A Triumphant Tapestry of Sound: The Heritage Signature Chorale under the direction of founding artistic director Stanley J. Thurston lifted their voices in memorable songs marking their 25th Anniversary.
by Patrick D. McCoy
From its inspired beginnings under the guiding spark of the venerable Rev. Frank D. Tucker to the warm, home cooked meals shared with Mrs. Harris—an early supporter who nourished conductor Stanley J. Thurston’s dreams during his college years—the Heritage Signature Chorale was born from community, vision, and unwavering belief. The concert presented on this past Saturday, May 17, 2025, at First Congregational United Church of Christ in the Nation’s Capital was a testament for the continued desire for choral musical excellence from a variety of genres.
Stanley J. Thurston is the founding artistic director of The Heritage Signature Chorale, recently celebrating its 25th Anniversary in a celebratory concert at First Congregational United Church in Washington, D. C.
In a time more than ever before, the church and concert hall kissed each other as the full robust voices The Heritage Signature Chorale was greeted with great enthusiasm from the full house. Thoughtfully curated in five compelling sections, the concert guided the audience on a powerful journey through the 25-year legacy of the Heritage Signature Chorale—celebrating its origins, milestones, and enduring mission. The section “Majesty and Celebration” began the program with three jubilant works: “Blessed Be God” by Betty Jacobson accompanied by Maxwell Brown set a reverent and resolute tone, serving as a musical cornerstone that evoked the spiritual foundation and guiding beliefs of the Chorale. Beethoven’s gloriously triumphant ‘Hallelujah’ from Christ on the Mount of Olives resounded through the sanctuary, as organ, orchestral ensemble, and brass converged in a dazzling tour de force—an ideal companion to the majestic power of the Chorale’s voices. Concluding this section was Z. Randall Stroope’s Consecrate the Place and Day, a stirring ode brought to life through precision, resonant brass, and soaring organ—collectively evoking a profound sense of ceremony and celebration.
The next section, titled “Faith,” unfolded as a spiritual journey told through four compelling works. Larry L. Fleming’s Every Time I Think About Jesus offered an introspective meditation on the goodness of God, its gentle phrasing drawing listeners inward. In contrast, Who’ll Be a Witness by Larry Farrow burst forth with fervent energy—a rousing call to action propelled by urgent, declamatory vocal lines. The mood shifted once again with Anton Bruckner’s Christus Factus Est, a reverent and solemn work. Here, the Chorale’s tightly knit, hymn-like harmonies showcased a beautifully unified choral sound, highlighting the ensemble’s refined control and emotional depth. Bringing the “Faith” section to a powerful close was another work by Larry L. Fleming—a dynamic setting of Ride On, King Jesus. Soprano Leila Gheitu delivered a soaring, impassioned solo that held the audience in rapt attention. As the piece built in intensity, the full chorus joined in, culminating in a triumphant and exhilarating finale that left the sanctuary reverberating with spirit and conviction.
“Testament” marked the final section before the brief intermission, offering a powerful reflection on enduring faith and praise. Mack Wilberg’s arrangement of the beloved hymn Come, Thou Fount of Every Blessing captivated with its imaginative treatment of each verse. The contrasting a cappella entrances by the women’s and men’s voices added rich texture and dynamic nuance. A highlight came in the form of an unexpected, yet warmly welcomed, organ interlude—filled with soulful embellishments and creative flair by organist W. Patrick Alston. The piece steadily grew in intensity, swelling with the full chorus, instrumental ensemble, and organ, arriving at a resounding and majestic conclusion. The section closed with Tom Fettke’s hallmark anthem The Majesty and Glory of Your Name, a sublime and stirring affirmation of worship, distilled in a single, transcendent word: Alleluia.
Opening the second half of the concert was a rousing showcase of virtuosic brilliance by guest organist W. Patrick Alston, a longtime collaborator with the Chorale. Alston performed his Improvisation on “All Hail the Power of Jesus’ Name”, a thrilling tribute to the beloved hymn. The work artfully spotlighted three distinct tunes—DIADEM, CORONATION, and MILES LANE—each rendered with bold creativity and masterful transitions. His commanding technical facility, combined with richly layered and robust registrations, breathed new life into the age-old anthem, turning the organ into a resounding voice of praise.
The final sections of the program, “We Will Remember” and “The Spiritual Legacy,” offered a deeply moving reflection on the Chorale’s mission and message. Hall Johnson’s Way Over in the Beulah Lan’ opened with joyful rhythmic vitality—a spirited reminder that, despite life’s trials, joy and peace await beyond. In contrast, T. Tertius Noble’s Souls of the Righteous provided a contemplative moment of solace, as the ensemble’s vocal warmth gently enveloped the sanctuary. Uzee Brown’s Rock-A My Soul was sung with exuberant spirit, carried by the commanding baritone of Vashawn McIlwain and the rich mezzo-soprano of Courtney Brown. Eugene Thamon Simpson’s work followed as a probing call to reflection and conviction, challenging listeners to confront the impermanence of life. A transcendent highlight came in the stirring rendition of Nathan Carter’s Some Day, featuring soprano Francese Brooks. Her soaring voice, layered above the full force of the Chorale, summoned a moment where the boundaries of concert decorum gave way to the rapturous spirit of worship. The brass, like a clarion call of angels, uplifted the soundscape with brilliance and power. It was an expression of sheer jubilation, reverence, and gratitude—an unforgettable culmination of the Chorale’s 25-year journey. Rounding out the evening of celebration was the section themed “The Spiritual Legacy,” featuring three beloved spiritual settings: “Elijah Rock!”-Hall Johnson, My God is a Rock-arr. Ken Berg and the engaging fresh setting of “He’s Got the Whole World in His Hands” by Cedric Dent of the famed group “Take 6.”
An evening of celebration, rich with musical milestones, shared memories, and unbridled joy, marked the 25th Silver Anniversary of The Heritage Signature Chorale—a tribute met with resounding recognition and heartfelt appreciation.
A native of Petersburg, VA, Patrick holds a BM in Vocal Performance from Virginia State University and a MM in Church Music from Shenandoah Conservatory. Formerly the Performing Arts Columnist for Washington Life Magazine, he currently is a freelance writer, publishing articles for several noted publications and organizations, including The Washington Post, Early Music America, Classical Music Voice North America, The Afro-American Newspaper, Prince George’s Suite Magazine, CBS Washington, Examiner.com and Washington Classical Review. He holds membership in the Music Critics Association of North America, National Association of Negro Musicians, Inc., American Choral Directors’ Association, Association of Anglican Musicians, a former member of the Shenandoah University Alumni Board of Directors, a member of the Shenandoah University Black Alumni Network, Board Member of Early Music America, a Life Member of Alpha Phi Alpha Fraternity, Inc. and a member of the Sigma Zeta Chapter of Phi Mu Alpha Sinfonia Fraternity of America. As an alumnus of Shenandoah, he was named to the Dean’s Circle of the Shenandoah Conservatory Advisory Board. He enters his 8th year as Organist/Choirmaster at Saint John’s Episcopal Church, Zion Parish in Beltsville, MD. Patrick is the host of “Across the Arts” both a live and virtual media platform covering the performing arts. Visit http://patrickdmccoy.com and follow him on Facebook and Twitter @PatrickDMcCoy, IG: PDM06. and subscribe to “Across the Arts” on YouTube.