FORM-Idea

To say that the world of classical music has been slow to diversify would be an understatement, with statistics for both instrumentalists in major orchestras as well as the composers of the works they perform point to the fact that the classical music world is still sadly overwhelmingly white. The acclaimed classical double bassist OBE, Chinyere Adah Nwanoku, decided ten years ago to challenge this situation and formed a new orchestra which would feature black and ethnically diverse players, as well as be committed to perform the works of minority composers.  In the nine short years since its formation, Chineke has become one of the most acclaimed orchestras in the world.  Chineke has also become the launching pad for classical music stars such as cellist Shaku Kannah Mason who famously played at Prince Harry and Meghan’s wedding.  This June Chineke (which in Igbo, means God of creation of all good things) appeared at London’s Queen Elizabeth’s Hall and showcased an eclectic programme which featured compositions by Nigerian composer Fela Sowande’s, British Nigerian composer Cassie Kinoshi along with German composer Max Richter’s new re-composition of The Four Seasons, by Vivaldi. It was very much an evening to remember.

The first composer whose work was performed that evening was Fela Sowande [1]. Sowande was the son of a priest who was a pioneer of Nigerian church music.  As a young man, Sowande travelled to the UK to study civil engineering but while pursuing his degree he also continued his musical training.   He eventually enrolled at Trinity College of Music and later would become a follow at the Royal College of Organists, while also collaborating with popular musicians of the time including Adelaide Hall and John Coltrane. Throughout his life, he continued to compose and it is a tragedy that his name is not better known, since just on the evidence of this evening’s presentation of the African Suite for strings, his work is simply masterful.

Sowande’s African Suite was followed by the beautiful To the Hibiscus by Cassie Kinoshi. A rare orchestral composition for the Handpan, a percussive musical instrument played this evening by the talented percussionist Rosie Bergonzi.   The piece is staggeringly beautiful and is unusual in its choice as a solo instrument.  To the Hibiscus is both haunting and truly memorable.

The evening concluded with a performance of German musician and composer Max Richter’s recomposing of Vivaldi’s Four Seasons, a welcome reminder of the greatness of a work, that can seem over familiar, but here his new arrangement of the score helped the audience hear it as if for first time.This programme of new work combined with a reworking of a classic was a welcome reminder of the greatness of Chineke’s work and how the orchestra has filled an important gap in our classical music landscape.

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