael Newby, composer

BIOGRAPHIES:

Stephen Michael Newby

Stephen Michael Newby currently serves as The Lev H. Prichard III Endowed Chair in the Study of Black Worship, Professor of Music and as Ambassador for The Black Gospel Music Preservation Program at Baylor University. He formerly served as Minister of Worship at Peachtree Presbyterian Church in Atlanta, GA, and as Director for the Center for African American Worship Studies at Trevecca Nazarene University in Nashville, TN. He held a tenured Professor of Music post at Seattle Pacific University, where he also served as Director of University Ministries, Director for the Center for Worship, and Senior Advisor to the University President for Missional Excellence.

He has more than three decades of university-level teaching and administration to his credit. He is a native of Detroit, Michigan, and received his Bachelor of Arts in Vocal Music Education from Madonna University in Livonia, Michigan. He received a Master of Music in Jazz Composition and Arranging from the University of Massachusetts at Amherst. He returned to Michigan to complete his Doctor of Musical Arts in Composition at the University of Michigan in Ann Arbor and served as an Assistant Professor of Music Composition and Computer Arts. He received his Master of Arts in Theology from Seattle Pacific Seminary.

For more than 35 years, he has served in various church music ministries in Michigan, Massachusetts, Washington, California, Georgia and Texas. His voice and works have earned awards and grants from the National Endowment for the Arts (Continental Harmony Grant), the King County Arts Commission of Washington, The Rackham School Fellowship for Ethnomusicological Research in Dakar, Senegal, and the John Wesley Work III National Composers’ Award. For more than nine years, he served as national anthem conductor for the Seattle Sounders FC. He created concert music for The Cascade Youth Symphony, Seattle Symphony, Ann Arbor Symphony, Canton Symphony Orchestra, New Haven Symphony, Savannah Symphony, and the New World Theater Orchestra, among others. His concert music works are recorded by Albany Records and Parma Recordings. His gospel music works are recorded and published by Maranatha Music and Newby’s Witness Music. His scholarly works are published by Redemption Press, Oxford University Press and Rowman & Littlefield, his worship and praise choral compositions are published by GIA, Gentry, Fred Bock, and OCP. He writes Op. Eds for Christianity Today. He is editor for PRO MUNDO—the African American Sacred Music Series with OCP Choral.

The Odin Quartet

The Odin Quartet, formed in 2015 and hailing from the heart of Toronto’s musical scene, derives its name from the Norse god Odin, revered for his insatiable thirst for wisdom and knowledge. Embodying Odin’s spirit of exploration, the quartet endeavors to redefine classical music’s role in contemporary storytelling.

At its core, the quartet is a testament to the diverse talents and backgrounds of its members. Alex Toskov, a virtuoso violinist and multi-instrumentalist, brings forth his Serbian heritage and musical depth from Belgrade, Serbia. Tanya Charles, an accomplished violinist and dedicated educator, channels her heritage from Saint Vincent and the Grenadines into her performances, infusing them with passion and cultural resonance. Matthew Antal, a violist with a keen ear for audio engineering, blends his Italian and Hungarian heritage seamlessly into the quartet’s fabric, adding technical finesse and musical sensitivity. Samuel Bisson, a cellist and accomplished composer of French Canadian descent, revitalises the ensemble with his unique artistic vision and profound understanding of the cello’s voice.

Together, their collective artistry forms the cornerstone of the Odin Quartet’s musical exploration and innovation. Committed to broadening the reach of classical music, the quartet champions modern Canadian compositions alongside classical masterpieces, offering audiences a diverse and enriching musical experience.

Their performances have graced renowned festivals and concert series including Music Toronto, Music Niagara, Luminato Festival, Guelph Connections, Concerts Ponticello and Ottawa Valley Music Festival, captivating audiences with their emotive interpretations and innovative programming.

During the challenging times of the pandemic, the Odin Quartet launched a project called “Lockdown Lullabies”, commissioning 28 original compositions from composers worldwide and premiering them over 2 evenings. These compositions, originating from diverse corners of the globe, including Canada, the UK, USA, Hong Kong, Norway, Brazil, France, Italy, China, and Spain fostered artistic connections across borders, serving as a beacon of hope and resilience during uncertain times.

Since 2018, the quartet has proudly served as the Ensemble-in-Residence for the Scarborough Philharmonic Orchestra, further solidifying their role as cultural ambassadors and community leaders in the Canadian music scene. Notably, the quartet has been featured as soloists with the orchestra on a new work by Samuel Bisson entitled “EPITAPH foratonality” which showcases the quartet’s collaborative spirit and their commitment to pushing the boundaries of classical music.

Odin Quartet has released three albums, “Lockdown Lullabies” (2025), “Between the Lines” (2023) and “Journey Through Night” (2021), that all feature premiere recordings that showcase the ensemble’s innovative approach and mastery in the contemporary classical music landscape. Additionally, their featured appearances on albums such as “From Oblivion to Hope” by Frank Horvat, “Jamaican Quartets” by Ted Runcie and “Happy Alchemy” by Shannon Graham showcase their ability to seamlessly integrate into diverse musical landscapes.

Renowned for their collaborative spirit, the Odin Quartet has partnered with a diverse array of artists from the classical, world, jazz and pop/rock worlds, forging connections that transcend traditional boundaries and inspire new musical horizons. They have had the honour of sharing the stage with virtuoso violinist Atis Bankas and celebrated pianists Alexander Panizza and Victoria Kogan whose dynamic interpretations, technical brilliance, and emotive storytelling have captivated audiences worldwide. Collaborative ventures with acclaimed artists including AHI, David Usher (from Moist), Ellen Reid (from Crash Test Dummies), Thompson Egbo-Egbo, Joey Niceforo and Tenzin Choegyal highlight the quartet’s versatility and willingness to explore new musical horizons.

With their unwavering dedication to musical excellence and their tireless commitment to pushing the boundaries of classical music, the Odin Quartet continues to inspire audiences and shape the future of Canadian music.

Corey Butler

Corey Butler is the Founder and Executive Director of Zamar Music Inc., a multifaceted music arts organization committed to impacting communities through music art education, music mentorship and music art performance and production.

He served as the Musical Director of the Juno Award winning Toronto Mass Choir for over 10 years and has written songs with Grammy Award winning Hall of Fame inductee Carvin Winans. Butler has also played with some of the finest musicians and singers in Toronto including the incomparable, Jackie Richardson. Corey is also a music professor in the Arts, Media, Performance and Design (AMPD) program at York University. He continues to make a mark on the music industry in Canada having produced album recordings for the Toronto Mass Choir, Londa Larmond and Gospel Joy (Poland) to name a few.

In addition to his skills as a piano player, musical professor and producer, Butler also curates entertaining and educational docu-concert performances that fosters the ideals of love, equity and diversity.

THE NATHANIEL DETT CHORALE

D. Brainerd Blyden-Taylor

D. Brainerd Blyden-Taylor is the Founder, Artistic Director and Conductor of The Nathaniel Dett Chorale, Canada’s first professional chamber choir dedicated to the creation, preservation, and performance of Afrocentric choral music of all genres. Mr. Blyden Taylor has worked extensively as an educator at the university, public school, and community levels; and was awarded the degree Doctor of Laws (honoris causa) from York University, Toronto for his service to education. He is in demand as a guest conductor, clinician, adjudicator, and lecturer, both nationally and internationally. Mr. Blyden-Taylor is also an active and dedicated church musician.

Dakota Scott-Digout

Originally from Nova Scotia, Toronto-based pianist Dakota Scott-Digout has been heard in recital across North America as both a collaborator and soloist, gaining praise particularly for his performances of chamber music and art song. Dakota serves on the artistic team of the Toronto Children’s Chorus, the VOCA Chorus of Toronto, and The Nathaniel Dett Chorale; and has enjoyed collaborations with the Elmer Iseler Singers and That Choir. Recent projects have included an ongoing collaboration with Echo Chamber Toronto in their production A World Transformed, which intertwines art song and chamber music with dance. Additionally, Dakota was a featured artist alongside soprano Tracy Cantin and tenor Marcel d’Entremont during Debut Atlantic’s 2022/2023 concert season. Dakota is highly sought after in Toronto as a collaborative pianist, clinician, and serves as a pianist for voice performance classes at the University of Toronto.

Dakota holds degrees in piano performance from Université de Montréal and Mount Allison University. Currently, he is pursuing a Doctor of Musical Arts at the University of Toronto where he was named the 2020 winner of the Gwendolyn Koldofsky Prize in Accompanying, awarded to the top collaborative pianist at the Faculty of Music. He has further refined his skills at the Orford Music Academy, Barachois Summer Music Festival, Musique sur Mer with pianist Susan Manoff, and was an Art of Song Fellow as part of the Toronto Summer Music Festival in the summer of 2021. His principal teachers have included Stephen Runge, Jimmy Brière, and Steven Philcox. Particularly passionate about French vocal repertoire, Dakota’s research interests are centred around early twentieth century performance practice and the mélodies of Gabriel Fauré.

The Nathaniel Dett Chorale

The multi-faceted vocalists of The Nathaniel Dett Chorale perform all styles and genres of music as appropriate to the traditions of Africa and its Diasporas. The Chorale’s mission is to build bridges of understanding, appreciation, and acceptance between communities of people through the medium of Afrocentric choral music.

Founder D. Brainerd Blyden-Taylor named The Nathaniel Dett Chorale after internationally renowned African Canadian composer R. Nathaniel Dett (1882-1943) to draw attention to Dett’s legacy, to the breadth of Afrocentric choral music, and to be a professional choral ensemble where persons of African heritage can be well represented.  Currently in its 27th Season, The Nathaniel Dett Chorale is also Artist in Residence at The Harriet Tubman Institute for Research on Africa and its Diasporas at York University.

Despite our best efforts to avoid errors and omissions, mistakes can occur. If your name is listed incorrectly, misspelled or missed inadvertently, we apologise for any inconvenience this may have caused. We would appreciate being notified of any errors. Please send an e-mail to info@nathanieldettchorale.org