Man's inhumanity to man, in all its evil forms, has persisted throughout history, and unfortunately continues to the present day.

Libraries and other resources are replete with horrifying stories of captivity, bondage, torture and death – among them the enslaved Africans in the United States, countless numbers of whom lived and died in abject misery without ever knowing emancipation or another way of life.

Yet, for all the oppression and hardships the African-American slaves endured, they gave to the world an enduring musical legacy in the form of spirituals (also referred to as Negro spirituals), the beauty of which bears testimony to both the indomitable human spirit and the fact that hope, then as now, springs eternal.

In fact, this legacy is quite remarkable because the spirituals were not the work of eminent composers and lyricists, but degraded men and women consigned to toiling endlessly in a country far removed from their roots and culture, and for whom freedom of expression was severely restricted.

Nevertheless, they were able to create an invaluable body of work which is as distinctive as it is enduring. Primarily expressions of religious faith, some of the African-American spirituals are also seen as having served as socio-political protests veiled as assimilation into white American culture.

Popular wherever they are performed, it was therefore not surprising to see such a large and appreciative audience savouring the recent 'Concert of Spirituals' held at the Wesley Methodist Church in Hamilton.

Presented by the immaculately trained Ensemble Singers, and expertly directed by Lloyd Matthew, the performance featured visiting guest soloists Celia Tucker (soprano), Melvin Greenwich (cello) and Clifford Terry (piano) as well as marking the welcome return of Bermudian tenor Dr. Gary Burgess.

Other soloists were Davidson Bishop, Alana MacPhee, Donna Belton, and Philip Spencer.

The programme, which could be described as 'a feast of plenty', began with the lively 'Ev'ry Time I Feel the Spirit', and included a host of favourites – among them 'Steal Away', 'Great Day', 'Gonna Shout All Over God's Heaven', 'He's Got the Whole World in his Hands', 'Ride the Chariot', and 'Battle of Jericho', before concluding with a triumphant performance of 'Ride On King Jesus' in which all of the soloists joined the choir.

As the principal soloist, Miss Tucker, who was making her second appearance with the Ensemble Singers, was outstanding. Resplendent in embroidered purple, with a striking headdress, she was an expressive and powerful performer who brought depth and passion to whatever she sang.

Dr. Burgess is always a pleasure to hear, and he too sang with passion. His performance of 'My God Is So High' was particularly lovely.

Especially touching was the tribute to the late Bermudian professional musician Milton Robinson, whose instrument cellist Melvin Greenwich used in the performance of 'Religioso' by Georg Goltermann. Accompanied by Mr. Matthew on the organ, this moving work was beautifully performed, and a perfect choice to honour both Mr. Robinson's memory, and the members of his family who were present.

As befits a church setting, this was an inspirational concert designed to lift the spirits and feed the soul, and as such it succeeded handsomely on both counts.