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To say that the world of classical music has been slow to diversify would be an understatement. Statistics on both the makeup of major orchestras and the composers whose works they perform reveal that the classical music scene remains overwhelmingly white.

Ten years ago, the acclaimed double bassist and OBE recipient Chinyere Adah Nwanoku set out to change that. She founded Chineke!, an orchestra dedicated to showcasing Black and ethnically diverse musicians, and committed to performing works by underrepresented composers.

In just nine years, Chineke! has become one of the most celebrated orchestras in the world. It has also served as a launching pad for rising classical stars, including cellist Sheku Kanneh-Mason, who famously performed at the wedding of Prince Harry and Meghan Markle.

This June, Chineke!—whose name means “God, the creator of all good things” in Igbo—performed at London’s Queen Elizabeth Hall, presenting an eclectic programme that included works by Nigerian composer Fela Sowande, British-Nigerian composer Cassie Kinoshi, and Max Richter’s reimagining of Vivaldi’s The Four Seasons.

It was truly an evening to remember.

The first composer featured that evening was Fela Sowande [1]. Sowande, the son of a priest and a pioneer of Nigerian church music, began his journey in the UK as a civil engineering student. However, alongside his academic pursuits, he continued to nurture his passion for music. He eventually enrolled at Trinity College of Music and later became a Fellow of the Royal College of Organists, all while collaborating with prominent musicians of the time, including Adelaide Hall and John Coltrane.

Throughout his life, Sowande remained a dedicated composer. It is a tragedy that his name is not more widely known, as the evening’s performance of his African Suite for Strings revealed a composer of extraordinary mastery.

Sowande’s African Suite was followed by the beautiful To the Hibiscus by Cassie Kinoshi—a rare orchestral work featuring the handpan, a melodic percussive instrument. The piece was performed with great sensitivity by the talented percussionist Rosie Bergonzi. Unusual in its choice of solo instrument, To the Hibiscus is staggeringly beautiful—both haunting and unforgettable.

The evening concluded with a performance of German composer Max Richter’s Recomposed: Vivaldi – The Four Seasons. While Vivaldi’s original may feel overly familiar to some, Richter’s reimagining served as a powerful reminder of its enduring brilliance, allowing the audience to experience the piece with fresh ears.

This thoughtful programme—combining newly composed works with a bold reworking of a classic—was a testament to Chineke!’s mission and impact. The orchestra continues to fill a vital gap in our classical music landscape, bringing fresh perspectives and long-overdue representation to the concert stage.

1] Fela Sowande is a little-known name both inside as well as outside the classical world