Sowande lived a remarkable life in music, both as performer and composer. Known as the “father” of Nigerian classical music, he was equally at home in jazz. He received a thorough music education in both his native country and later, in London, England. The son of a priest and college teacher, his early life in Nigeria was immersed in the great Anglican Church music tradition, singing in traditional cathedral choirs, and studying organ. As s chorister his musical experiences including not only the traditional English repertoire, but also the introduction of native Yoruba music into Nigerian ecclesiastic music. His prowess as an organist led to the mastery of the great European organ works sufficient for a diploma from the Royal College of Organists. Moreover, concomitantly, he became a successful jazz bandleader!
To further his education, and establish a secure financial future, Sowande immigrated to England in 1934 to study civil engineering. That didn’t last long, for he was soon performing widely in the jazz world. His prowess as a pianist led to association with such luminaries as Fats Waller and Paul Robeson. He achieved signal recognition in as soloist in Gershwin’s Rhapsody in Blue in Blackbirds of 1936. Along the way he was active as organist (including the pop Hammond organ) and choirmaster, rising to prominence in the highest echelons of the English musical world.
In addition to mastery of the singular styles of Anglican Church music, as well as traditional jazz styles, he was particularly devoted to composing works that blended traditional Nigerian music with Western classical styles—both sacred and popular. Dance bandleader, choir director, jazz pianist, organist, composer, he moved deftly and successfully between all those musical worlds—not to speak of African and European ones, as well.
He was appointed MBE by Queen Elizabeth in 1955, and moved to the United States in 1968, where he taught at several universities until his death in 1987 while a member of the faculty at Kent State University.
In addition to his choral and organ compositions, he composed several works for orchestra, including Africa Suite for strings and harp. Written in 1944, its five movements are a study of Nigerian musical melodies, harmonies, and rhythms blended with traditional European orchestra techniques and textures.
The first movement, Joyful Day, uses a melody composed by the Ghanaian composer, Ephraim Kɔku Amu (1899-1995). He was a beloved teacher, cleric, musicologist, and performer in his country, and composer and collector of popular songs.Joyful Day is an effervesant study in taking a simple little repetitive tune and extending it into a substantial movement through a variety of textures, voicing, figurations, and harmonies.
Nostalgia is a lush evocation of his homeland, away from which he spent much of his life—in England and the US. While undoubtedly informed by Nigerian folk tunes, it is difficult to escape from a distinct impression that he was equally influenced by the rich string harmonies and folk-like melodies of the “pastoralist” composers of his new home in England: Vaughan Williams, Delius, Ireland, Butterworth, and others of that ilk.
Sowande once again draws upon a melody written by his fellow African, Amu, in the third movement, Onipe. The latter is a small village in the Oyo State of Nigeria.
The gentle mood of the Lullaby is based on a folk tune, and features a solo violin that contrasts with the surprising, turgid tremolos and active figures that soon become the accompaniment to the tune.
The finale to the suite is Akinla, features a spritely dance-like tune, an example of an important musical style in West Africa, called “Highlife.” A combination of Colonial European, Caribbean and African elements, it’s a vigorous and popular, jazzy style that has spread throughout much of the world today. It has many variants—“Palm Wine,” brass band, guitar band, and gospel—even a German version called “Burger Highlife.” Sowande’s take, though spirited, is a bit more sedate, but styles have evolved over the last seventy-five years or so. Interestingly, Akinla is well known to Canadians, owing to its use as a theme on a popular radio show.
--Wm. E. Runyan
©2022 William E. Runyan