AFRICAN SANCTUS
Vocal Associates
Esplanade Concert Hall
Saturday (15 June 2024)
This review was published in The Straits Times on 17 June 2024 with the title "Vocal Associates marks 10th anniversary with poignant African Sanctus".
Long before world music and fusion became buzzwords in our increasingly globalised societies, British composer David Fanshawe (1942-2010) travelled up the Nile River, collecting hundreds of hours of recordings from indigenous peoples of Egypt, Sudan, Uganda and Kenya. In 1972, African Revelations – later renamed African Sanctus - came into being, a landmark work that married original and inimitable voices of Africa with the Latin liturgical mass.
 |
| The iconic African Sanctus recording issued on Philips Records. |
The message of peace in African Sanctus, that there should be no divisions between peoples of diverse races and religions, was the central theme of choral group Vocal Associates’ 10th anniversary celebration. Founded by Malaysia-born soprano Khor Ai Ming who conducted its Esplanade premiere, the choir is well known for inclusivity and community outreach.
The catchy Sanctus (Holy, Holy, Holy) movement was the recurrent fixture, being heard thrice in the 13-movement hour-long work. Sung with infectious zest by Vocal Associates Chorus and Ensemble of Young Voices, it resounded with free-spirited vibes that showed they really meant it. Mixed with the recording of the Bwala dance from the Acholi people of North Uganda, the effect was one of true seamlessness.
 |
| Photo: Pianomaniac |
Perhaps even more memorable was Kyrie, where the Cairo muezzin’s call to prayer came in the stentorian voice of jazz singer Rudy Djoe with Allahu Akbar (God Is Great). The counterpoint offered by a semi-chorus intoning Kyrie Eleison (Lord, Have Mercy) – with Islam and Christianity being intimately intertwined - was so poignant that all arms should be laid down for good.
Recorded segments included an Egyptian wedding (Gloria), Sudanese dances (Credo), a torrential rainstorm (Crucifixus) and various Kenyan and Ugandan chants, all supported by voices and the eight-member Tamagoh World Music Band with drums, percussion, electric guitars and piano. The rock-like sensibility in the music was a rebel child of its time, with parallels also found in Leonard Bernstein’s Mass and Andrew Lloyd Webber’s Jesus Christ Superstar (both from 1971).
The most recognisable movement was The Lord’s Prayer, sung in English by the children. Its pop music simplicity ensured this was one part most likely to be heard on its own. The same might be said of Dona Nobis Pacem (Grant Us Peace), added in 1994 and tagged on after the end of the main work, rendered beautifully by soprano Esther Maureen Kelly with the young ones.
Critics of African Sanctus have cited cultural misappropriation and exploitation but they have missed the point. The documentation of disappearing cultures has never been more urgent, and this universally performed work was a reminder of how connected humans are on this planet.
The concert’s first half comprised wholly popular songs (Nella Fantasia, You Raise Me Up, Ban Chun Hong, Burung Kakak Tua, Amigos Para Siempre among them), performed by assorted Vocal Associates ensembles, invited guests from Pei Tong Primary School, Taiwan and Johor Bahru, and elders from the Lions Home.
 |
| You can spot Jane Fanshawe, David's widow standing with the children at extreme right. |
 |
| Photo: Pianomaniac |
The joyous but occasionally sobering three-hour long concert concluded in a pledge for harmony, with the audience joining in the 1955 hymn by Jill Jackson and Sy Miller, Let There Be Peace On Earth.
 |
| That's to 10 years of music-making! Photo: Pianomaniac |
 |
| All photos by Alfred Ng unless otherwise stated. |
No comments:
Post a Comment