#Gramophone Ghana

[choralmusicghana]

Is Falsetto Singing Always Right? Ben Adjei Discusses with Meroni

The third edition of the Ben Adjei @ 5 series was broadcast on 26th July 2020, at 5pm. The series forms part of a number of activities marking the 5th year of the soloist’s career. This edition featured Isaac Ntim Buah (known as Meroni) from Gramophone Chorus, in conversation with Ben Adjei on the subject of falsetto singing.

For the first time in the series, Ben began his Facebook live broadcast with a few minutes of voice training, focusing on ideal singing posture and running through several scales.

Ben began the discussion by expressing his displeasure at the tendency for some tenors to sound like the alto voice when they use the falsetto technique to sing high pitches. Falsetto is a term borrowed from the Italian “false”, which is used to describe singing with a “false voice”, usually employed by male voices in an attempt to sing above their usual range. Isaac admitted to using the technique for just that purpose - when notes seem out of his comfortable range - but also for its pleasing tone. 

Ben Adjei demonstrated the possibility of producing a strong tenor tone without using falsetto when he sang excerpts of the solo part from FW Peace’s “And I saw a New Heaven”. He highlighted one particularly high C which is popularly performed with the technique. Isaac agreed with Ben, going on to admit his use of the technique for that particular note.

Isaac proposed that, since tone and range vary with each person, the use of falsetto came down to individual preference, for both comfort and aesthetics. He spoke at length about some of the characteristics of such a voice and how they may aid or hinder the performer’s ability to deliver. His mention of the thinness and lightness of the falsetto-voice was noteworthy, as it contrasts with the usually heavier texture of a tenor.

His primary concern, however, was that the right notes were struck with confidence, and that was acceptable if an individual could only manage that with a falsetto.

During the interlude, Isaac gave a performance of James Armaah’s M’akoma so Adea - accompanied by Vincent Agbeko on the keyboard - to which Ben joined.

The second half of the broadcast focused on some comments and questions from the online audience. One viewer suggested that the use of the technique also depended on the mood of the song under consideration.  Ben Adjei clarified that he was not trying to censure the technique: his concern was the use of the technique as a way to cover-up for a singer’s under-developed vocal range. 

The discussion focused next on how to reduce the dependence on falsetto. Isaac advised his fellow tenors to rehearse constantly, to find and understudy a role model, to learn to better their individual voice. Ben chipped in with encouragement, suggesting that singers should put in a conscious effort to improve and outdo their role models. He added that every choir should have a standard for their tenors, and choir directors should work at improving their singers to achieve these levels of performance.

He also shared a few tips on how he improves his own tone, including his use of fasting to free up his vocal path and rehearsing songs in keys higher than their original. He wrapped up by entreating singers to not remain in their comfort zones.

The broadcast ended with a performance of Newlove Annan’s Okyeso Nyame by Ben and his guest.

The next episode of this series features Prof. Sekyi-Baidoo in a conversation about understanding the words we sing. It will air on the 23rd of August.

[brookston]

Holidays 12.6

Akibasan Gongen Hibuse Matsuri (Fire & Water Festival; Japan)

Bartender Appreciation Day [1st Friday]

Day of Quito (Ecuador)

Dia de la Constitucion (a.k.a. Constitution Day; Spain)

Eccentric Day (Bell's Brewery; Michigan) [1st or 2nd Friday or Another Day]

Encyclopedia Britannica Day

Farmer’s Day (Ghana) [1st Friday]

Faux Fur Friday [1st Friday]

Give a Secret Gift Day

Gospel Day (Marshall Islands) [1st Friday]

Gramophone Day

Independence Day (Åland Islands; from Russia, 1917)

Independence Day (Bophuthatswana; from South Africa, 1977)

Independence Day (Finland; from Russia, 1917)

Independence Day (Ireland; from the UK, recognized in 1922)

International Bad Hair Day

International Sweater Vestival [2nd Friday after Thanksgiving]

Microwave Oven Day

Miner's Day (West Virginia)

Mitten Tree Day

Ministry of Communications and Information Technologies Day (Azerbaijan)

National Day of Remembrance and Action on Violence Against Women (Canada)

National Gazpacho Day

National Miner's Day

Open It! Weekend begins [1st Friday]

Pawnbrokers Day

Put On Your Own Shoes Day

Sindhi Topi and Ajrak Day (Pakistan)

St. Nicholas' Day (patron saint of brewers)

Thor's Day

[deejkg1]

Artists likely to score Grammy nominations for Ghana

Artists likely to score Grammy nominations for Ghana

The Grammy Award is a scheme that celebrates and recognizes artists across the world for their contributions and achievements through their body of work. The trophy depicts a gilded gramophone. The Grammys are the first of the Big Three networks’ major music awards held annually. Today in this article is a list of potential Ghanaian artists who are destined to get to the doorsteps of the Grammy…

[brookstonalmanac]

Holidays 12.6

Akibasan Gongen Hibuse Matsuri (Fire & Water Festival; Japan)

Bartender Appreciation Day [1st Friday]

Day of Quito (Ecuador)

Dia de la Constitucion (a.k.a. Constitution Day; Spain)

Eccentric Day (Bell's Brewery; Michigan) [1st or 2nd Friday or Another Day]

Encyclopedia Britannica Day

Farmer’s Day (Ghana) [1st Friday]

Faux Fur Friday [1st Friday]

Give a Secret Gift Day

Gospel Day (Marshall Islands) [1st Friday]

Gramophone Day

Independence Day (Åland Islands; from Russia, 1917)

Independence Day (Bophuthatswana; from South Africa, 1977)

Independence Day (Finland; from Russia, 1917)

Independence Day (Ireland; from the UK, recognized in 1922)

International Bad Hair Day

International Sweater Vestival [2nd Friday after Thanksgiving]

Microwave Oven Day

Miner's Day (West Virginia)

Mitten Tree Day

Ministry of Communications and Information Technologies Day (Azerbaijan)

National Day of Remembrance and Action on Violence Against Women (Canada)

National Gazpacho Day

National Miner's Day

Open It! Weekend begins [1st Friday]

Pawnbrokers Day

Put On Your Own Shoes Day

Sindhi Topi and Ajrak Day (Pakistan)

St. Nicholas' Day (patron saint of brewers)

Thor's Day

[bluecrest1-blog]

BBA Course in Ghana

Best Private University In Accra Ghana

Attitude: An essential element at the workplace

 Department of Business Administration organized a seminar for its BBA students on 11th November. Resource person was Mrs. Lynda C H Fiati, Director of Stelin Automobiles and she spoke on ‘Attitude: An essential element at the workplace’.

 She bri

Pre-Exam Stress Buster

 BlueCrest College conducted a seminar on ‘Pre-Exam Stress Buster’ at Auditorium on 10-11-2017. Resource person, Dr. Hiteshini Jugessur is a renowned International faculty from Art of Living Foundation.

 The introduction was given by Dr. E. Balamu

Industrial Visit to Ghana Broadcasting Corporation

 Students of Semester one to three offering Business Administration were privileged to visit Ghana Broadcasting Corporation (GBC) on 06-11-2017.

 Students learnt about Gramophone Library Department where various music systems were stored and transformed from old version to ne

GTVP Training Program

 BlueCrest College reached yet another milestone today by signing a contract with GTVP (Ghana TVET Voucher Project) to train students using competency based training program (CBT) centered on industry and demand-driven, outcome-based education curriculum. This program will enable working group fro

 E-mail: contactus@sfdghana.com  , contactus@bluecrest.edu.gh    

 Official Website - https://bluecrest.edu.gh/  

 Visit Link - https://www.bluecrest.edu.gh/programmes.php?option=course_modules&id=67

 Private University Accra, ICT education in Ghana, ICT education in Accra

[hatimtanger]

watch gbc ghana HD live stream online free Now Today with high quality

watch gbc ghana HD live stream online free Now Today with high quality

watch gbc ghana HD live stream online free Now Today with high quality

The Ghana Broadcasting Corporation (GBC) is the public broadcaster in Ghana. It is funded by broadcasting television commercials and the levying of a television licence, costing 3 cedis (about  

History[edit]

The broadcasting service was originally known as the Gold Coast Broadcasting System, introduced on 31 July 1935 by the colonial Governor, Sir Arnold Hodson,[2] before it was renamed to the Ghana Broadcasting Corporation upon the country's independence in 1957. Throughout its history it has been independent of the government's Information Services Department.[3]

Establishment[edit]

Broadcasting began in Ghana on July 31, 1935 from a wired relay station opened in Accra. The brain behind the introduction of broadcasting into the country was the then Governor of the Gold Coast,Sir Arnold Hodson, affectionately known as the "Sunshine Governor".

He was ably assisted by a British radio engineer, Mr. F.A.W. Byron. By 17:00GMT on that historic day, gramophone records of martial and light music were relayed and at exactly 17:45GMT the voice of Sir Arnold Hodson came through to break the tension and the suspense with this explicit message:

“One of the main reasons for introducing the Relay Service is to bring News, Entertainment and Music into the homes of all and sundry. This will bring to an end the barriers of isolation and ignorance in the path of progress and also to enable the people of Gold Coast to improve on their very rich cultural music".[2]

Administration[edit]

The new broadcasting Service was code-named Radio "ZOY". It was manned by eight technicians and housed in a small bungalow on 9th Road near the Ridge Police Station in Accra. Broadcasting first begun in four Ghanaian languages, namely Fanti, Twi, Ga, Ewe, and later Hausa. Part-time staff were engaged to translate and announce the news in these languages until 1943 when full-time staff were appointed. Between 1946 and 1953, the organisation was administered by the Public Relation Department, now the Information Services Department.[2]

Past to Present Director-Generals of the GBC

Mr. J. B. Millar 1954-60

Mr. W. F. Coleman 1960–70

Mr. S. B. Mfodwo 1970–72

Lt Col. J. Y. Assasie 1975–81

Mr. Kwame Karikari 1982–84

Mr. L.W. FiiFi Hesse 1972–75 & 1984–90

Mr. George Aryee 1991–92

Mr. David Anaglate 1992–95

Dr. Kofi Frimpong 1995–99

Mr. Adanusa 1999–2000

Mr. Seth Ago - Adjetey 2000–02

Madam Eva Lokko 2002–05

Mr. Yaw Owusu Addo 2005–07

Mr. William Ampem-Darko 2007–10

Mr. Kwabena Sarpong-Anane November 2010–October 2011

Mr. Berifi Afari Apenteng November 2011–March 2013

Major Albert Don-Chebe (Rtd) May 2013 - May 2016

Dr. Kwame Akuffo Anoff-Ntow November 2016 -

1953[edit]

On the recommendation of a commission set up in 1953, the Gold Coast Broadcasting System (GCBS) was established and from there it became a department in its own right. On attainment of independence in 1957, the Gold Coast was renamed Ghana and the GCBS became Ghana Broadcasting Service (GBS). The legislation that basically set up GBC as an establishment was National Liberation Council Degree number 226(NLCD266) of 1968.[2]

Television and radio stations[edit]

GBC operates GTV (a channel for events that matter most to Ghanaians), which is broadcast nationwide on analogue terrestrial platform. Additionally, GBC runs five (5) digital channels namely, GTV Sports+ (a channel for sports), GBC 24 (a 24-hour news TV channel) and GTV Life (a religion and culture channel), GTV Govern (a governance channel), Obonu TV (a channel for the people of Greater Accra and window for the Ga-Dangbe) and ten (10) Regional radio stations, five (5) District radio stations in Ghana.

Uniiq FM

Volta Star

Twin City Radio

Radio Central

Radio Savannah

Garden City Radio

URA Radio

Radio Upper West

Sunrise FM

Obonu FM

Radio BAR

Library[edit]

The Ghana Broadcasting Corporation has a film video library, set up in July 1965, where all programmes—dramas, tv commercials, and ceremonial events—are kept.

See also[edit]

Media of Ghana

Communications in Ghana

External links[edit]

Official Site of Ghana Broadcasting Corporation - GBC

References[edit]

Jump up ^ "MPs Fail To Pay TV license?" Ghana Today, 13 July 2006.

^ Jump up to: a b c d "About Ghana Broadcasting Corporation", official website.

Jump up ^ Wells, Alan (1997), World Broadcasting: A Comparative View, Greenwood Publishing Group, p. 162. ISBN 978-1-56750-246-6.

[hide] v t e

Ghana Television stations in Ghana

Free to Air

TV3 Ghana GTV (Ghana) Viasat 1 UTV NET 2 TV TV AFRICA Metro TV

Districts of Ghana.png

Private stations

Multi TV Metro TV TV3 Ghana Viasat 1 UTV NET 2 TV TV AFRICA

Public stations

GTV (Ghana)

Categories: Broadcasting in GhanaMedia companies of GhanaMedia in AccraPublicly funded broadcastersRadio stations in GhanaState mediaMedia companies established in 19351935 establishments in Gold Coast (British colony)British companies established in 1935

from Blogger http://ift.tt/2hY93DQ via IFTTT

[izyrankfilm-blog]

Israel Onoyona is a Movie Actor He is the Ceo of Izyrank Nigeria Limited, Izyrank Nig Ltd was registered with the Corporate Affairs Commission Abuja in December 2007 He is also the ceo of Izyrank Film Production (Pty) LTD, Cape Town South Africa. Izyrank Film production (PTY) LTD was registered and licensed in Cape Town in 2012. Product and services of Izyrank Production: - Services of training artist/entertainers and all persons required to be featured in any radio and television productions -Projection of music and movies - Engage in production of jingles and documentaries for radio and Television Station - Electronics media broadcasting and anchorage services - Linear and non-linear Film production, -Editing services -Producing of radio and television programme -Producing of theoretical and musical performance -Supply/deal in all product usually dealt in by record producers including but not limited to pre-recorded cassettes (audio, video and otherwise) -Gramophone records and compact discs etc Izyrank Film Production services are not only limited to South Africa and Nigeria, we travel around the World. Our main goal is to contract our services to anyone interested to our products. ACADEMIC BACKGROUND: Attended Odoro Primary school , Oleh (Delta State) from 1991-1996 and obtained Primary School leaving Certificate. Attended institute of continuing education, Delta State. Attended Community Secondary School, Ojo ( Lagos State ) from 1998-2003 and obtained Senior Secondary School Leaving Certificate (WAEC). Attended Manex Movie Academy from 2006-2007 and obtained Certificate in Acting Skills, Became an ACTOR/Member of Actors Guild of Nigeria (NOLLYWOOD) in 2006 till date. Attended Ambrose Ali University , Ekpoma ( Edo State-NIGERIA ) from 2006-2010 and obtained Barchelor Degree in Political Science (2nd Class Lower Division). Acted in several Movies and Soap Opera in Nigeria and Ghana as follow:   DEVILS WORKSHOP DANGEROUS ACT   STRANGE KING PRINCESS WISH EVIL MISSION MONSTER IN ME BLACKSOUL BLIND LUST ADULTERER TEARS IN MY HEART MY REGRET MUNACHI THE BLIND GIRL LOVE WAHALA SCHOOL SEX ON POINT

[obengdako]

(Gramophone Ghana)

[choralmusicghana]

The Impact of Social Media on Ghanaian Choral Music: A Tool for Growth

The resurgence of choral music in Ghana in the last decade has been catapulted by the emergence of social media. Social media has helped many institutions and groups reach out to their audiences across boundaries. The Ghanaian choral music industry has benefited greatly from this innovation.

It's such a joy these days to hear of emerging choirs - even from backwaters - reaching out to the world with their musical talents through social media. 

Maya Dollarhide defined social media as 

"... computer-based technology that facilitates the sharing of ideas, thoughts, and information through the building of virtual networks and communities."

I really like this definition because it breaks down the concept into its constituent elements. There has been a recent proliferation of online communities through which Ghanaians engage in this new medium. Most of these are the major online hubs of social content: Facebook. Instagram, Twitter, Snapchat and even YouTube.

The presence of choral groups on these sites suggests how important they have become to the choral music industry. Most choirs take social media more seriously than their traditional websites.

The days of people experiencing musical performances primarily through CDs, DVDs and cassettes at home or in cars - like was in my day - are behind us. When I was younger, I was privileged to hear the Winneba Youth Choir only on a visit to my reverend minister’s home. And that was because he owned a collection of their albums.

The tables have turned, and today we can all catch live performances of the Koforidua Youth Choir, Gramophone Chorus and many other groups without a sweat. The fact that many of us watched Harmonious Chorale represent Ghana at the most recent World Choir Games in South Africa on our phones and laptops was a game changer.

These days, more people are invited to concerts through social media than printed posters. The change has been amazing!

All this is very encouraging for the industry. It's necessary for choirs to increasingly distance themselves from obsolete modes of promoting their activities to fully embrace social media. Not only for communication, but also for profit, with quality content that draws in large, global audiences.

We’ve all witnessed stars emerge from obscurity because of the exposure social media gives them. To reiterate the fact: an investment in the social media game can pay off immensely when done right. I encourage all choirs, musicians and related groups to take social media seriously as a ground-breaking tool that can transform how we promote and profit from our choral industry.

Nii Adjetey Cleland,

Choral Music Ghana.

[choralmusicghana]

Afro Classical Nights Celebrates First Anniversary

The classical music community in Accra is growing. Last night, with a record turnout, Afro Classical Nights celebrated its first anniversary in grand style with an extended show at the African Regent Hotel, Airport.

The commemorative edition of the show featured performers from the show’s past, including its first soloist, Franklyn Gyimah of Seasonal House Opera and violinist Dr. Heather Beem, CEO of the Practical Education Network and a member of Allegro Classics Foundation.

Among some of the personalities present at the occasion were the CEO of the African Regent Hotel, Mr. John Kufuor and the wife of the Australian High Commissioner to Ghana, Mrs. Teresa Barnes, and the founder and Artistic Director of Gramophone Ghana, Theophil Asamoah-Gyadu.

Afro Classical Nights has grown from its humble beginnings with just a handful of performers and guests to become a staple on Accra’s musical entertainment calendar, and a cornerstone of live classical music performance. After a moderately successful pilot held at the current venue on the 10th of August 2018, interest in the show rapidly grew, with classically-oriented musicians booking slots in advance. 

The show, a project of Choral Music Ghana, is run by Presley Joe Black, a jazz and classical pianist and Jesse Johnson, founder of the former organisation.

It is supported by the African Regent Hotel and Julius Richardson of the Genius Hive, a music school located at Cantonments in Accra. 

The anniversary show featured, for the first time, the Lark String Quartet, made up of some of the most outstanding string players active in Accra, who performed a movement from Mozart’s Eine Kleine Nachtmusik. For the first time on the show, music by James Varrick Armaah - an arrangement of Aseda Nka Nyame for five woodwinds - was performed. 

Kenn Kafui’s works also played a significant role, with the GH Woodwind Quintet performing Zodede, while pianist Constant Ahadzivia (DipABRSM) played his Akpi sonata.

There was a repeat performance of Dr. Hilarius Wuaku’s La Wada, while rising star Kelvin Uhondo thrilled the audience with his performance of Largo al Factotum, from Rossini’s The Barber of Seville.  

Another special moment of the show was the premier of an original composition for piano and french horn by Choral Music Ghana’s Kwaku Boakye-Frempong. Titled Oman Ghana, the piece was played by Lance Corporal Solomon “King” Adonoo of the Ghana Police Band and accompanied by the composer himself.

Among the highlights for the anniversary show was the finale which saw members of the “ACN All Stars Orchestra” perform the opening movement of Mozart’s Symphony no. 40. The 20-man orchestra was made up of musicians who have previously appeared on the show as performers and guests, as well as members of the University of Ghana’s Strings Ensemble, who championed the cause.

Instrumental in organising the orchestra was Dr. Cristina Ruotolo, a Fulbright Scholar with the University of Ghana’s English Department who “stumbled” on Legon’s musical community and has since impacted it significantly.

The next Afro Classical Nights show is scheduled for 27th September, 2019.

[choralmusicghana]

Why Are There So Many “Chorales” in Ghana?

Ever since James Varrick Armaah’s Harmonious Quartet grew into the now famous Harmonious Chorale, many of us have been stunned by the number of choirs that have blossomed in the enthusiasm for choral music which has swept the nation in recent years.

What’s more interesting, for even the casual observer, is that many of these choirs which now dot the landscape and grace our ears with good music seem to have taken up the tradition of appending “chorale” to their names.

Some people have looked on with mild amusement (or cynicism) as the number of “chorales” in the country escalate. Many others don’t seem bothered by the proliferation of similarly styled ensembles that increasingly find it hard to differentiate among themselves.

But is this really a cause for concern? We take a look at the options available for choirs to call themselves, and what ensembles in previous years have resorted to.

Among the most famous choral ensembles in the world, various terms are used to qualify the names of the groups to help us identify them as such.

The most straightforward way ensembles have named themselves is “choir”, either appended to the name of the groups, as seen in the Monteverdi Choir and the Arnold Schoenberg Choir (both named after famous composers who inspired their founding) or placed otherwise to signify to which institution the ensemble belongs, as in the Choir of King’s College.

Similarly, famous choirs worldwide have varied this simple formula, perhaps in an effort to further differentiate themselves verbally from other groups, by using various words that are either simply synonymous with, or otherwise connote “a group of people singing together”.

Hence there are a number of “choruses” (Atlanta Symphony Chamber Chorus), “singers” (The King’s Singers, Cambridge Singers), “carollers” (Stairwell Carollers), “chorales” (Belmont Chorale) and one or two “voices”.

It is quite clear that there hasn’t been much change in the way choral ensembles have styled themselves for a very long time. The formulas chosen to name choral ensembles generally lean toward a more descriptive nomenclature, which is a significant contrast to the flamboyant monikers we are used to in pop music stage names.

Hence you will find that any choir established predominantly for the youth will simply be called a “Youth Choir”, an ensemble made to serve a community is simply named after that community, and if a choir is staffed based on gender, you will call it a “Boy’s Choir” or “Ladies Choir”.

From what we have discovered, there has never been, and there might never be any serious need for cosmetic innovation in the naming of our favourite choral ensembles. Perhaps this simply follows the tradition of many composers not searching for unique titles for their pieces, leading to the status quo of numbered dances, sonatas, canons and other forms in the instrumental side of the genre.

Similarly, you might not find a symphony orchestra searching hard for a unique, eye catching brand name when it can simply be known as a “Symphony Orchestra” and focus on performing orchestral music.

But Ghana’s choral music space is unique, and as it adapts to the changing fancies of its growing audience and the contemporary cultural context, are we going to find more eccentricity in names and other external branding, or will the musicians who lead these ensembles focus rather on innovating in music?

We wait to see.

[choralmusicghana]

REVIEW: Fellowship of Songs 7

Jesse Johnson made it to his second Fellowship of Songs last Sunday. He shares his experience of the Easter themed celebration, the first FOS to be organised this year.

My first encounter with Gramophone Chorus was by rumour. At that time I was with the Saint Thomas Aquinas Youth Choir, rehearsing Mozart’s Requiem in D for All Soul’s Day mass. I learned a fellow chorister was preoccupied with rehearsals elsewhere. With another choir.

My first experience of Fellowship of Songs marked an important moment in my appreciation of Ghanaian choral music. I realised I was hardly the only one in pursuit of good music. More than that, the instant I heard the voices of Gramophone Chorus sing “Thine be the Glory”, I knew that better people than I had similar dreams of raising the standard in choral and classical music in Ghana. And they were actually doing something about it.

I’ve since come to respect the organisation and management of Gramophone Ghana, from their exuberant tone of voice and presence on social media, their dashing robes, the care with which they present the most professional image of any ensemble in Ghana, and their brilliant performances. If there’s one group that sets itself apart from the mass that makes Ghana’s serious music scene, it is Gramophone Ghana.

The Trinity United Church, a small church in the middle of a quiet theological seminary in East Legon hosted the seventh episode of Gramophone’s Fellowship of Songs. It’s a short, thematic celebration of Christianity through music, sandwiching a sermonette that has become something of a phenomenon with music lovers since it started.

I found myself seated fifteen minutes to 6pm, the starting time of the event. The chapel was busy with ushers and the technical crew testing mics, lights and camera stuff. It was largely empty. Pockets of visitors came in and settled as I did. On the dais, beneath a towering cross fixed to the wall were seats for the choristers behind an array of four synthesizers. I enjoyed the play of lights and the music coming from the speakers. Some of the audience agreed with me; breaking into spontaneous applause when one song ended.

At four minutes to six, a man I took for the MC welcomed us and said a short prayer. Only the front half of the chapel was full. More people came from the back to fill the rest of the seats. It wasn’t yet dark when 6pm struck, and Gramophone Chorus took the stage in their gold and black robes. Theophil Asamoah-Gyadu, conducting the choir, took the stand.

The first song, Te Deum Laudamus, started without introduction. I missed the title slide on the projector, but followed the words throughout the ministration. The chant was airy, ethereal and apt for the serenity of the seminary campus. It felt appropriate to begin this Christian event with one of the finest examples of early church music that remains with us today. Watching Theophil’s emphatic conducting as the choir sang line after line was a delight, as was getting lost in the slow, grave harmony of that chant.

After this, Maukeni Padiki Kodjo, Gramophone Ghana’s General Manager took the fore. This was unexpected. I assumed she wasn’t singing since she wasn’t robed like the others. Instead, she performed a poetic narrative that was meant to knit the songs together into a cohesive story: the traditional Easter story of Christ’s trial, execution and resurrection.

This was the moment the entire event was put into context. I’d actually forgotten we were in the Easter season, and this episode of FOS was Easter themed. In the Catholic church, we’re still marking Lent, so celebrations of this sort are liturgically premature. Gramophone Ghana may have ushered us into this year’s Easter celebrations, seeing the crunch of events slated for Palm Sunday weekend and after.

After Keni’s introduction, we skipped several centuries into the height of Baroque Europe, with Herr Unser Herrscher from JS Bach (whose 331st anniversary we mark today). It is a chorus from his St. John Passion. I had never listened to it, so this was a new experience. And it was an absolute thrill!

The chorus begins with three dramatic “Herr”s, then rolls along in a mess of polyphonic passages, adorned with long, melismatic phrases, punctuated with brief moments of rhythmic unison that are like islands in a tumultuous sea. For the first time listener, you will get lost in the tangle of voices. Which is not a bad thing. This is Bach we’re talking about, and rare glimpses of musical wonder can be seen in the intricacies of this composition.

Gramophone’s performance was expressive: the choristers seemed to jump emphatically from mood to mood. However, at several points in the night’s performance, the instruments rose up to compete with the voices they were accompanying. This muddied the challenging polyphony in the piece. I didn’t fail to note the apparent confusion of sound must have perplexed the audience. Those around me were silent (a merciful relief) and took everything in.

I found further evidence of this when, at one moment, during the cadence in the middle of the song (I’m still not sure why this was so), the audience broke into premature applause. The bass from the speakers was excessive, drowning the rest of the chorus in one long, persistent groan. Now, after subsequent listenings, I feel a lot of the beauty was hidden beneath the heavy layer of sound.

The dreadful beauty of this chorus ended well, and we found our way to an even more frantic expression of the trial of the Christ before Pilate. This was a chorus from Olivet to Calvary. The drama was plain to see; the choristers particularly vindictive in their cries to “crucify Him”. As I had never heard (of) Olivet to Calvary, it was another first, and a fitting one too. I rightly guessed the chorus was English, and wrongly attributed it to Stainer, though I admitted I’d never heard it in his Crucifixion. This moment, for me, was the highlight of the night.

From the rollercoaster of sound we saw in the transition from Gregorian chant to German Baroque chorus to English cantata, we finally settled in a well of poignant feeling as Christ was officially condemned to painful execution. The next song was Hwe wo Agenkwa, a Twi hymn set to the tune of Sibelius’ Finlandia. The transition in music mirroring the Crucifixion narrative was by far the most pleasant experience in this FOS episode.

Unfortunately I couldn’t follow the words. Spoken over the solemn chorus was a Twi narrative that I also didn’t understand. The pleasant (and tricky) use of narration with actual singing reminded me of John Adams’ On the Transmigration of Souls in honor of the victims of the 9/11 attacks on the US. This, on a personal level, made the spirit of the moment perfect for the point of the narrative.

At one point, the soloist perhaps got carried away and momentarily broke the solemnity of the hymn, jolting me out of the spirit of the music. But Finlandia brought me back and kept it going until the end. After this marriage of Nordic nationalism to Sub Saharan spirituality, we were led gracefully back to the German expression of the most profound mystery of the Christian faith: the death of the Deity on a Roman cross.

O Sacred Head now Wounded shone in all its bleak wonder. A husky-voiced lady from the audience sang one stanza solo, as did one tenor from the choir. He took liberties with his notes, giving us the first hints of the contemporary style soon to take over the concert. The lines of the fourth stanza of Bach’s hymn alternated between piano harmony and unison in forte. It was a nice innovation, charming and only a bit disconcerting. It’s a tricky thing to do, come to think of it. Gramophone Ghana executed this quite well, and left me impressed with one of my favourite hymns.

Following this was a stately song by Newlove Annan (who celebrated his birthday yesterday), Jesu Do No, and an arrangement of As the Deer Panteth. I’ll be honest; I’ve heard better choral arrangements of this popular song from the University Choir at KNUST. I was a bit disappointed with this performance, knowing my bias towards chorale style.

This didn’t seem to bother anyone at all. Before I was aware, the transition was over. The narrative Keni started at the beginning of the event had broken down. The order expected in the performance of serious music was no more, now fully replaced with the spontaneity of serious worship. Everyone except me was in on this already, and was joining in song.

And that is how the first part of Fellowship of Songs 7 ended. Mrs Ellen Gyamerah-Ako gave a short sermonette, after which Keni reappeared, dressed in white. Now we had entered Easter proper.

I wish I took note of the hymn Ellen sang at the beginning and end of her talk. It had a marvelous melody, an almost folkish character that was at once authentic and touching. I don’t remember anything of it, other than how I felt when she sang: humbled.

Varrick Armaah’s Deboneyeni resumed the contemporary character of the later stage of the event, with solos sounding more like Gospel virtuoso singing than what you’ll regard as “classical”. After this, the music fell into the spirit of traditional hi-lifes.

For a brief, almost cursory moment, Keni’s narration resumed with the resurrection. The audience received the traditional hymn Christ the Lord is Risen on High very well. It was notable for its staccato emphasis on the refrain “Hallelujah”. It was infectious. I almost forgot myself and joined in the singing. After this, there was a memorable performance of Crown Him with Many Crowns. Hymns seem to come easily to this choir. The confidence with which the slightly dissonant descant was executed gives me evidence of this fact.

I’ve little to say for the rest of the event. By the medley of hi-lifes, all semblance of order was lost and Fellowship of Songs 7, in the spontaneity characteristic of contemporary Ghanaian Christian worship, had more or less come to an end. The final announcements were rushed, but from what I gathered, there will be a senior citizen’s concert later this year, and Gramophone’s annual New Year Voice College, a music workshop. That’s more to look forward to, from Gramophone Ghana

One final thought on the night: I’m grateful that there was no Hallelujah Chorus. It’s time directors retired this perennial anthem and explored the many wonderful ways other composers from different backgrounds have expressed their praise to God.

[choralmusicghana]

EDITORIAL: A Year Old

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!

Editor-in-Chief,

Choral Music Ghana.

[choralmusicghana]

REVIEW: FOS @ 1

Geneveeve Enam Akpalu did not miss Gramphone Ghana’s most recent Fellowship of Songs held last week. This edition was extra special too: it was the first anniversary of the event; an important milestone in Ghana’s choral music scene.

I cannot begin this review without first applauding Gramophone Chorus for being time conscious. This is a trademark of theirs; at least, for the last two Fellowship of Songs (FOS) I have attended.

The FOS is a quarterly event organized by Gramophone Chorus, to bring all Christians together to fellowship. It features hymns, classical pieces and hi-life medleys. The peculiar thing about this fifth edition, themed Always On Our Side, was that it was the first anniversary of the event. You could see and feel from the repertoire that their hearts were full of gratitude to God for the one year of the programme’s successes amidst various challenges. 

Their joy was palpable.

When I arrived at 5:50pm, the opening prayer was already being said. (They’d asked that all be seated by 5:45pm for the commencement of the programme at 6:00pm.)

A sextet of alto and soprano gave the opening welcome; a beautiful rendition of Lift Thine Eyes (Psalm 121). The piece created a calm atmosphere for the audience to receive the rest of the ministration.  The MC, Dr. Clement Appah (who also sang a solo in the third package) gave a brief welcome and at exactly 6:00pm, the choir walked onto the stage beautifully clad and armed with their files.

The first package began with O Thou Who Camest From Above (Psalm 99:1, Psalm 20:7) followed by How Great Thou Art and then rounded up with Battle Hymn of the Republic, which quickened the tempo of the event.

Dr. George A. N. Donkor delivered a sermonette on the text Luke 10:25-30. In his message, he enjoined both the congregation and choristers to seek to move from their Jericho into the New Jerusalem, a place of blessing and eternal rest in God.

To go on, I must say that the congregation was well behaved, for the most part, clapping at the end of the songs and not during the singing. It was only until they were invited to join in singing Kaashe Gbeyei (George Mensah Essilfie) in the second package and thereafter.

This brings us to the second package. This included Nyame Mma Monto Dwom (Sam Asare Bediako), Praise Him! Praise Him!, Kaashe Gbeyei and The Blood Will Never Lose Its Power (Andrae Crouch).

The Blood Will Never Lose Its Power and Kaashe Gbeyei were an added twist to the atmosphere. These songs sound more contemporary but they were beautifully sung chorally (if you get what I mean). The lead pianist overshadowed the choir a tad when the Blood Will Never Lose Its Power was being sung. Despite that, I felt the song’s calming effect.

In commemoration of the anniversary, a cake was cut. The General Manager, Maukeni Padiki Kodjo, on behalf of the choir and Gramophone Ghana, was especially grateful to God, parents and the congregation for supporting and being with them from the inception of FOS. Thanks Be To Thee (G. F. Handel) was accordingly chanted by the choir.

The audience was treated to two of their favourite songs the choir had ministered in previous FOSs - Gyataburuwa, Thine Be The Glory and Sam Asare Bediako’s  Meyi M’akyea brought the third package to a close.

Stage craft was good, not excellent. The choristers did not rise or hold their files in uniformly. But that did not take away the beauty of the whole event. The voice of the choir was spot on and in harmony. Their diction was superb, as was their phrasing. And all these contributed immensely to my loving the ministration. The sound engineer did a great job although I could not hear the alto parts too well.

FOS is free but the cost involved is quite huge! There was a fundraising through sales of their CDs and pledges.

Being Ghanaian, and being a night of thanksgiving, FOS could not have ended without a hi-life medley. There was so much energy from both choristers and dancers.

It was an awesome experience and a memorable Sunday evening. Kaashe Gbeyei and Gyataburuwa continue to linger on my lips. I look forward to FOS VI in December 2015 which will most probably be at their usual venue – the Trinity United Church on the Trinity Theological Seminary Campus, Legon.

Gramophone, for the love of Jesus.

See ya!