Bell, Grant Park Chorus
bring wide-ranging
program to west side
By Tim Christiansen
Christopher Bell led the Grant Park Chorus
Thursday night in a concert at the
Columbus Park Refectory.
The Columbus Park Refectory on Chicago’s
far west side proved to be a unique but
fitting performance space for the Grant
Park Chorus, led by Christopher Bell, in
an a cappella concert, “Songs of Praise
and Passion.” People crowded the concert
space, deck and patio to enjoy an evening
of diverse and powerful choral music.
Contemporary a cappella choral music,
which made up most of the program,
occupies a unique niche of classical
music. The repertoire is comprised
primarily of less well-known composers,
and Thursday evening’s lineup
exemplified and exulted in that fact.
The choir introduced themselves with Sir
Charles Hubert Parry’s My Soul, There is a
Country. The energetic piece showed off
the choir’s great command of dynamics,
precise cut-offs, and their passion.
The next three compositions were
composed by one of Lithuania’s leading
choral composers, Vytautas Miskinis. His
unique harmonic language of large,
expressive chords highlighted the many
colors of the Grant Park Chorus and their
command of balance. The most powerful
of the three, a setting of O Sacrum
Convivium, epitomized the profound
power of the collective human voice. The
Grant Park Chorus sang the piece with
conviction and near-perfect intonation,
highlighting the consonances and
dissonances within each multilayered
chord.
The first piece, Dum medium silentium,
featured complex, fragmented rhythmic
figures juxtaposed to large, shape-shifting
color-chords. Pater Noster was the
composer’s imaginative setting of the
Lord’s Prayer that was at times a
profound meditation and at others a grant
proclamation, ending in a haunting,
whispered Amen.
Bell, director of the Grant Park Chorus,
expressed his deep love for the inspired
text setting of the next piece, Alleluia,
Christus Resurrexit by English composer,
Colin Mawby. The chorus never lost
intonation through the rapidly swooping
dissonances and dynamic contrasts.
The following pieces were selections from
Rachmaninoff’s choral masterpiece, the
All-Night Vigil. The chosen selections
were, Come, Let Us Worship, Rejoice, O
Virgin Theotokos, and Glory to God in the
Highest. Rachmaninoff requires a massive
Russian sound and the Grant Park Chorus
provided it. Bell led the choir with a
liberal approach to the dynamics while
never losing them or the music. Energetic
voice leading, bass-up balance, and
grandiose climaxes made for a moving
performance.
In contrast to Rachmaninoff’s serious,
meditative pieces, the following two
compositions were love songs by leading
Estonian choral composer, Veljo Tormis.
He set the poetry of fellow Estonian, Ernst
Enno.
Both love songs were considerably
contrasted. The first, Early Summer’s
Fairy Tale , is light-hearted and innocent
in nature and was dedicated to Enno’s
former girlfriend. The Grant Park Chorus
performed it with sensitivity and humor.
The second, Soundlessly Somewhere
Murmurings Homeward, was a much more
seasoned look at love, dedicated to Enno’s
wife of many years. A conversation was
created by having the women chorus
members in one key and the men in
another with a constant sense of
murmuring. The difficult work was
executed very well.
The following three pieces were by
Chicago composer, Stacy Garrop. She
adapted the texts for Sonnets of Desire,
Longing and Whimsy from American poet,
Edna St. Vincent Millay.
The first, “Now By This Moon, Before This
Moon Shall Wane,” examined love from
the aspect of unreasonable desire. Garrop
held nothing back in this crazed setting
making use of sharp verbal consonances
and exhales. The second, “Time Does Not
Bring Relief,” was a haunting and twisted
composition representing inconsolable
longing. The third, “I Shall Forget You
Presently, My Dear,” described a shallow,
whimsical romance. The Grant Park
Chorus performed these pieces with great
confidence and close attention to the text.
The program concluded with a simple and
moving piece by Steven Sametz, I Have
Had Singing. The text rejoiced in a life
made joyful through singing, and proved a
fitting end to a wide-ranging and
enjoyable evening.
http://chicagoclassicalreview.com/2013/08/bell-grant-park-chorus-bring-wide-ranging-choral-program-to-west-side/
Nigeria: The Restless Minstrel Who Gave NYSC Its
Anthem
29 July 2013 , Source: This Day. http://m.allafrica.com/stories/201307290496.html/
Scraping by as a minstrel and surviving on the benevolence of others are
not the sort of experiences that would normally presage a life of greatness.
But providence often almost dwarfs everything else. And Rev. Oluwole
Adetiran indeed had a bagful. He rose above all the hurdles he experienced
in his early years to record a few milestones, among them becoming the
composer of the NYSC anthem. Adetiran, 65, recounts the inspiring tale to
Funke Olaode
Six wives besides my mother, but no discord I was born over 65 years ago
in Igbajo in Osun State in the then Western Region. By the time I was born
my father just returned from the Gold Coast (Ghana) as a cocoa merchant.
Having traversed the length of the Gold Coast then, he settled down in my
home town as a cocoa famer. My mother, Madam Owojori was a
seamstress, cloth seller, the first deaconess of the Baptist Church, Igbajo, a
senior member of the choir in the church and leader of a cultural group.
I grew up in a polygamous setting of seven wives and many children. My
mother was the last wife and she had four boys and I am in the third
position. I was told that before my mother was born my father had married
three wives and by the time he settled for my mother, she was like a
daughter to him. He showered her with a lot of love. I didn't experience
much of the intrigues associated with polygamy because some of the wives
had died, some were old and moved over to their children's place. I grew up
with the sixth wife and my mum. My siblings and my I were like grand
children. The age disparities didn't deny us parental love. My parents were
very amiable and naturally musical. They were friendly, kind and generous.
So I grew up in a lively environment. Apart from that, four of the
missionaries were my mother's friends. I was born at Baptist Medical
Centre, Iree where Ms. Sanders was in charge. So each time my mother
wanted to impress me she would say Akanbi Omo Sanders meaning (Akanbi
the son of Sanders).
Late secondary education I only had my primary education at Baptist Day
School in my home town because my older brother moved to Ibadan after
their education at Baptist College, Iwo, in Osun State and mother moved
with them. So I grew up in Oopoyiosa Area of Ibadan. I joined my uncle in
Oniyanrin in Inalende Area of Ibadan when my mother went back to my
town to become a chief and deaconess in 1963. I stayed briefly with my
uncle before moving to Mokola Area of Ibadan and started fending for
myself. I had a late secondary education because my father was old and my
mother was the only one catering for us.
We (me and my younger brother) were waiting for my older brothers to get
job so they could put us through school. This period of delay forced me to
learn so many trades. I learnt building construction, sometimes I stayed with
an uncle working as a plank clerk, I also joined the choir at the First Baptist
Church, Idi-Ikan in Ibadan. I was influenced by a senior member of the choir
who could play the organ, guitar and so on. I had the opportunity and one
of the children of Rev. Lawoyin taught me how to play the guitar. I later met
a great friend, Demola Falade, who also taught me how to play the organ.
During those trying periods of survival I had become a seasoned church
musician. In looking for daily bread, I derailed and joined bands when they
were looking for guitar players. It was juju highlife and I was making good
money. I was shuttling between Lagos and Ibadan because I was a good
guitarist. All along, I didn't take my eyes off education, which I consider the
only liberator from the shackles of poverty.
Living as a street musician By nature I am a church boy; it was
circumstance that pushed me into highlife music. I bought my first guitar
with the whole of my salary - five pounds, five shilling in 1967. Of course, I
was making good money but after sometime I said I couldn't continue to
live a life of street musicians. I met a friend who thought I could be
somebody. He was about helping me when I was struck by small pox. Help
was not forthcoming from my church and this man invited me to his
church, Celestial Church of Christ, Mokola, Ibadan, which was just
blossoming in the early '70s. The church embraced me when they found out
that I could play the guitar. We established a very good choir. I went back
home and brought my junior ones and cousins including the highlife Juju
musician, Remi Olabanji. They all joined the choir and we made it lively.
During my life struggle, I was performing with the second Awada Group
(comedy group) under Ajimajasan. I was the first Oko Iya Ijebu (Iya Ijebu's
husband) in Ajimajasan film. As I said earlier, I never took my eyes of
education. I was studying music privately and enrolled for General
Certificate in Education (GCE) at a private secondary school called Aresa.
There were a few secondary schools then but the school wasn't approved by
the government but was later approved. I was introduced to GCE in this
school which was very tough to pass those days. I was lucky I had three
credits and three passes. Obviously, there was light in my dark tunnel as I
prepared to conquer what had eluded me for the past 10 years. With these
papers, I was admitted to Baptist Teacher Training College, Ede, in Osun
State.
This was 1972. It was one of the best moments of my life. My school fee
was being taken care of by the government and we even got a stipend every
month. Again, my talent manifested as I was fished out as somebody who
could play the organ in less than 48 hours in my new school. Immediately I
became the chapel prefect, the leader of the choir and assistant organist. I
established a school band called Baptraco International Baptist Training
College Band which was competing with St. Gregory's Band and Ofege. I
was already going to my 30s when I finished from this school. It was a feat
because it was difficult to go to school those days. I left Ede and I was
invited to a school in Abeokuta in Ogun State to become a teacher. This
was where I sat down properly and passed all my O' Levels examinations. I
passed through a lot until Celestial Church of Christ came to my aid. Along
the line, I sat for correspondence courses and had a Grade Seven/Eight
Certificate from Royal School of Music, London.
Acquiring a university degree In 1978, I wrote an entrance examination to
the University of Nigeria, Nsukka. This was another feat in my life because I
never thought I could attain it. I applied for music, my first love. I embraced
it and applied myself to it. I liked two courses: medicine and music but
couldn't study medicine because I didn't go to schools where sciences were
taught. I was always consoling myself that it cannot be worse and can only
get better. I was working to improve my life and people around me. I was
already a married man and people rallied round me. My friends and my wife
also contributed immensely to my success at Nsukka.
I remember the day I entered Nsukka, my friend, Demola Falade, who taught
me how to play the guitar in 1965 was a final year student of estate
management at University of Nigeria, Nsukka, Enugu Campus. He wrote me
when he heard that I had gained admission. In his letter he wrote: "Wole,
haaa! This God is great. You, an undergraduate? I have not seen this kind
of man, God. I am coming to celebrate with you." Demola Falade came to
Nsukka the next week, embraced me and wept like a baby just to celebrate
my admission and success. I also wept. It was a turbulent period but I
didn't allow those trying times to undermine my goals and aspirations. I
weathered the storm and God put an end to tough times in my life. I soaked
myself into my academics and God was with me. I lost a year at Nsukka
because I had an accident that almost crippled me.
Composing the NYSC anthem I eventually graduated in 1983 and came back
to Ibadan. My church, First Baptist Church Idi-Ikan looked for me when they
wanted to do their music festival and I performed. There was no age limit
during my time. So when I wanted to go for the National Youth Service
Corps (NYSC), the choir master of the church then, Baba Ogunpitan
influenced my posting to The Polytechnic, Ibadan, where I served and
composed the NYSC anthem in 1984. After my youth service the
management of the Polytechnic retained me as a lecturer.
What helped again was the accident because my treatment was transferred
from Nsukka Health Centre to the University College, Ibadan. After my
service, the NYSC didn't want me to be taken away from The Polytechnic
Ibadan because I had established a very good musical outfit that the then
Governor of Oyo State, Oladayo Popoola used in all his entertainment.
During that period, NYSC had an anthem group and we recorded it into
records at Haruna Ishola Studio. I formed the Orchestra's Corps and we
performed at the Liberty Stadium during the graduation with the combined
band of the police and the army. We also performed at the National
Stadium in Lagos. Before the NYSC anthem I composed was picked, there
were competitions but they couldn't have beaten a musicologist. That was
how it has been in use till today.
Attaining career success I started lecturing at The Polytechnic, Ibadan in
1984. In 1987, I went back to university to acquire a master's degree in
musicology. God was with me and I was promoted. I had applied for my
Ph.D but became the head of department of Music Technology of
Polytechnic Ibadan in 1989. With my responsibility, I couldn't go regularly
for my Ph.D programme. For the record, I established the first department
of music technology in Nigeria at The Polytechnic Ibadan and headed it for
11 years. Also, by that time, government wanted us to have music
technology for accreditation sake. I was asked to go and write a syllabus. I
called my co-lecturers (all professors of music in Nigeria). We gathered
under the National Board for Technical Education (NBTE) in Kaduna. My
rector then, Prof. Oshobi helped a lot. He invited all of them and we moved
to Kaduna where we drafted a fine syllabus for music technology in Nigeria
in 1992. It was accredited and approved. That syllabus is still in use till
today. God moved me up the ladder.
I became the first lecturer in music department to become a senior principal
lecturer in musicology at The Polytechnic Ibadan, first lecturer in music
department to become the dean of faculty of eight departments (music
technology, mass communication, secretarial administration, general
studies, business administration, public administration, marketing and
purchasing and supply) and composer of NYSC anthem. In 1987, I became
the director of music for the Celestial Church of Christ Worldwide. I retired
from The Polytechnic in 2008 and established a music academy called CCC
Academic of Music Technology. The first graduate will emerge this August. I
have also occupied myself with one of the best 10 choirs in Nigeria called
Celestial Church of Christ Central Choir that can perform all the music of
the world's churches. The purpose is to serve my God who has been good
to me.
Family man When you are free you get exposed to the opposite sex early. In
my case, I was a street musician and there was this urge to copy what you
see your colleagues doing. As a guitar man I was conscious of myself that I
didn't belong to this category. It was somehow controlled. That is why from
a musical perspective, it is not good to play guitar in the church. Guitar is
not an instrument for the church because there is no way you won't stress
yourself and you need something to step it down. Eventually I got married
and I am blessed with children who all are all musicologists.
Grass to grace Considering the journey through life I couldn't have chosen a
better profession. In spite of all challenges, God was with me and I became
what I didn't envisage in life. There was a time I was completely hopeless
and didn't know the next thing to do. I had nothing but there was this urge
that I could become somebody. I was busy buying books for myself. There
was a day I was humiliated in the church by my benefactor. I couldn't argue
with her because the garment I wore to church that day was provided by her
husband and if I replied, there would not be food for me the next day. I wept
that day and cried out to my maker and said "God, please deliver me from
life predicaments and make me a better person". God answered. From that
day, fortune smiled on me as I met people who helped me all the way to the
top. Honestly, the beginning was rough but at the end of the day, God
crowned all my efforts and made me a better person. I was lucky I wasn't a
silver spoon child; I passed through the mud, poverty became my
companion. So many musicologists have passed through me. I was
manager of Evangelist Bola Aare for many years. By the grace of God,
Rotimi Olaosebikan, Sola Alison who sang Eji Owuro, the late popular Baba
Ara passed through me. So through life travails and tribulations, I overcame
and have been impacting lives. When God has a special interest in your life
things would work out in your favour. In my case, I am God's chosen and
that is why I will serve Him for the rest of my life.
