Fela Sowande

Introduction

We are excited to delve into the rich and diverse world of African classical music by highlighting the incredible contributions of three African composers: Fela Sowande, Manu Dibango, and Mulatu Astatke. African music has a long and rich history, with a wide array of musical traditions, styles, and instruments that have influenced and shaped the global music landscape.

These three composers have made significant contributions to African classical music through their innovative compositions, performances, and research efforts. Join us as we explore the lives, legacies, and unique musical styles of these remarkable African composers who have left an indelible mark on the world of classical music

Composer Spotlight

Fela Sowande (1905-1987) was a Nigerian composer, organist, and ethnomusicologist who made significant contributions to the field of African classical music. He was a prominent figure in the African music scene during the mid-20th century, and his innovative compositions and performances earned him recognition both in Africa and internationally. Sowande’s music blended elements of Western classical music with traditional African musical traditions, creating a unique and captivating sound that was deeply rooted in his African heritage. This article will provide a comprehensive history of Fela Sowande, tracing his early life, musical education, career achievements, and lasting legacy.

Early Life and Education: Olufela Obafunmilayo Sowande (also known as Fela Sowande) was born on May 29, 1905, in Abeokuta, a town in Western Nigeria. He was born into a musical family, as his father, Joshua Kalejaiye Sowande, was a church organist and choirmaster, and his mother, Sophia Tinuola Sowande, was a singer. Fela Sowande’s early exposure to music within his family and the local church sparked his interest in music from a young age, and he showed a natural aptitude for the piano and organ.

Sowande’s musical education began at the CMS Training Institution in Lagos, where he studied music theory and practical musicianship. He later traveled to London in 1926 to further his studies at the Trinity College of Music, where he pursued a diploma in music education. During his time in London, Sowande also took organ lessons from Dr. George Thalben-Ball, a renowned British organist and composer. Sowande’s time in London exposed him to Western classical music and the thriving music scene of the time, and it broadened his musical horizons.

Career Achievements: After completing his studies in London, Sowande returned to Nigeria in 1934 and embarked on a successful career as a composer, organist, and ethnomusicologist. He became a pioneering figure in African classical music, blending traditional African musical elements with Western classical music to create a unique style that would later be recognized as “Afro-Classical” music.

As a composer, Sowande’s works were groundbreaking and innovative, drawing on his African heritage and incorporating traditional rhythms, melodies, and harmonies into his compositions. His compositions spanned a wide range of genres, including choral music, chamber music, orchestral music, and piano solos.

Some of his most famous works include “African Suite for Piano and Orchestra,” “African Suite for Strings,” “African Suite for Organ,” “African Suite for Chorus and Orchestra,” and “The African Suite for Winds.” These compositions showcased Fela Sowande’s deep understanding of African musical traditions and his ability to fuse them with Western classical music, creating a distinctive and evocative sound.

In addition to his compositional work, Sowande was also an accomplished organist. He served as the organist and choirmaster at several prominent churches in Nigeria, including the Cathedral Church of Christ in Lagos, and St. Anne’s Church in Ibadan. His performances on the organ were known for their technical skill, expressive interpretations, and unique incorporation of African musical elements into his organ playing. Sowande’s organ performances were highly acclaimed, and he toured extensively throughout Africa, Europe, and the United States, earning him international recognition as a leading organist of his time.

Fela Sowande’s contributions to ethnomusicology were also significant. He conducted extensive research on traditional African music and documented various musical traditions from different African regions, including Nigeria, Ghana, and Sierra Leone.

He was particularly interested in Yoruba music, his ethnic group’s music, and he made significant efforts to preserve and promote Yoruba musical traditions through his research and compositions. Sowande’s work in ethnomusicology helped to raise awareness of African music and culture, both within Africa and internationally, and contributed to the recognition and appreciation of African music as a rich and diverse musical heritage.

One of Sowande’s notable achievements was his role in the establishment of the Nigerian Music Society (NMS) in 1945. The NMS was the first formal organization for the promotion of Western and African classical music in Nigeria, and Sowande served as its founding president. Through the NMS, Sowande organized concerts, lectures, and workshops that aimed to promote classical music and provide opportunities for local musicians to showcase their talents. The NMS played a crucial role in fostering a community of musicians, composers, and music scholars in Nigeria, and it continues to promote African classical music to this day.

Sowande’s music and performances received critical acclaim both in Africa and internationally. His unique blend of African and Western musical elements earned him a reputation as a trailblazer in African classical music. He was often praised for his innovative compositions, virtuosic organ playing, and his ability to convey the richness and complexity of African musical traditions in his music. Sowande’s performances were known for their emotional depth, technical mastery, and his ability to captivate audiences with his musical prowess.

In addition to his career as a composer, organist, and ethnomusicologist, Fela Sowande also had a successful career as an educator. He taught music at several institutions, including the Trinity College of Music in London, the University of California, Los Angeles (UCLA), and Howard University in Washington, D.C. Sowande’s teaching was highly regarded, and he mentored numerous students who went on to have successful careers in music. His pedagogical approach was known for its emphasis on African musical traditions and his commitment to nurturing African talent in classical music.

Legacy: Fela Sowande’s legacy in the field of African classical music is significant and enduring. He is widely regarded as one of the pioneers of African classical music, and his innovative compositions, performances, and research efforts have had a lasting impact on the African music scene and beyond.

One of Sowande’s most significant contributions was his role in promoting and preserving African musical traditions. Through his research and compositions, Sowande brought attention to the richness and diversity of African music, challenging the stereotype of African music as primitive or inferior to Western music. He helped to elevate African music to the level of classical music, establishing it as a legitimate and respected musical tradition.

Sowande’s music also had a profound impact on the development of African classical music as a genre. His compositions, which seamlessly fused African and Western musical elements, inspired and influenced generations of African composers who followed in his footsteps. His innovative use of traditional African rhythms, melodies, and harmonies in his compositions created a distinctive African classical music style, now known as “Afro-Classical” music, which has become a recognized genre in its own right.

Furthermore, Sowande’s work in ethnomusicology has contributed to the documentation and preservation of African musical traditions. His research efforts have helped to document various African musical traditions, including those of the Yoruba people, and his recordings and transcriptions of traditional African music have become valuable resources for scholars, musicians, and music enthusiasts interested in African music.

Sowande’s influence also extended beyond Africa. His music and performances were highly acclaimed internationally, and he played a crucial role in raising awareness of African music and culture on the global stage.

His performances in Europe and the United States helped to challenge the prevailing perception of African music as exotic or primitive and instead presented it as a sophisticated and rich musical tradition. Sowande’s pioneering efforts in promoting African classical music and his contributions to ethnomusicology have paved the way for future generations of African composers, musicians, and scholars to explore and celebrate their musical heritage.

In addition to his musical contributions, Fela Sowande’s role as an educator has also left a lasting impact on the field of music. His emphasis on African musical traditions in his teaching and his mentorship of numerous students have inspired and influenced generations of musicians and scholars. Many of his students have gone on to become successful musicians, composers, and educators themselves, continuing his legacy and spreading African classical music to different parts of the world.

Fela Sowande’s contributions to the establishment of the Nigerian Music Society (NMS) have also had a lasting impact. The NMS continues to play a crucial role in promoting classical music and supporting local musicians in Nigeria, and it has become a platform for showcasing the talents of African composers and musicians. The NMS has also fostered a community of musicians, composers, and scholars, creating a space for exchange of ideas, collaboration, and continued growth of African classical music.

Overall, Fela Sowande’s legacy in the field of African classical music is one of pioneering contributions, innovation, and advocacy. His music, research, and educational efforts have helped to raise the profile of African music and culture, challenging stereotypes and promoting its recognition and appreciation on the global stage. His pioneering work has paved the way for future generations of African musicians and scholars, and his impact continues to be felt in the field of African classical music today.

Compositions

Fela Sowande’s compositions are known for their fusion of Western classical music with African rhythms, melodies, and instruments, creating a unique and vibrant musical style. Here are three of his most notable pieces, along with a brief description:

“African Suite” (1930): The “African Suite” is one of Fela Sowande’s most well-known works. Composed in 1930, it is a suite for solo piano that showcases Sowande’s mastery of blending African rhythms and melodies with Western classical forms. The suite consists of four movements, each drawing inspiration from African musical traditions, such as Yoruba and Hausa, and features lively rhythms, catchy melodies, and virtuosic piano writing.
“Obangiji” (1948): “Obangiji” is a choral composition by Fela Sowande that is widely regarded as one of his masterpieces. Composed in 1948, it is a choral setting of a Yoruba hymn that combines elements of Western choral music with African vocal techniques and rhythms. The piece features rich and lush harmonies, powerful choral writing, and a soaring melody that expresses a sense of reverence and awe towards God, reflecting Sowande’s deep Christian faith and African heritage.
“African Suite for Strings” (1963): The “African Suite for Strings” is a composition by Fela Sowande that is known for its innovative fusion of African and Western musical elements. Composed in 1963, it is a suite for string orchestra that combines African folk melodies and rhythms with Western classical forms. The suite consists of five movements, each drawing inspiration from different African musical traditions, and features vibrant and energetic rhythms, lyrical melodies, and rich harmonies that highlight Sowande’s skillful blending of diverse musical influences.

Fela Sowande’s compositions are celebrated for their unique fusion of African and Western musical traditions, showcasing his deep understanding of both musical cultures. His works continue to be performed and admired today for their innovative and vibrant musical language, making him an important figure in the history of African classical music.

Additional Composers

Manu Dibango

Manu Dibango was a Cameroonian musician and saxophonist who was widely regarded as a pioneer of African music, particularly Afro-jazz and Afro-funk. His compositions are known for their infectious rhythms, grooves, and melodies that blend traditional African music with modern influences. Here are three of his most notable pieces, along with a brief description:

“Soul Makossa” (1972): “Soul Makossa” is perhaps Manu Dibango’s most famous composition, known for its catchy saxophone riff and groovy rhythm. Released in 1972, it became a global hit and is considered one of the first disco records, influencing the development of funk and disco music. “Soul Makossa” features Dibango’s soulful saxophone playing, combined with Afro-funk and jazz elements, creating a danceable and infectious track that has been sampled and covered by numerous artists over the years.
“Afrovision” (1976): Released in 1976, “Afrovision” is a standout track from Manu Dibango’s album of the same name. It is a vibrant fusion of African and jazz influences, featuring Dibango’s virtuosic saxophone playing, groovy basslines, and African percussions. The piece showcases Dibango’s ability to blend traditional African rhythms with modern jazz improvisation, creating a unique and dynamic musical experience that is both rhythmically complex and melodically captivating.
“Big Blow” (1976): “Big Blow” is another notable composition by Manu Dibango, released in 1976 as part of his album “Big Blow & Soul Makossa.” The piece is characterized by its energetic Afro-funk groove, with Dibango’s saxophone taking center stage, supported by a tight rhythm section and infectious horn arrangements. “Big Blow” showcases Dibango’s mastery of creating music that is both danceable and musically sophisticated, with its combination of African rhythms, jazz improvisation, and funk elements.

Manu Dibango’s compositions have had a significant impact on the global music scene, influencing numerous genres and artists. His ability to blend African and Western musical elements with his virtuosic saxophone playing and infectious rhythms has earned him a well-deserved reputation as one of the most influential musicians from Africa. His legacy continues to inspire musicians and listeners alike, making his music a timeless treasure in the world of African music.

Mulatu Astatke

Mulatu Astatke is an Ethiopian musician and composer known for his unique blend of Ethiopian traditional music, jazz, and Latin rhythms. His compositions are characterized by intricate melodies, hypnotic rhythms, and masterful use of traditional Ethiopian instruments, combined with modern jazz improvisation. Here are three of his most notable pieces:

“Yèkèrmo Sèw” (1969): “Yèkèrmo Sèw” is one of Mulatu Astatke’s most famous compositions, released in 1969. It is a hypnotic and groovy instrumental track that features Astatke’s signature vibraphone playing, supported by a tight rhythm section and traditional Ethiopian instruments like the masenqo (a one-stringed fiddle) and the krar (a five- or six-stringed lyre). “Yèkèrmo Sèw” is often considered one of the first examples of Ethio-jazz, a unique genre that Astatke pioneered, blending Ethiopian melodies and rhythms with jazz improvisation, creating a mesmerizing and innovative sound.
“Tezeta” (1972): “Tezeta” is another iconic composition by Mulatu Astatke, released in 1972. It is a slow, moody, and melancholic piece that showcases Astatke’s mastery of creating evocative melodies and rich harmonies. “Tezeta” features Astatke’s vibraphone and piano playing, combined with lush string arrangements and traditional Ethiopian scales, creating a hauntingly beautiful and introspective musical experience. The piece has been widely covered and sampled by various artists, cementing its status as one of Astatke’s most enduring compositions.
“Gamo” (1974): Released in 1974, “Gamo” is a lively and rhythmic composition by Mulatu Astatke that showcases his ability to create complex and syncopated rhythms. The piece is driven by traditional Ethiopian percussion instruments like the kebero (a large double-headed drum) and the krar, combined with Astatke’s vibraphone and horn arrangements. “Gamo” is a fusion of Ethiopian rhythms and jazz improvisation, featuring intricate melodies, dynamic horn solos, and infectious grooves that make it a standout piece in Astatke’s repertoire.

Mulatu Astatke’s compositions are known for their unique fusion of Ethiopian music with jazz and Latin influences, creating a sound that is both deeply rooted in Ethiopian traditions and highly innovative. His music has gained international recognition and has been a significant influence on various genres and artists. Astatke’s ability to blend different musical elements and create mesmerizing compositions has earned him a well-deserved reputation as one of the most important musicians from Africa, and his music continues to captivate audiences around the world.

Comparison

When comparing the composing styles of these three African composers, it is clear that each composer has their own unique approach to blending traditional African music with Western classical or popular music.

Fela Sowande’s compositions are heavily influenced by traditional African rhythms and melodies. His use of traditional African instruments, such as the talking drum and the xylophone, is a hallmark of his style. Sowande’s compositions often feature a fusion of Western classical music with African music, creating a unique sound that blends the two musical traditions.

Manu Dibango’s compositions, on the other hand, are heavily influenced by jazz and funk music, with traditional African rhythms and melodies overlaid on top. His use of the saxophone, which is played in a style that combines jazz and African influences, is a key element of his unique sound.

Mulatu Astatke’s compositions are perhaps the most complex of the three, with intricate polyrhythms and unusual time signatures. Astatke’s use of the vibraphone, which is heavily influenced by the rhythms and melodies of Ethiopian music, adds a unique texture to his compositions, making them truly one-of-a-kind.

While Fela Sowande, Manu Dibango, and Mulatu Astatke are all renowned African musicians and composers, their compositions exhibit distinct differences in terms of style, genre, and cultural influences. Let’s compare one composition from each of these musicians:

“African Suite” by Fela Sowande (1944) is a classical composition for solo piano that draws on traditional African musical elements, incorporating Yoruba rhythms, melodies, and harmonies. Sowande’s “African Suite” showcases his skillful blending of Western classical music with African musical traditions, creating a unique and evocative piece that reflects his African heritage.

“Soul Makossa” by Manu Dibango (1972) is a funk-infused Afro-jazz composition that became a global hit in the 1970s, known for its infectious groove, catchy melodies, and Dibango’s virtuosic saxophone playing. “Soul Makossa” is a prime example of Dibango’s ability to fuse traditional African rhythms with modern Western music styles, creating a danceable and vibrant piece that has been influential in the development of Afrobeat, funk, and disco music.

“Yèkèrmo Sèw” by Mulatu Astatke (1969): “Yèkèrmo Sèw” is a renowned composition by Mulatu Astatke, an Ethiopian musician and composer. It is a pioneering work in the genre of Ethio-jazz, blending traditional Ethiopian melodies and rhythms with modern jazz improvisation. “Yèkèrmo Sèw” features Astatke’s vibraphone playing, supported by a tight rhythm section and traditional Ethiopian instruments, creating a mesmerizing and innovative sound that is both deeply rooted in Ethiopian musical traditions and highly influenced by jazz.

While all three compositions reflect the musicians’ African heritage and incorporate traditional elements, they differ in terms of genre and style. Fela Sowande’s “African Suite” is a classical piano piece, Manu Dibango’s “Soul Makossa” is a funk-infused Afro-jazz composition, and Mulatu Astatke’s “Yèkèrmo Sèw” is a pioneering work in the genre of Ethio-jazz. Each composition also showcases the individual musicians’ unique musical talents, with Sowande’s classical piano skills, Dibango’s saxophone virtuosity, and Astatke’s mastery of the vibraphone.

Furthermore, while Sowande’s “African Suite” draws primarily on Yoruba musical traditions from Nigeria, Dibango’s “Soul Makossa” reflects influences from various African and Western music styles, and Astatke’s “Yèkèrmo Sèw” is rooted in Ethiopian music. These compositions highlight the rich and diverse musical traditions present across different regions of Africa, as well as the musicians’ ability to blend them with other genres and create unique and innovative musical expressions.

Conclusion

While Fela Sowande, Manu Dibango, and Mulatu Astatke are all distinguished African musicians and composers, their compositions exhibit distinct differences in terms of style, genre, and cultural influences. Each composition reflects the musicians’ individual talents, as well as their ability to fuse traditional African music with other genres, creating unique and groundbreaking musical works that have had a lasting impact on the global music scene.

Additional Reading

Learn about other composers: Bongani Ndodana-Breen, Percy Grainger, Gustav Holst, Charles-Valentin Alkan, and Eric Whitacre

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