Video
Historical Narrative
In mid-20th-century Chicago, Betty Jackson King and Ethelynde Engram (1913 - 2001) occupied intersecting spheres of African American concert music, sacred music, and organizational leadership through the National Association of Negro Musicians. Ethelynde Engram was a Chicago Chapter President of the National Association of Negro Musicians, (NANM, Inc.). Ethelynde Engram was also a prominent Chicago church and concert singer.
Their connection is most concretely evidenced by King’s 1956 dedication of her choral arrangement Stan’ the Storm to Engram and her ensemble, Die Lorelei. This dedication, combined with their mutual roles as performers, educators, and advocates for the Negro spiritual as concert art, situates them within a shared cultural mission to elevate and preserve Black sacred music traditions during a transformative era in American music. This dedication reflects their shared mission to elevate the Negro spritual as a concert art form and preserve the sacred heritage of Black music in Chicago and beyond.
Musical Description
Rooted in the rich tradition of the African American spiritual, Stan’ the Storm is one of Betty Jackson King’s most stirring and beloved arrangements. Written in G major for women’s voices (S.S.A.) and soprano solo, this setting blends rhythmic vitality with emotional depth. Marked Rhythmic, the piano introduction establishes an energetic pulse that propels the singers forward, creating a sense of endurance and forward motion consistent with the text’s message of hope and perseverance: “Stan’ the storm, it won’t be long, we’ll anchor by and by.”
King’s masterful choral writing balances a strong solo voice with supportive choral responses, symbolizing both the individual’s journey through hardship and the collective faith of the community. Her harmonies—firmly grounded in the brightness of G major—provide both strength and reassurance, while subtle syncopations and dynamic contrasts invite expressive interpretation.
This work showcases King’s deep understanding of the spiritual as both a cultural testimony and a concert art form. It challenges singers to communicate conviction and emotion through phrasing, balance, and tonal unity. Dedicated to Ethelynde Engram, a noted Chicago musician and NANM leader, Stan’ the Storm stands as a testament to courage, artistry, and faith.
Ideal for college, church, or women’s ensembles, this piece continues to inspire performers and audiences alike with its timeless message: no matter how fierce the storm, faith will anchor the soul.