Introduction: A Homecoming
On November 29, 2025, I returned to Saints Peter and Paul University Parish in Molyko, Buea, for the 30th Anniversary Jamboree of the Celestial Chorus Choir (CCC), a choir I proudly sang with from 2019 to 2023. The occasion was more than a concert; it was a homecoming, a celebration of three decades of choral excellence, and a testament to the enduring spirit of a choir that has become synonymous with musical excellence in Cameroon.
The event drew approximately 500 attendees, including 100 ex-choristers and members of the Celestial Chorus Choir Association (CCCA, celebrating their own 15th anniversary), 100 guest choristers from three visiting choirs, parishioners, university students, and patrons of the choir. The church’s amazing acoustics provided the perfect canvas for what would become an unforgettable evening of music, memory, and celebration.
The Celebration: A Three-Day Affair
The anniversary was much more than a single concert. It was a comprehensive three-day celebration from November 28-30, 2025, that brought current choristers and CCCA members together under shared accommodation. This immersive gathering created space for community building, historical reflection, and joyful fellowship. Through slideshows, presentations, and discussions, participants explored the choir’s rich 30-year history, ensuring that newer members understood the legacy they were inheriting while alumni reconnected with their roots.
The festivities included rehearsals, a charitable visit to an orphanage that embodied the choir’s commitment to service, and spirited sports competitions (football and handball matches) that pitted current choristers against alumni and CCCA members in good-natured rivalry. An anniversary walk through Buea publicized the celebration to the wider community, inviting the city to share in the milestone.
The celebration culminated in Saturday evening’s jamboree followed by a thanksgiving mass on Sunday morning, celebrated by Fr. Augustine Anuchem, himself an ex-chorister and pioneer music director turned priest who now serves as Chancellor of the Diocese of Buea.
This holistic approach to celebration reflected the choir’s understanding of itself as more than just a musical ensemble. It is a family, a community, and a spiritual home for its members past and present.
The Venue and Atmosphere
The jamboree took place in the Saints Peter and Paul University Parish church, a venue blessed with exceptional acoustics. The church’s natural resonance enhanced every note, allowing the choir’s sound to bloom without artificial amplification overpowering the organic beauty of human voices in harmony.
The atmosphere was decidedly festive and celebratory, with an undercurrent of sacred reverence that emerged powerfully during certain poignant moments. While technical difficulties including power failures caused some delays (the program started approximately two hours late, as is often customary in Cameroonian events), these hiccups did little to dampen the joyous spirit that permeated the evening.
Program Structure: Two Distinct Halves
The jamboree was divided into two parts, each with its own character and purpose.
Part One featured approximately 60 current active choristers performing a diverse repertoire spanning hymns, Baroque choruses, African choral compositions, and works by past and present music directors. This section showcased the choir’s technical prowess and classical training, opening with their celebrated Choir Anthem and including demanding pieces like Handel’s “And the Glory of the Lord,” Saint-Saëns’ “Tollite Hostias,” and the operatic “Nessun Dorma.”
Part Two brought together current choristers with approximately 140 ex-choristers and CCCA members for a predominantly African choral music celebration featuring compositions from Cameroon, Ghana, and South Africa. This section was characterized by energetic choreography, synchronized dancing, and the kind of rhythmic vitality that makes African choral music unique and infectious.
Active Celestial Chorus Choir choristers performing Indodana in memory of Deceased choristers, patrons and well-wishers of the choir
Part One: Technical Excellence and Emotional Depth
The Choir Anthem and Opening
The evening opened with a prayer led by the parish priest, Fr. Michael Mbuwir followed by the Celestial Chorus Choir Anthem, composed by Tambe Joel and Njoache Roland (Former Music Directors of the choir) in the key of C. As founding members and significant figures in the choir’s history were projected on screens, the anthem served as both a musical statement and a historical reminder of the choir’s journey. This piece, regularly performed at choir and CCCA gatherings, has become the musical embodiment of the choir’s identity. Chorister claim it is the best choir anthem in the country.
A Moment of Sacred Memory: Indodana
Perhaps the most emotionally charged moment of Part One came with the performance of “Indodana”, a traditional isiXhosa song arranged by Michael Barrett and Ralph Schmitt. As images of deceased choristers, patrons and well wishers of the choir were projected, the congregation was transported into a space of sacred remembrance. The piece was performed with such tenderness and gravitas that several attendees and choristers were moved to tears. In this moment, the jamboree transcended entertainment and became a liturgical act of memory and honor. The choir’s interpretation was reverent without being morose, celebrating the lives of those who had contributed to the choir’s legacy while acknowledging the pain of their absence.
Honoring Vocations: I Give You My All
Another deeply moving moment came during the performance of “I Give You My All” by Ndem Brian (Key of Eb). As the choir sang, images of priests and members of religious orders who are former choristers were projected. This tribute highlighted one of the choir’s most significant contributions beyond music.
The projection reminded us that CCC has not only shaped musicians but has also nurtured souls who went on to dedicate their lives to religious service. The choice of “I Give You My All” was particularly poignant for this tribute, as the song’s theme of complete surrender and dedication perfectly mirrored the vocational commitment of these former choristers. Seeing these priests and religious who once sang in the choir was a powerful testament to how the discipline, community, and spiritual formation found in the choir can shape lives in profound and lasting ways.
Standout Performances
Among the evening’s highlights were two pieces that deserve special mention. “All I Have is a Song” by Tim Brace (Key of D) was exquisitely rendered. Here are the lyrics.
“There’s a place that I can come to; there’s a gift that I can bring to You. Wondrous life is this given to us to live. I’d love to give great gifts to You, but all I have is a song. All around I see the glory of Your name. Gracious Lord, be with us now, ever the same. All around I hear the voices of your heart love and guide us and bid us do our part. ”
These lyrics spoke to me of the very heart of why we sing. The composition beautifully captures the humility and gratitude of offering one’s musical gifts in worship, and the choir delivered it with appropriate tenderness and sincerity.
Equally impressive was “They Shall Like Eagles” composed by Tumabong Emmanuel (Key of Bb), drawing from the powerful promise of Isaiah 40:31:
But those who wait upon the Lord will renew their strength; they will mount up with wings like eagles; they will run and not grow weary; they will walk and not faint.
The piece built from quiet hope to soaring affirmation, and the choir’s dynamic control allowed the text’s message to shine through powerfully. These two songs were personal favorites. I find them lyrically inspiring, and they were expertly executed.
The Classical Repertoire: Triumphs and Challenges
The choir’s engagement with the classical repertoire demonstrated both their strengths and areas for growth. “Tollite Hostias” by Camille Saint-Saëns was magnificently performed, with the choir navigating the Latin text and the piece’s technical demands with confidence. The blend between sections was particularly noteworthy, the sopranos and altos maintained their independence without overpowering one another, while the tenors and basses provided the gravitas and power expected of them.
Handel’s “And the Glory of the Lord” from Messiah was largely successful, though the choir encountered some difficulty with running notes and maintaining a steady tempo. This is common to many choirs tackling this iconic work. The energy and joy of Handel’s music came through despite these minor imperfections.
“Nessun Dorma,” the famous aria from Puccini’s Turandot, proved to be a step too far. While the attempt was admirable, the solo was not very well executed, revealing the extreme technical demands of operatic repertoire (The soloist has the voice for it). This is not a criticism but rather an observation that some works require specialized training beyond what even an excellent choral tradition can provide.
E. Greenwood’s “O Clap Your Hands” (Key of Bb) allowed the choir to showcase their celebratory side with energetic precision, featuring a strong baritone solo by Ndiashey Damian and a masterfully executed bass solo by MD Solomon Shalanyuy whose performance was particularly memorable.
Original Compositions: A Living Tradition
One of the most gratifying aspects of the evening was the inclusion of compositions by past and present music directors. Works by Ndem Brian (“I Give You My All”), Felix Ajong (“A Lamb Endures Despite Exorbitant”), Njoache Roland (“Praise Ye the Lord”), Ngofang Terence (“Jesus my King”), Tah Herman (“Celebrate our God in song”), Aloysius Fonkeng (“All hail Immanuel”, “Dih long le beu me Yaweh”), and Tambe Joel (“Great and mighty God”), showed that CCC is not merely a repository of traditional repertoire but a living creative community.
These are skillfully crafted compositions that were beautifully performed. I was particularly impressed by the quality of these works and will be inviting these composers to submit their compositions to our Composers Showcase catalogue on this website for acknowledgement, exposure, and proper documentation.
Soloist Emambo Nice-Brandy singing the solo for “Your Grace and Mercy” by Newlove Kojo Annam.
Individual Performances: Stars Emerge
The Soprano Revelation: Emambo nice-brandy
The standout vocal performance of the evening came from young soprano XYZ, who delivered stunning solos in “Lift Up Your Heads O Ye Gates” by E.L. Ashford and “Your Grace and Mercy” by Newlove Kojo Annam. Despite her small physical stature, Brandy commanded attention with a voice that was both powerful and controlled. Her tone was clear and bright, her pitch accurate, and most impressively, her volume was more than adequate – a strong set of pipes indeed. Everyone in attendance was visibly impressed.
With continued development, particularly in breath control, Brandy has the potential to pursue operatic performance if she so desires, tackling the most demanding soprano arias. She represents the emerging talent that ensures CCC’s future remains as bright as its past.
Popdinga Joel: The Developing Baritone
Another pleasant surprise was the performance of tenor Popdinga Joel, who has developed significantly since my time in the choir. His voice has matured into a fine baritone with warmth and presence. His growth exemplifies the choir’s commitment to developing its members’ talents over time.
MD Emma Lia: Excellence in Multiple Roles
MD Emma Lia, the only currently outgoing female music director, delivered skillful conducting and a beautiful solo performance. Her development since my time in the choir has been remarkable, and her dual excellence as both conductor and vocalist adds depth to the choir’s leadership. Her performance was greatly appreciated by the audience.
The Music Directors: Contrasting Styles
The evening featured multiple conductors, each bringing their own interpretive style to different pieces. MD Dong Henrry Yannick brought charisma and flamboyance to his conducting, creating powerful emotional moments that moved the audience greatly. While such theatrical conducting might feel inappropriate in a more formal classical concert setting (at least in my opinion), in the context of a celebratory jamboree, his energy and showmanship were entirely fitting and contributed significantly to the festive atmosphere.
In contrast, MD Wirba Franck took a more formally rigorous approach, focusing on conducting principles and expertly drawing out the best sound from the choir through precise technique. Both approaches had their place in the evening’s varied program.
MDs Shalanyuy Solomon, Ajong Felix, and Ndem Brian led expertly in both conducting and playing the keyboards with virtuosity. Fuafung Caleb was the Fourth keyboard player who has very quickly developed into a fine musician.
Former MD Nkechi Stephanie, serving as MC for the evening, also conducted and delivered a moving solo on Ndem Brian’s composition, “I give you my all” demonstrating the multi-faceted talents that characterize CCC’s leadership.
Guest Choirs: A Showcase of Regional Excellence
Between Parts One and Two, three guest choirs graced the stage, each bringing their own distinctive style and repertoire. A power failure during this section caused delays but also created an unexpectedly beautiful moment.
Saint Martin of Tours Choir (SMC)
SMC, one of CCC’s sister choirs from the same parish, performed “Musungedi” and James Varrick Armaah’s “Let Israel Now Say.” Together with Choeur d’Anges and CCC, they form the parish choir, and their familiarity with the space and acoustics was evident. Their exit song featured choreography so infectious that the entire congregation joined in dancing. It was a joyful moment that embodied the celebratory spirit of the evening.
Rating: 7.5/10. A beautiful, engaging performance that demonstrated strong musicality and community connection.
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The University of Buea Presbyterian Singers (UB Press Singers)
The UB Press Singers delivered what was arguably the most technically impressive guest performance of the evening. Their presentation included “Christmas Is With Us” as their exit song and an ambitious Handelian mashup combining “The Great Jehovah Is Our Awful Theme” from Joshua, “Hail Judea Happy Land” from Judas Maccabaeus, and “Hallelujah Amen” also from Judas Maccabaeus.
When the power went out while they performed “Hallelujah Amen,” rather than being derailed, the choir continued unaccompanied and I actually quite enjoyed their a cappella rendition! The unexpected circumstance revealed the choir’s excellent intonation and blend when stripped of instrumental support. Their performance was powerful, creative, and professional.
Rating: 8.5/10. I believe they are undoubtedly one of the finest choirs in Cameroon, and their visit elevated the entire evening. CCC is, as usual, a guest choir at their Christmas concert this Sat, 6th December at their church premises in Molyko Buea.
Choeur d’Anges
Representing the Francophone community of the parish, Choeur d’Anges performed “Salve Regina, Mater Beata” (Gregorian chant attributed to Handel), and “Sango Yesu Christo.” Their choreography during the latter piece had everyone dancing along, bridging the linguistic divide between Francophone and Anglophone communities through the universal language of rhythm and joy.
Rating: 6.5/10. A very good performance that brought cultural diversity to the celebration.
Active Celestial Chorus Choir choristers, CCCA, and choir Alumni singing Part 2 of the Jamboree
Part Two: Dance, Joy, and Generational Unity
Part Two transformed the jamboree from concert to celebration. Beginning with “Dih Long Le Beu Me Yaweh” by Aloysius Fonkeng (Former MD) (Key of C), this section brought together 60 current choristers with about 140 ex-choristers and CCCA members in a predominantly standing and dancing format.
The repertoire included “Jesus My King” by Ngofang Terence, “Celebrate Our God in Song” by Tar Hermann, “Great and Mighty God” by Tambe Joel (Key of F#), and “Ko Eh Buh Fiah Mbo Ngo” by Ndem Brian, all former MDs of the choir.
Other songs presented included “Jerusalem Ikhayalam” (Key of Ab), “Ahuna Ya Tswanang” (which the CCCA members particularly enjoyed), “Modimo Rebboka Wena” (Key of G), and closing with “Onyame Akassa” (Key of F).
The Challenge and Triumph of Unity
Bringing together singers from multiple generations who had not rehearsed extensively together was an ambitious undertaking. The sound was indeed louder and fuller with the added voices, though not necessarily better in technical precision than Part One. There was understandable fatigue setting in after a full day of activities (the previous day included sports competitions and other physically demanding events), and the focus on synchronized choreography necessarily meant that some vocal refinement was sacrificed.
However, this was entirely appropriate for the context. Part Two was not meant to be a technical showcase but a celebration of community, continuity, and shared joy. The dance leaders drew on choreographic styles spanning various generations of the choir, and the songs themselves were chosen to represent different eras of CCC’s history. The result was a moving demonstration that while individual choristers come and go, the choir’s spirit endures.
The entire Part Two was conducted by MD Shalanyuy Solomon, who maintained energy and coherence despite the logistical complexities of coordinating such a large and diverse ensemble.
Audience Participation and Appreciation
One of the most memorable aspects of the concert was the audience’s enthusiastic participation, both in financial appreciation for soloists (notably Brandy and others) and in spontaneous dancing. The African choral tradition’s embrace of embodied worship and celebration was fully on display, and the boundary between performers and congregation beautifully dissolved.
Technical Assessment: Excellence with Room for Growth
Vocal Sections and Balance
The current active choir demonstrated impressive balance across all four voice parts. The 16 sopranos and 17 altos sang as independent units with no voice overshadowing the others. This is a testament to good sectional training and blend. The 13 tenors and 11 basses provided the expected gravitas and power, with particularly strong moments in pieces requiring robust deeper resonance.
Areas of Strength
- Blend: 9.5/10—Exceptional unity of sound within sections
- Dynamics: 9/10—Excellent dynamic range and control, enhanced by skilled conducting
- Intonation: 8/10—Generally very good pitch accuracy
- Instrumentation: Keyboards and drums were played with virtuosity, by MDs Shalanyuy Solomon, Ajong Felix and Ndem Brian, and Fuafung Caleb.
Areas for Development
- Diction: 6/10—Text clarity could be improved, particularly in indigenous language pieces
- Running notes: Passages with rapid scalar movement (notably in Handel) need more precision
- Tempo consistency: Some pieces wavered in pace, requiring more internal rhythmic discipline
- Fatigue management: Understandable after a full day of activities, but pacing of rehearsals and performance could help maintain freshness
I intend for these observations to be opportunities for continued growth. The overall technical level was impressive and represents significant achievement and improvement since my time in the choir.
Organizational Excellence: The CCCA’s Role
The Celestial Chorus Choir Association, under the leadership of Andoh Akeson A and Nabeshing Janice deserves enormous credit for organizing this complex, multi-day celebration. Working in partnership with the choir leadership under Emeh Prince and Ngong Starrs the CCCA coordinated logistics, arranged meals and accommodations for visiting alumni, organized sports competitions, and managed the technical aspects of the jamboree.
Yes, the program started approximately two hours late (a common reality in Cameroonian events), and power failures caused about 20 minutes of additional delay. However, these relatively minor setbacks did little to diminish what was ultimately a well-organized, thoughtfully planned celebration. The pacing of the actual performance was appropriate, and the three-hour program maintained audience engagement throughout.
Compared to the 25th anniversary celebration (which I participated in as an active chorister), this 30th anniversary was noticeably better organized. The attention to detail, the inclusion of charitable activities, the integration of alumni into the celebration, and the overall production values reflected maturity and institutional growth.
Reflections: Evolution and Continuity
The Choir’s Growth
As a former member who sang from 2019 to 2023, returning as audience and critic provided valuable perspective on the choir’s evolution. The singing quality has improved noticeably. The choir has grown in number, bringing greater vocal resources to larger works. Musically, there is clear development in technical capacity and repertoire ambition.
The audience behavior has also improved somewhat—while there were still instances of cheering and talking during performances (which I find genuinely annoying and disrespectful to the performers’ preparation and the music itself), these disruptions were less frequent than in my active years. This suggests growing appreciation for concert etiquette.
Spiritual Dimension
One area where I have not observed improvement is in the choir’s spiritual depth. As a Christian choir attached to a university parish, CCC’s primary mission extends beyond musical excellence to liturgical service and spiritual formation. While the musical growth is evident, I would encourage the choir to equally prioritize the spiritual development of its members, ensuring that technical proficiency serves deeper worship rather than becoming an end in itself.
The Alumni Experience
Attending as an alumnus was profoundly nostalgic. Memories of singing in concerts, weddings, funerals, and other occasions flooded back. As both a music lover and critic, I was elated, particularly since I have had limited opportunities recently to experience quality live choral music. There is something irreplaceable about live performance that no recording can capture. Being physically immersed in the sound, feeling the music resonate in one’s chest, experiencing the communion between performers and audience. These elements make live choral music uniquely powerful.
The 30th anniversary celebration reminded me why I fell in love with choral singing in the first place: it is an art form that requires both individual excellence and collective surrender, that honors tradition while embracing creativity, and that serves purposes far beyond entertainment.
Song Selection: Thoughtful and Inclusive
The programming committee deserves commendation for the careful curation of repertoire. The evening’s journey from sacred classical works through original compositions to African choral celebration was both musically satisfying and symbolically appropriate. The inclusion of hymns provided liturgical grounding, while the Baroque choruses demonstrated technical ambition. Contemporary Christian music and African choral works ensured accessibility and cultural relevance.
This balance between challenge and accessibility, between Western classical tradition and African heritage, between reverence and celebration is precisely what makes CCC distinctive among Cameroonian choirs. They have resisted the temptation to specialize narrowly, instead embracing a broad musical identity that reflects their diverse roles as concert choir, liturgical choir, and community ensemble.
Looking Forward: The Next 30 Years
As the Celestial Chorus Choir embarks on its fourth decade, it does so with considerable strengths: a robust membership, skilled leadership, strong alumni engagement through the CCCA, institutional support from the parish, and a well-deserved reputation for excellence in the Cameroonian choral landscape.
To build on this foundation, I would offer a few suggestions:
Continue developing original repertoire: The works by Ndem Brian, Ajong Felix, and others demonstrated that CCC has compositional talent within its community. Commissioning and premiering new works should be a priority.
Invest in diction training: While the musical execution was strong, text clarity could be improved to better serve the music’s meaning.
Balance ambition with capability: Pieces like “Nessun Dorma” stretch the choir admirably, but programming should ensure that technical demands don’t exceed preparation time.
Cultivate concert etiquette: Continue educating audiences about appropriate concert behavior, creating space for both participatory celebration (in appropriate contexts) and focused listening.
Prioritize spiritual formation: Never lose sight of the choir’s primary mission as a liturgical ensemble serving the worship life of the parish.
Document and preserve: I urge CCC to systematically record, document, and preserve their performances, arrangements, and original compositions for future generations.
Conclusion: A Night to Remember
The Celestial Chorus Choir’s 30th Anniversary Jamboree was more than a concert. It was a testament to the enduring power of music to create community, honor memory, and inspire hope. From the emotional resonance of “Indodana” to the joyful exuberance of the African choral selections in Part Two, from the stunning soprano solos to the collective power of 200 voices raised in celebration, the evening demonstrated why CCC has remained relevant and beloved for three decades.
The guest choirs added dimension and variety, the organizational efforts created a comprehensive celebration rather than a single event, and the integration of current and past members embodied the choir’s commitment to continuity across generations.
As someone who was privileged to sing with this choir and who now has the opportunity to reflect on it from a critical distance, I can say with confidence: the Celestial Chorus Choir remains one of Cameroon’s finest musical institutions. The next 30 years promise to be equally rich if the choir continues to balance tradition with innovation, excellence with accessibility, and musical achievement with spiritual depth.
To the founders who established this choir in 1995, particularly Mr. Wolfgang Epah who initially conceived the idea to form the choir in 1995, to the music directors who have shaped its sound, to the choristers past and present who have given their voices and hearts, and to the CCCA members who ensure that the community endures beyond active membership: thank you. You have created something beautiful and lasting.
And to MD Wirba Franck, Brandy, Popdinga Joel, and all the current CCC members: the legacy is now in your hands. Sing well. Sing together. And above all, remember why you sing—to Praise God
For more coverage of choral music in Cameroon and across Africa, visit us at ChoralChristian.org. If you are a composer whose work was featured in this concert, we invite you to submit your compositions to our Featured Composers catalogue for greater exposure and proper documentation.
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Please leave a comment to share your thoughts on the Jamboree.
Fantastic report and unbiased analysis of the celebrations, jamboree and the choir!!!👏🔥👏
Kudos to the writer… your penmanship is exquisite!!!🫡
Thank you Mr. Andoh
Waooooow!!!!!, a good write up and detailed analysis of what we had on that day. I just pray the choir will follow your recommendations and work on them. You did a good job. Thank you sir.
Thank you Mme Ngako
I’m awed at what I’ve read and I say kudus to the writer for this carefully penned piece.🙏🏼🙏🏼🙏🏼🙏🏼🙏🏼
Your attention to detail, positive and unbiased criticism is even more applaudable👏🏽👏🏽👏🏽👏🏽
I’m glad you liked it.
Amazing analysis. Kudos to the writer. I love the prefect analysis both positive and negative.
Thank to the writer
Thank you Blessing
That’s some serious write-up there. The words are just emanating the positive vibes that was coming from the whole event. This is not just a choir but a movement.
I’m glad you liked it.