The Ubuntu Ensemble ignited the hallowed halls of Wigmore Hall with a performance that was nothing short of triumphant – a rousing tribute to the 50th anniversary of the Soweto uprising. On 16 June 1976, over 10,000 students in Soweto took to the streets in peaceful protest against the apartheid regime, only for police gunfire to rain down on them, igniting months of conflict and marking a pivotal moment in South African history that would ultimately lead to the dismantling of apartheid. It was an evening that resonated deeply with the Ubuntu Ensemble's leader, double-bassist Leon Bosch – a man whose own family ties to the struggle are as strong as his connection to the music.
From the opening notes, it was clear that this concert would be more than just a performance – it was an emotional and visceral journey through South Africa's rich musical heritage. The programme traversed almost a century of sounds, from the early art-music composers of the 1940s, still heavily influenced by European styles, to the new voices of the 1960s and contemporary pieces that are redefining the nation's musical identity. A recurring melodic thread throughout many compositions was 'Nkosi Sikelel' iAfrika', a powerful symbol of national pride.
At the heart of the programme was Shane Woodborne’s 2019 concerto, 'Red Ink', an elegiac work inspired by Soweto and dedicated to Bosch's childhood friend. The double bass anchored the Ubuntu string orchestra with its deep, resonant texture, conveying a sense of inherent struggle that was both poignant and powerful. Bosch's solo passages became an increasingly fragile yet potent symbol of hope amidst the lyricism.
The evening also featured a sequence of works by film composer Grant MacLachlan, culminating in the hypnotic 'Obsidian Skies' from 2025 – described as a 'South African Fantasia on a Theme of Thomas Tallis'. This piece explored a string quartet within a larger orchestra, each striving to maintain a radiant chorale-like theme. Following the bitterness and doubt expressed in Monthati Masebe’s 2024 work, 'LEFA', a meditation on the unfulfilled promises inherited by the post-apartheid generation, the programme shifted upwards. It concluded with Jan-Hendrik Harley’s 2025 'South African Suite', described by Bosch as a celebration of 'what it means to be South African'. The programme ended on the joyful arpeggios of Mango Groove's 'Special Star'.
The concert served as a powerful reminder of South Africa's journey, from profound struggle to a vibrant celebration of its unique cultural identity – conveyed through the universal language of music that can move mountains and cross borders.