Why was Addaquay’s Performance at Ebony’s Funeral Cut Short?
Alfred Patrick Addaquay’s solo performance of the Hallelujah Chorus was cut short by the MC at the funeral celebration of late Ghanaian star Ebony Reigns.
In the light of the increasing influence this genre of music is making in contemporary Ghanaian society, a number of fans of the pianist and general appreciators of Ghanaian art music found this apparent slight distasteful.
We spoke to the pianist to find out what exactly happened that morning, and why. Alfred himself did not display any animosity concerning that episode. The MC’s interruption was only to help Alfred, whose performance at the funeral was being overshadowed by noise from the crowd at the State House.
The occasion was one of great public interest, and those gathered had other priorities than to listen to good music or contemplate their own mortality. Those in charge at the funeral celebration felt it necessary to cut short his performance because of the growing disorder and the eagerness of everyone to move on to other things.
From this perspective, the interruption might seem justified. However, we’re still disappointed with the lack of respect shown to the musician, first by the MC, and secondly by those gathered to satisfy their morbid curiosity. The entire basis of etiquette at classical performances is respect: for one’s self, fellow members of the audience and the performer and their art. As part of the social commentary criticising the public’s response to the death of Ebony, we find that this unfortunate set of events fits well into the patterns of behaviour we should abhor.
The argument may be made that this was no “concert performance”, and as such, expectations of the audience should not be so high. Nonetheless, we find the occasion required more decency than was generally shown.
Regardless of what happened (and was not allowed to happen in full), what is more important was that the passing of this young, inspiring artiste brought together several people from diverse musical backgrounds. We can only hope that solidarity does not wane in the aftermath of this event.
Aside being a composer, music director and charismatic keyboardist, Alfred Patrick Addaquay is an amazing tenor. Here are two live performances from the popular musician:
The first, We Praise Thy Name O Lord is taken from his oratorio Laudateur Christus, which was premiered last year in Accra. The oratorio, which finds inspiration for its subject, overall structure and thematic ideas from the great Christian baroque oratorios is Alfred’s largest scale composition.
This chorus stands out as one of the more popular anthems from this work, and has been performed by a few choirs in the country.
The duet is a rewritten arrangement of the original chorus, and was performed with Marie of Bel Canto Chorus.
The second performance is of Capua’s O Sole Mio. Here, Addaquay shows off his virtuosic talent as a tenor, while accompanying himself on the keyboard.
For those of you who saw clips from the maestro’s wedding, this was the same love song he serenaded his new wife to at the ceremony. Off course, he left the congregation stunned!
Photos: Nana Asaase, Six Strings, Lekzy Steals Classics & Comedy Show
Photos: Nana Asaase, Six Strings, Lekzy Steals Classics & Comedy Show
Ghana’s biggest comedy acts made an appearance at the 2016 edition of the Classics and Comedy event which came off last Saturday. August 13. Big names that were billed to make an appearance at the event included KSM, DKB, Foster Romanus and Ajeezay. The comedy show with a blend of classical music, guitar performance and poetry came off at the Accra International Conference Center (AICC) with…
This calls for a bit of celebration: this month, Choral Music Ghana is a year old!
We'd like to thank you for being with us on our journey exploring the choral music scene in Ghana and bringing the best in whatever small way we can to you. We’ll take a look at some of the highlights of our first year, in anticipation of some of the critically acclaimed events we’re expecting to entertain us this year.
2015 was exceptional in the events it had; we saw Patrick Addaquay's remake and premier of his Baroque-styled oratorio Laudater Christus. For me it heralded the emergence of Bel Canto Chorus as a major choral ensemble in Ghana, and reasserted Addaquay as one of Ghana's leading contemporary pianists, and certainly the most active and popular. I was saddened by the fact that it did not make as large as impact as it deserved. Laudater Christus is after all, the only major oratorio Ghana can boast of.
Classical Laughs, the classical music and comedy series started by Extreme Productions, a production house founded by a member of Harmonious Chorale to promote classical musicians and soloists was unique in its departure from the largely sacred repertoire of most concerts and performers. Most people forget serious art music is an independent form. Just as we saw culturally relevant works performed at the University of Ghana Music Department, it's good to realise people appreciate the breadth of experience serious art music can express. Perhaps in the near future we will see a growth in choral music of the secular form.
Harmonious Chorale’s “Evening with the Masters” towed a similar line by exploring besides the sacred, several culturally relevant secular choral works of Sam Asare-Bediako. Though mostly Christian, other themes explored included morality, sanitation and a return to the social values necessary to community building. This initiative is led by their ever gracious patron Rev. Joyce Aryee to expose the composers of our favourite Ghanaian songs. With a good concert in Accra and repeat in Kumasi, Harmonious Chorale left us eager for whose work they will showcase for this year.
As is expected, several albums were released by some of our favourite choral ensembles. We will go into our favourite picks of last year in a feature article later this month. Each pick is a unique work worthy of mention.
This year, we look forward to more of these, including favourite serial events such as Gramophone Ghana’s Fellowship of Songs, the second Classical Laughs and what wonders Armaah and his Harmonious Chorale will bless us with.
It was great to be a part of these events, to see choral music make such strides. It’s also been a wonderful year of bringing you the best in Ghanaian choral and classical music. Here's to more awesomeness to come!
Jesse Johnson was called to witness the Margins Group’s 25th Anniversary Night of Music. It was a night of glamour mild disappointment and stirring music. Here are his thoughts on how the night went.
An interesting thing happened at the beginning of this week: we were called impromptu to a “small concert” with Addaquay, the St. John’s Methodist Junior Choir and the National Symphony Orchestra at a “certain hotel” in Accra on Wednesday night.
Though I was ill prepared and preoccupied with non-musical duties, I joined Isaac of SJMJC some distance away from the Kempinski Hotel and together we strode into what turned out to be one of our most glamorous nights of the year.
The Kempinski Hotel in Accra, “Gold Coast City” at Ridge has “the largest and most luxurious” ballroom in West Africa, and is especially equipped for musical performance. It’s a shame our trusty photographer got no shots to illustrate this point besides a few grainy photos on our Instagram page.
The breathtaking atmosphere set the stage for what we expected to be an extraordinary night.
The host, Margins Group, held the Night of Music to celebrate their 25th Anniversary. The first part featured serious music from the National Symphony Orchestra, Addaquay and the SJMJC. Following that, contemporary artistes took the stage to light the rest of the night up. Naturally, we stayed for the first part only.
The program started awfully late. Right from the start, the commencement time was unclear. Performers were expected to be present at the invite-only concert at 4:00pm. I was told the first hour of performance will start at 6:00pm. A business friend I bumped into expected the music to start an hour earlier. At about 7:30, the National Symphony Orchestra opened with a medley of Christmas carols arranged for string, brass and wind instruments.
It was quite clear that this event was hastily prepared for. Even on our part, we weren’t sure we will be in attendance. Patrick Gbekle, virtuoso trumpeter with the NSO admitted that indeed they had very little time to rehearse the music they performed. That little fact made the night more amazing in retrospect: the performances were quite splendid!
Kennedy Dankwa, one of Ghana’s foremost bass soloists sang Mozart’s Non Piu Andrai from his Marriage of Figaro. I was unfortunate to miss most of Kennedy’s performance at Classical Laughs some months ago. He was the primary reason for my attendance but, alas, I made it late. Being a bass soloist myself, I appreciate the part and effort it takes to deliver. Granted, this particular solo doesn’t sound particularly challenging (if you’re a reasonably good performer) but Kennedy’s dramatic gestures were most impressive.
You didn’t need to understand Italian to “get” what he was communicating. Speaking of communication: there was a lot of it between soloist and orchestra that night. Again, this pointed to the seeming lack of practice. Kennedy was in control and part conducted the orchestra: emphatically at a tricky entry after singing an extended passage unaccompanied.
What won me was Kennedy’s dramatic singing: with hints of playfulness and sudden forcefulness, those of us who sat in front got the full impact of his performance. The sound was balanced, from the soloist and from the ensemble. The strings were few and the sound was quite muffled. I paid no attention to the other instruments. They didn’t get in the way of the performance (as sometimes happens with brass instruments and voices overshadowing all others)
Addaquay and the St John’s Methodist Junior Choir came in after a few minutes of delay that gave room for the NSO to give us some more music. The MCs (I have my own issues with them) weren’t even helpful. I was let down when they made fun of the situation. It was their job the keep the spirits of the audience up, and eliciting their laughter seemed to work. But not for me.
When Addaquay eventually got on stage with his choir, he repeated the admonition he gave at his Night of Hymns. As usual, he pleaded for silence so the music can be listened to, and reminded the audience that they will be called in to sing along when it was time.
The saddest fact of the night was the poor audience behaviour. The lady sitting behind me sang right through the orchestra’s filler music (Silent Night) and some of Addaquay’s. She also made me know that she missed her school days where, presumably, she was made to sing hymns at assembly. I actually got up under the pretext of getting better shots, to get away from her.
The corporate audience definitely did not expect to be standing and singing hymns with Addaquay. When he motioned for them to rise up, few did. Many of those were the top executives who filled the front row. After a few seconds of singing O Come all Ye Faithful, they too sat down. I was the only one left standing when the hymn was done.
Addaquay played the Overture from Handel’s Messiah on a synthesizer, sang Comfort Ye and Every Valley shall be Exalted, before leading the choir in the chorus For Unto Us a Child is Born. For the first time I actually noticed flaws in Addaquay’s performance. Hints pointing at a hastily put together performance? Perhaps. Alfred actually missed several notes in his performance of the Messiah Overture.
His microphone was a tad too loud. This magnified the artifacts in his singing which somewhat ruined the arias for me. But he held his own and with his usual vibrato and dramatic antics, pleased the audience. The choir saved the night with a particularly well-performed Adeste Fidelis. If there’s one thing I’m thankful for, it is their voices and Alfred’s coaching. The choir seemed to falter with some parts of For Unto Us a Child is Born, but their performance still ranks higher than most I have heard from choral ensembles in Ghana.
Although the night was tainted with hitches in musical performance and an unenthusiastic audience, I enjoyed myself. The performers were professional in their conduct, the music was good and I hold them in high regard for putting on such a show in so little time.
Hopefully, the ballroom at the Kempinski Hotel in Accra will be put to more musical use more often. The grandness of the location seems to inspire the best in everyone!
God of Our Fathers was written in the 19th Century to commemorate the 100th anniversary of the Declaration of Independence of the United States of America.
Here, we hear the Saint John Methodist Junior Choir rehearse this 113 year old hymn with Alfred Patrick Addaquay, in preparation for their Night of Hymns on the 29th of November, this year.
The night promises to be a celebration of hymn from across the Western world and Africa. In a break from the tradition, Addaquay promises us new music to ancient words.
Jermaine Kudiabor spoke to Theophilus Adu Bredu over the weekend for his thoughts on the journey so far with Bel Canto Chorus and Alfred Patrick Addaquay.
On 30th August history was made as the first oratorio composed by a Ghanaian was performed.
Laudateur Christus is the work of Patrick Alfred Addaquay, arguably Ghana’s foremost concert pianist and classical musician and he chose his own Bel Canto Chorus to render it. And boy did they render it.
This wasn’t the first time we at CMG have heard of Bel Canto Chorus and over the weekend I interacted with their assistant organist Theophilus Adu Bredu to talk about the choir that is making such huge waves in Ghana’s choral music scene.
According to Theophilus, Bel Canto started as Navidad Chorus, a collection of individuals – mostly IMCS Pax Romana Choir alumni from University of Cape Coast who were based in Kumasi. The purpose of the choir was to minister solely at Christian feast days like Christmas.
On 1st September 2014 Navidad Chorus was renamed Bel Canto Chorus with Patrick Nana Sarfo as main director and Patrick Alfred Addaquay as its musical director. Right now Bel Canto has a modest number of forty with about thirty active members.
“The main purpose of the choir is to praise God with music and interpret it beyond human imagination.”
Bel Canto achieves this by having all night Friday rehearsals at Kaase Catholic Church, Kumasi. “Within this period choristers are taught music… we also hold workshops on voice, dynamics and the likes.” Knowing Theo as well as I do it’s not difficult to imagine the pride with which he types these words. “After learning and rendering the songs we actually compare them to an international choir and critique ourselves.”
When I asked how he joined Bel Canto he answered, “I am a student of P A Addaquay… my major challenge was which choir in Ghana can help me mature my love for (musical) interpretation? I told Addaquay about it and after long deliberation (he) suggested the new baby Bel Canto Chorus to me. They had only just changed the name then.”
When the conversation shifted as it obviously would to Addaquay, there were more glowing words of praise. “Working with him is one of the best things you could have as a Ghanaian musician. He has wide knowledge and imaginative skill. Consciously or unconsciously you begin to see music in a different way.”
That seems evident because within one year of its reformation Bel Canto has pleased with its Life of Christ concert held at several venues in Accra, Cape Coast and Kumasi. The latest favourite being of course, Laudateur Christus. The Messiah inspired oratorio was performed at the Covenant Family Community Church to great applause and Theo promises repeat performances in several other regions before the year ends. Have no doubt that CMG will be the first to let you know those dates.
If you are in Kumasi and want to be a part of this young choir’s bright future, contact their director Patrick Nana Sarfo on (+233) 0242318619.
On Sunday 30th August 2015, Alfred Patrick Addaquay made history when he premiered Laudateur Christus, the first oratorio written and publicly performed by a Ghanaian composer. The event was held at the Covenant Family Community Church at Cantoments, Accra.
I heeded Alfred’s admonition to “not be late”, and arrived at 3:30pm, an hour before time. The chapel was almost empty, save for the performers themselves. I was (personally) surprised to find the Ghana Police Central Band, Accra, on stage with members of St. John’s Methodist Junior Choir in plain clothes.
The band’s name appears on the official poster, so it was my negligence of that little fact. Most of Choral Music Ghana’s promotion efforts focused on Addaquay and the Belcanto Chorus.
At the time I got there, the brass and woodwind band were rehearsing Adeste Fidelis and Thine be the Glory. They will perform these two hymns at the end of the evening’s main event. The Ghana Police Central Band was conducted by Inspector Felix Osei Maboah. It’s music director is Dr. Frank Hukporti.
I spent a few minutes with the choristers in the dressing room and had the pleasure of speaking to Inspector Elikplim Adzroe, a big fan of Choral Music Ghana. We spoke extensively about the organisation, the police band and possible future collaboration. Expect more from us in the near future.
30 minutes to time, less than fifty people sat scattered in the chapel. Rehearsal and sound testing was halted. Professor Kwabena Nketia, Africa’s most celebrated musicologist walked in at 4:20pm. I first met the legend while organising Pax Choir KNUST’s Choralfest with Newlove Annan. He’s since been a regular face at concerts I’ve attended, including a number of Addaquay events this year. I love Nketia’s passion and support for young talents. For a man as long lived and experienced, gracing the concerts of his “sons in music” with his presence is a big deal.
At 4:40, ten minutes after the stated time of the concert, Nana Akuffo Addo walked in to much applause. The chapel was getting full. Moments later, the police band took the stage.
I failed to get the official list of pieces performed at the event, so details here are sparse. The notable pieces the police band performed included Pachelbel’s Canon in D and a medley of themes from Hans Zimmer’s Pirates of the Caribbean OST.
The audience (slowly swelling) sat muted throughout the police band’s performance until the third piece was completed. The fourth piece was a lively tune perfectly executed to our collective delight. The dynamics were well articulated and all parts of the police ensemble responded accurately to the conductor’s directions. The audience’s applause brought us to the famous piece: Pachelbel’s Canon in D.
A solo bassoon started the canon’s famous line. The saxophones joined, and then the flutes and percussion. The latter drew my attention and I realised something was - odd about the performance. This wasn’t exactly Pachelbel’s canon. It was something else.
This was the Canon in D rewritten in 6/8 time for a more authentic African rhythm - an idea introduced and popularised by Nketia himself. Despite the enjoyable rhythm, the performance was dominated by the brash brass instruments. I would have prefered that they were muted because the woodwinds were drowned entirely. The audience didn’t have the chance to enjoy the interesting interaction of voices that makes this canon so good.
The police choir’s last performance was the medley of themes from the Pirate’s of the Caribbean. It got off to a shaky start, this time with the clarinets drowning out every part (even the brass!) save the bass and snare drums. Even the less agitated themes sounded loud and intimidating. However, the final performance was aced by the percussion. The boisterous rhythm was felt at crucial moments of their performance, and when it wasn’t needed, the drums were gracefully silent (or mild, when called for).
The next section of the night began with Alfred appearing in a white suit to personally introduce his work and his choir. Every Addaquay performance I’ve attended begins with a crash course in concert etiquette. It’s one reason why I’ll always encourage any serious concert goer to attend an Addaquay event early.
The man clearly understands the need for proper audience participation when serious music is being performed. Unlike pop concerts that encourage more extroverted reaction from the audience, serious music demands rapt attention because that is the only way one can observe the genius a composer works into his/her music.
My first lessons in concert etiquette were given by Mr. Ken Kafui in 2005 when I was in Achimota School. It’s pretty standard comportment; nothing out of the world: you sit quiet throughout the performance and pay attention to the music. Applaud only when the conductor indicates that the music is over - remain silent otherwise. A good performer knows to follow the conductor’s direction before, during and after the performance. The audience is part of the music and it’s only right that they do likewise.
Silence is crucial to understanding and enjoying serious music: Addaquay did not fail to mention that. And the audience (for the most part) heeded him. It’s this engagement with the audience that makes Alfred a spectacular man. He not only wishes us to hear his music: it’s important that we hear it the right way.
My only pet peeve is his disclaimer that “the pieces will be short” so the audience bear with him. I don’t remember him say this at the premier, but he’s made this statement more than once at his British Council recitals. Perhaps it’s just me: I love my music long and interesting. A composer of his stature needs time to fully develop his ideas.
I hope Alfred doesn’t give in to our growing addiction to brevity. Not in his most serious work.
Laudateur Christus was written in 2005 as Laudate and revised later. it recalls man’s gratitude to God. The work was renamed this year. It was written for SATB chorus and solos and piano. Unfortunately, there was no piano on stage. Addaquay and Theophilus were on two synthesizers, emulating other instruments.
After a brief sound check, Addaquay played the overture. The transition was too smooth so the opening piece was well underway before I realised what was happening. I can make no comment about it.
The chapel was three-quarters full when the first air, Blessed is He, began. It was a slow and graceful start to what will turn out be a long night. Long and beautiful.
Before the overture, Addaquay pointed out his influences: Handel’s Messiah and Haydn’s Creation. This was quite clear from the ornate overture, the three part structure of the oratorio with a second instrumental number, a “Praise Symphony”. It was quite an adventure trying to identify borrowed themes, though I later felt that was more of a distraction. More on this later.
I’ve been spoiled by the Aggrey Memorial Chapel Choir’s spectacular choir rise before performing. Blame Ken Kafui for that one too. The Belcanto choristers rise for the first chorus was not uniform. That did nothing to rob the music of its excellence.
The second chorus was - as we already expected - distinctly baroque in style. Based on the sacred text “Unto us a child is born”, it was a fitting nod to Handel’s enduring chorus on the same text. Quite naturally, extensive melismatic phrases dominated our impression of the music. All these felt perfectly authentic - a testament to Alfred’s keen study of the work of the great masters.
At the same time, his own ingenuity could be heard if you paid close attention. Addaquay’s work was reimagining baroque music.
The highlight of the first part of the oratorio include the first quartet “Ring the Bells”. This performance brought the tearful joy and solemnity I love to associate with the Christmas spirit. There’s little of it that I remember now. Instead, what I felt while listening remains with me: a potent form of traditional purity, almost rustic and innocent yet grand.
I was on the gallery when the quartet started, camera in hand and looking for aerial shots. I stopped my work and wondered how such music could be written by a contemporary composer. Those who know me know my dislike for almost every possible contemporary reimagining of that Christmassy joy I loved as a child. It’s the reason why I stick to the traditional favourites and follow choirs and other ensembles that perform such without needless encomiums that try to “spice up boring tunes”.
No. Addaquay got it right. “Ring the Bells” should be Ghana’s own Christmas carol. I will gladly sing it this December.
Before the fundraising interlude (hey, the concert was free, but these people need to be paid for their work!) Alfred thanked his uncle Mr. John Addaquay, a musician who identified his nephew’s talent early on and bought him his first keyboard.
So far, the music had been brilliant - save for the synthesizer. I felt the string emulation did a lot to hide some of Addaquay’s brilliant finger work. If you haven’t yet heard him at a piano recital, you don’t know what Alfred is capable of.
Alfred, in his typical humble manner, launched his album titled “Rescue the Perishing”. I’ve still no idea what’s in it, but Choral Music Ghana will review the album and spill all of its juicy secrets soon. The score of the oratorio was also on sale for choir masters and performers. A copy went for 30 cedis, while the CD was sold to me for 5 cedis.
I finally began to see traces of Haydn’s influence in the third part (though one member of St. John’s Methodist Junior Choir pointed out earlier examples) with the happy choruses. The third part of the oratorio, focused on praises to Jesus Christ was less boisterous than the first two.
Granted, the mood was clearly elevated, but it all seemed relaxed, quite like how I felt throughout most of Haydn’s Creation.
Addaquay’s Praise Symphony was an exciting interlude. Again, the synthesizer got in the way, but Alfred had the opportunity to display his virtuoso. I couldn’t help notice that the piece sounded like something to be performed by a larger ensemble. I have no idea what Alfred had in mind when writing this. The Praise Symphony has a stirring marching rhythm to it. I believe I have heard the motif somewhere, but I can’t place it. If it turns out this is an original Addaquay invention, then I cannot state the magnitude of his brilliance.
I felt the same way about his chorus “We Praise thy Name O Lord!”. The music sounded so - perfect - I was blown away by the fact that it was an Addaquay original. I know genius when I hear it.
After a brief descent into hymn-like solemnity, we heard the air “O Lord I will Bless Thy Name”. It was the climax of the oratorio. That might not have been Alfred’s intention but, after over an hour in the presence of such music, something that had been working inside me since we started reached its tipping point.
I teared up.
The cadence sent shivers down my spine and - but for Alfred’s admonition - I would have stood and applauded him! I sat quietly and took it all in. It was almost too much, almost too good to be true. In that moment, I felt that Alfred was Ghana’s greatest active composer.
Praise Ye the Lord was the first time I noticed deliberate dissonance in the music. It was a clear departure from classical norms and gave me room to get excited about the music. This man wasn’t just reimagining baroque music. He was moving it forward. A final point of note was the lack of a proper ending. The chorus left us hanging. Clearly, Alfred was telling Handel that this era we live in is different, exciting, unexpected.
It was around the end of the performance that the choir’s strain began to show. Belcanto Chorus, Addaquay’s choir did a marvelous job singing what must be a challenging work. You could tell that they were drained, but the singers held their ground for the three final “cadential” choruses. Cadential in the sense that, the oratorio could have successfully ended after the first two, but the music persisted to my delight (and to the slight ire of some of the audience, who began to leave in small groups at this point).
Addaquay announced another concert - a night of hymns with the St. John’s Methodist Junior Choir and the Ghana Police Central Band. The concert will be performed on the 29th of November. The venue is as yet unknown.
For a teaser, the choir and band performed Adeste Fidelis, When I Survey the Wondrous Cross and a resounding Thine be the Glory. The audience joined in and so ended the night.
If this review has been long, I don’t apologise. The concert was longer and a hundred times more glorious than what I’ve described. Alfred summed up the typical Ghanaian’s experience with classical music in this grand work. Serious concert goers will find something to love in each part of Laudateur Christus.
The night ended late, and I had to hurry to catch the last trotro to Spintex.
I had a bumpy ride, as you’d expect. I was tired and looking forward to another Monday morning with all the hassle that comes with work. But while I journeyed back to Tema, my mind was elsewhere. This is the power of serious music. After spending nearly four hours in the presence, I was not on earth. I had a rare smile on my face, and everything seemed fair and good. Even the 37 station.
Patrick was right. The response is inward. All the while I paid no attention to the insults hurled at careless drivers, or the petty quarrels over 20 pesewas. All the while one phrase kept playing in my head: We Praise Thy Name O Lord.
