Story behind the 22 original hymns of Uganda’s Martyrs (2024)

Summary
Article
Related

What you need to know:

October 18, 1964, marked a new chapter in Uganda’s religious history as 22 young men, who were killed for their faith, were canonised. Besides the canonisation of the martyrs, the notable event at St Peter’s Basilica was accompanied by Uganda’s original music that the choir used to animate the Mass. Gabriel Buule looks at the oratorio of 22 pieces, all composed by the late Joseph Kyagambiddwa.

A sound of the xylophone and a delectable one-string fiddle, alias endingidi, dominates the introduction of the song Karoli Lwanga Wuuno Omulwanyi, literally creating a feel to the Buganda’s Kings courts music.

The song suggests that Charles Lwanga, a martyr, alias Karoli, is an invincible religious warrior.

Furthermore, another oratorio piece, Abagalagala b’embuuza, which is loosely translated as “where are the royal guards?”, is a song that was composed with a rich traditional rhythm. The endingidi enunciates the words and phrases as other instruments are played.

Accompanied by a hollow sound bed of the flute, the xylophone creates a distinct sound, giving an impression of precision as the choir sings. The composer maintains the intonation of each of the words for easy identification by allowing the text to dictate the melodic contour.

Church music composer and producer Jude Mugerwa of Pearl Rhythm Music studios shares that the entire Oratorio thrived on simplicity with rich storytelling and traditional sound.

It is recorded that Joseph Kyagambiddwa, a music composer, teacher and choral conductor, who transcribed the music into the classical music notation, was bestowed with the responsibility of arranging the hymns in commemoration of the Uganda Martyrs.

Going traditional

Mugerwa suggests that the composer banked on Buganda’s rich culture to come up with music that resonates with the society where the 22 men were martyred. Mugerwa adds that each song created a sense of belonging given the fact that the composer chose rhythms with a traditional element to create the music.

In his research, “Bridging Ethnomusicology and Composition in the First Movement of Justinian Tamusuza’s String Quartet Mu Kkubo Ery’Omusaalaba,” Charles Lwanga shares that the style of Kyagambiddwa’s African Oratorio is deeply rooted in Baganda musical style. He notes that some characteristics of this style include the use of call-and-response patterns; the Penta chordal pitch-class set; the use of Luganda text and ebiggu and baakisimba drum grooves as the supporting accompaniment to the vocals.

Lwanga’s research further suggests that Kyagambiddwa’s African Oratorio was a reproduction of some internalised Ganda-musical systems on which Tamusuza based the expansion of his creative horizon.

Mugerwa notes that the oratorio’s inclination to Ganda music is much more visible in each of the 22 songs where the vocalists use Kiganda’s vocal ornament dubbed Eggono.

Fused with typical Ganda musical genre, incorporating the harmonious sounds of authentic Baganda, the songs became more relatable and loved by the believers.

Marked by rapid alternation between the normal voice and falsetto, Catholic music producer Mugerwa says the songs were blended with powerful storytelling, poetry and rhyme.

Traditionally mirroring stories

Kizito Omuto ye wange, loosely translated as ‘Kizito, the little one is my martyr’ is one of the 22 songs on the oratorio. It’s dedicated to Saint Kizito, the youngest martyr, who was reportedly baptised on May 25/26, 1886, by Charles Lwanga, the leader of Uganda’s Christian community at the time. The song that thrives on a string fiddle and the drums bears a sound of a lullaby with a story broken down to fit children since the saint is considered as the patron saint of children.

Musician Andereya Baguma reveals that Kyagambiddwa was lucky to create an oratorio at a time when the story was very relevant to the world. He reveals that the audience loves to listen to music whose stories are popular and relevant to the people.

“At that time, the world was keen to learn about the death of the Uganda martyrs and that meant that any story about them, especially music, would be received well,” he explains.

Bagumba shares that a song such as Lwaali Lukulu would resonate well with the people, especially at a time when few first-hand witnesses were living. He adds that each word used in the lyrics was deliberate and important to the story of the martyrs.

Uganda-made instruments

All the hymns were fused with a wide range of Uganda-made music instruments that included adungu (arched harp), endere (notched flute), endingidi (1-stringed violin/fiddle), amadinda (xylophone) and engoma (drums).

Story behind the 22 original hymns of Uganda’s Martyrs (2024)

What you need to know:

References