Joseph Kyagambiddwa (C) with some of his choir members. He is the composer and writer of the entire martyrs oratorio. PHOTO | FILE.
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).
The martyrs’ oratorio pieces, some of which were sung at the Vatican, include Karoli Lwanga Wuuno Omulwanyi Owamaanyi (Lwanga the invincible religious warrior), Kizito Omuto ye wange, (Kizito my younger brother) and Abagalagala b’embuuza and Mulinnya lya Patri’ (In the name of the Father), among others.
Mugerwa shares that the composition of the oratorio based on the Kiganda instrumental ensemble comprised of four drums, Embuutu (big drum), empuunyi (medium drum), engalabi (long drum), and nankasa (small drum).
“Drums were key to the making of the music but you would still hear additional instruments like the shakers, alias ensaasi,” he further explains.
Mugerwa notes that the setup created a feel of rhythmic-percussive effect and melodies. In addition, he mentions that the shakers and the endingidi, which is popular in all pieces, introduces the melody, as well as providing unison of instrument and song.
Music originally resisted
In a previous interview with NTV Uganda, Remegio Mubiru Kagoro stated that his brother—the composer, Kyagambidwa—was given a cold shoulder by the Catholic Church. Multiple sources indicate that despite its uniqueness, the music was initially resisted by some conservative Catholics, who then regarded traditional African music unworthy for Church consumption. Yet currently the music serves as the anthem to the celebration of Uganda Martyrs.
It is also important to note that during the canonisation of the Uganda Martyrs on October 18, 1964, the Vatican II synod first allowed indigenous music to be performed during Catholic worship. Dubbed the Vatican Ecumenical Council musicam sacram, it indicates that no kind of sacred music is prohibited from liturgical actions by the Church as long as it corresponds to the spirit of the liturgical celebration itself.
Consequently, Uganda became the first country in the world to have its music sung in indigenous languages and accompanied by traditional instruments at St Peter’s Basilica.
Kyagambiddwa the composer
Born at Kaloddo, Masaka in 1914, Kyagambiddwa, who studied at Bukulula Primary School, St Henry’s College Kitovu is a former seminarian who attended Katigondo National Major Seminary.
Despite dropping out of the seminary, Kyagambiddwa’s unique musical talent was too good to ignore and Archbishop Joseph Kiwanuka sent him to Makerere University to study music. He later got for him a scholarship to further his musical studies at the Catholic University of America.
A composer and poet, Kyagambiddwa also studied music at Xavier University, New Orleans, and Manhattanville College, Purchase, New York.
The first Ugandan to describe traditional Buganda music, he provided notations in his pioneering work, African Music from the Source of the Nile.
Believing passionately in the need to find an African idiom for Catholic worship, he was one of the first Ugandan composers to specify that traditional instruments be used in church to accompany his carols and hymns.
Although the martyrs oratorio is his most celebrated work, Kyagambiddwa composed many other hymns, including Ye mmanyi nze; Ali waggulu eyantonda nnyini buyinza; Mbuuza abataka b’e Buyudaaya; and Lwali Lukulu, among others.
Who are the Uganda Martyrs?
The Uganda Martyrs are a group of 22 Catholic and 23 Anglican converts to Christianity in the historical kingdom of Buganda, now part of Uganda, who were executed between January 31, 1885 and January 27, 1887. They were killed at the behest of Mwanga II, the Kabaka (King) of Buganda.
On June 3, 1886, on the feast of the ascension, Charles Lwanga became the first victim of martyrdom after Ssenkoole, the guardian of the sacred fire, singled him out. When Lwanga persisted in his disobedience to the king, Ssenkoole ordered that he should be the first to be executed.
The 22 Catholic Martyrs were beatified on June 6, 1920, by Pope Benedict XV.
Catholic martyrs
Name Date killed
Achilleus Kiwanuka June 3, 1886
Adolphus Ludigo-Mukasa June 3, 1886
Ambrosius Kibuuka June 3, 1886
Anatoli Kiriggwajjo June 3, 1886
Andrew Kaggwa May 26, 1886
Antanansio Bazzekuketta May 27, 1886
Bruno Sserunkuuma June 3, 1886
Charles Lwanga June 3, 1886
Denis Ssebuggwawo Wasswa May 25, 1886
Gonzaga Gonza May 27, 1886
Gyavira Musoke June 3, 1886
James Buuzaabalyaawo June 3, 1886
John Maria Muzeeyi January 27, 1887
Joseph Mukasa November 15, 1885
Kizito June 3, 1886
Lukka Baanabakintu June 3, 1886
Matiya Mulumba May 30, 1886
Mbaga Tuzinde June 3, 1886
Mugagga Lubowa June 3, 1886
Mukasa Kiriwawanvu June 3, 1886
Nowa Mawaggali May 31, 1886
Ponsiano Ngondwe May 26, 1886
Anglican martyrs
Kakumba Makko January 31, 1885
Rugarama Yusuf January 31, 1885
Sserwanga Nuwa January 31, 1885
Mukasa Musa May 25, 1886
Mbwa Eriya May 27, 1886
Muddu-aguma May 27, 1886
Muwanga Daudi May 27, 1886
Kayizzi Kibuuka May 31, 1886
Mayanja Kitoogo May 31, 1886
Muwanga May 31, 1886
Kadoko Alexanda June 3, 1886
Kifamunnyanja June 3, 1886
Kiwanuka Giyaza June 3, 1886
Kizza Frederick June 3, 1886
Kwabafu June 3, 1886
Lwakisiga Mukasa June 3, 1886
Lwanga June 3, 1886
Mubi-azaalwa June 3, 1886
Robert Munyagabyangu June 3, 1886
Muwanga, Njigija June 3 1886
Nakabandwa Danieri June 3, 1886
Walukagga Nuwa June 3, 1886
Wasswa June 3, 1886
