Christopher Oyesiku: Preeminent Nigerian Choral Conductor

Christopher Oyesiku dazzled the Nigerian elitist music caucuses with his extraordinary bass voice and God-gifted talent for well over six decades. His outstanding performances brought smiles laughter joy and admiration to the faces of his faithful patrons patronesses and audiences. Nigeria has never seen nor heard anything like Oyesikus magnificent voice that is best described as bel canto and basso profundo. With this sonorous voice he always leaves an impeccable and memorable impression on his ardent aficionados. He has performed before the cream of Nigerian society African nations dignitaries and indeed the Royal Family in Great Britain. Oyesiku is a professionally trained classical bass singer choral conductor extraordinaire music educator erudite scholar concert promoter concert manager concert connoisseur and broadcaster. From a period that spanned 1963 to 1997 Oyesiku single-handedly directed four magnificent choirs: the Lagos Musical Society Choir the Nigerian Broadcasting Corporation Choir the Oyo State College of Education Choir and the University of Ibadan Choir. He trained these choirs to perform at a very enviable lofty standard that always leaves their audiences screaming for encore at the end of every concert. Their performances were consistently eclectic electrifying emotive joyful impeccable crisp energetic flawless and intercultural. This book succinctly introduces musicians and enthusiasts to the performance of classical music in Nigeria through the life and stunning career of Christopher Oyesiku. His repertoire bass solo recitals and choral performances are indeed the epitome of art music concerts in the country. In this book we can see how art music is taught and learned organized directed performed promoted managed disseminated patronized and preserved by the elitist group in modern day Nigeria. In other words the Christopher Oyesiku concerts are representative of art music decorum in Nigeria with particular emphasis on the performance practices and a mirror through which one could examine the ethos of this brand of music in twenty-first century Nigeria.