SONGS OF THE SURROUNDED

THEY WERE SURROUNDED BY THE HOLY SPIRIT AS THE ECHOES OF LIFE INSPIRED A GENERATION IN SONG!

By Noel Serrano

There are groups and quartets. There are trios and also the endless list of grand Primadonnas that grace the halls and sanctuaries with splendid song and melody, but there is a Choir that holds a true sentimental place in the heart of our family. This true sentiment has been strengthened through the years, with the loving echoes of songs and praise and worship to a faithful God.

These were songs that were filled with power and great blessings. They were songs of conviction and devotion. The singers were not just engaging in an empty tune and that is what distinguishes the beloved Choir; "Echos De Vida"! The very name of this Choir serves as a legendary metaphor for what they have become. The Choir that we have chosen to honor in this feature is the official choral body of the beloved "Sinagoga" located in Harlem, New York. This grand Choir was formed in the late 1940s, by a group of devoted people that were filled with the Holy Spirit. During the early 1950s, a tan, majestic woman directed the Choir in its infancy. Her name was Sister Valdez. Sister Valdez and her assistant,by the name of Pio Gautier casually led a group of God-fearing singers and slowly began to form the Choir that would go on to edify the lives of many generations. These early members gathered to rehearse the sermon in song for the Sunday services. The Choir; "Ecos de Vida" was formed in the late 1940s and was first directed by Sister Valdez. The Choir was very close to this short and tanned servant of God.. She was very stern and serene, at the same time. Many described her as the type of person that could get things done with a heavenly ease. Sister Valdez was deeply committed to the choir. There were times when Choir members began to talk and giggle at rehearsals and this Woman of Prayer, lowered her head in solemn meditation. she would not say much, for this action was sufficient for the choir to get at attention and back into business. A tear would come down her cheek if there was any mumbling. The Choir had so much respect for this woman, that they would follow her instructions to the letter. Sister Valdez led the Choir for many wonderful years. She set the stage for the ongoing tradition of the Choir that she loved. the Choir was then, directed for a brief time by sister Gloria Pena. Sister Valdez had completed her long tenure and the Choir recognized her long service and devotion to the musical ministry. Sister Valdez had an Assistant in Brother Pepe Gauthier, who helped her with the Tenors and the Basses.The Choir; "Echoes of Life" of the 1950s sang with deep fervor and reflected their devoted lives in song, for the Choir prepared long and hard in the message and harmony of the musical numbers. The Choir prayed before every song and it became an enduring custom. This procedure led to place the Choir and the congregation in true communion for the delivery and preparation of a blessing. This Noble Choir has shown the consistency, through the long, turbulent years.The early years set the stage for an enduring age of musical triumph. The Holy Spirit surrounded the early singers and the congregation would be swept up in thunderous adoration and praise. The Choir sang just moments before the Sunday sermon and cleared a path between the devotion and the evangelical message of the evening. The choir would come marching down the long corridors, with the ladies wearing their well-pressed black skirts and glossy white blouses.They wore black tie ribbon-laces around their collar. The men wore black suits and ties.The Choir; "Echos of Life" formed a now-familiar circle in front of the original Sinagoga in 109Th in New York. Among the early Choir members of the 1950s were Felicita M. Serrano, Nieves Bosch and a very young Joaquin Maldonado. There was a young man that was preparing himself in the academic and the musical world. He was quickly becoming involved in the church and he was destined to direct the choir. In the early 1960s, Raul Gonzalez led the Choir to new heights and God blessed the musical ministry with a string of triumphant deliveries, for they were surrounded by the spirit of the Lord. The majestic echoes reverberated throughout the large new Temple on 125Th St. each Sunday Evening. The Tall man came up to the piano and directed the Choir to stand. The familiar scene was spectacular and certain children could recall the choir, moving and resembling a long-winding "train" as they positioned to the platform that overlooked the congregation.It was now the early 1960s. The Choir; "Echos of Life" was now singing the introduction to the radio program of the church; "The Pentecostal Hour on WBNX in New York. "Estad por Cristo firme" ("Stand up, stand up, for Jesus") God was truly blessing this Choir and many new selections were being added to their growing repertior. Raul began to coach the voices with weekly intensity. The late Choir member Felicita M. Serrano, lovingly recalled the many times that Raul would exercise their voices with a continuous scale of La-La-La-. this was a repetitious vocal exercise that was designed to strengthen and refine the vocal range and quality. Deep fervent prayer was never compromised. All of the members were God-fearing people that lived the daily life of true devotion. They also had deep respect for their Director. The Choir was now able to sing in other churches. There was an evening where the selected song of the day did not really go according to plan. It was the Latin classic; Propter Magnum Glorium".The Choir had rehearsed this number for many weeks and Raul was certain that they were ready. some Choir members recall that night as the Choir began to sing this selection. They were overlooking a large Hall with overhead balconys that join in both ends of the auditorium. This was the evening that the sopranos went one way and the Tenors went another way. fortunately the congregation did not notice, for it was sung in Latin. Carmen Ortiz, Raul's sister laughed as she recalls the event. everything was going great, but at the last verses, the four singing sections went in different directions. The Tenors were on left field when they should have been in the right. The Choir survived this evening and went on to see many other moments, some great and others that were memorable.The Choir was now singing with a heart-filled conviction. They had been tested by fire. They had tasted the experience of scorn and ridicule, they had experienced the painful realities of life and now the echos of that devoted life were resounding in song,The multitude in the grand sanctuary froze in solemn communion as the great man sitting high at the altar, gazed towards the Choir that was now in the front of the pulpit. The Pastor was pleased with this musical ministry. He was very proud of his Choir. Raul, the tall, dignified Director began to play the Choir introduction for the choral entry The singer's eyes were now on Raul Gonzalez. Raul would direct with his eyes as his fingers were methodically engaged with the powerful piano chords. The sounds of Hallelujah reverberated throughout the great Hall as the Choir echoed their rendition of the beloved classic. Rev Abelardo Berrios was so moved, that on the night that the Choir sang the Hallelujah chorus, He asked the Choir to come back to the platform and sing it one more time. The Choir stood up and sang. They gave an encore, much to the delight of the Pastor and the congregation. The Choir was well-disciplined and versed in their selections, for they toiled for many hours at long and hard rehearsals every Thursday evening on the 2nd floor of the sanctuary. Raul was a very systematic Director. He was very stern and meticulous. He wanted the chords to be as sharp as his trumpet. There were moments of levity and the young ladies would find something to giggle about. Raul would stop the rehearsal and turn to the ladies and with a stern countenance, declared; "You should all be crying!" ("Debieran de estar llorando!") (TO BE CONTINUED) (An ongoing Series)