David Willcocks: A Life in Music

I recently had the opportunity to read William Owen's new book, A Life in Music: Conversations with Sir David Willcocks and Friends (OUP, 2008).  Owen has compiled a series of extended interviews with the British choral icon Sir David Willcocks, as well as numerous interviews with friends and acquaintances; their recollections resonate in an interesting counterpoint with Willcock's review of his long and storied life.  This is a great read - one quickly gains a portrait of this highly influential choral musician, from his beginnings as a treble chorister at Westminster Abbey, his further education at Clifton College and King's College, Cambridge, his sojourn in the British army during WWII, and then return to King's as Director of Music, via several cathedral posts in the post-war period.  Most riveting in this account for me was Willcock's recall of his war service, including his involvement in the Normandy invasion in 1944, and his pivotal role in the defense of a strategic position near Fontaine Ḗtoupefour, France ("Hill 112").  Of further interest to choral conductors is his detailed recollection of his involvements in several choral festivals (Salisbury, and the Three Choirs Festivals, e.g.), and especially his role in premiering numerous major works by Howells and Vaughan Williams, among others.  In later chapters we read of his musical direction of the London Bach Choir for nearly four decades, and his leadership of the Royal College of Music for 10 years (1974-84).  Throughout these personal accounts, which are supported by those of his family, friends and professional colleagues, a portrait is presented of a gifted musician and leader who had the innate ability to inspire thousands of vocal and instrumental musicians throughout a professional life that has spanned nearly 7 decades.  Willcocks recently turned 90, and Owen's book is a timely issue in celebration of one of the world's leading choral figures in the past and current centuries.

Fond memories of Bistro Praha

Earlier this week the Ramsey Building, one of the older buildings in Edmonton's Rice Howard Way restaurant district, was destroyed by a fire that now appears to have been started by an arsonist.  A number of businesses and the recently closed Cafe Renoir were in that building, but a tragic byproduct of the fire was the extensive water damage to the adjoining Kelly Building, which housed several outstanding restaurants, including the legendary Bistro Praha, a fixture downtown for well over 30 years since its founding by the Czech expatriot and amateur cellist Frantisek Cikanek.  

Unfortunately the water damage was extensive has forced the Bistro, along with two other restaurants, Co Co Di's and Nikita's, to close indefinitely.  For many downtowners, and especially for the arts community that frequented Praha before and after events at the Winspear, Citadel, etc., this is a great loss (hopefully only temporary!)

I, like many who frequented it over the years, found in the warm and unpretentious environment of the Bistro a relaxed comfort level that enabled so many memorable gatherings over the years.  There was a sense of security one felt walking through the curtain from the vestibule - in the always reliable and personable, friendly service, a menu rich in variety (and calories, I dare say), and a flexibility that allowed for gatherings of all types and sizes which could go on well into the morning hours.  To our friends at the Bistro, we wish you a speedy recovery from what we hope is just a temporary setback - we're already missing the various schnitzels, delicious chicken and fish dishes, and of course the strudel and personalized crepes (Nadia will always be a personal fave).  Come back soon!

Starting something new!  I must admit to feelings of trepidation re publishing thoughts from time to time on subjects related to choral music.  Having monitored sites of some good friends and acquaintances over the past few months, though, I am convinced that blogging interactions amongst choral musicians provide yet another opportunity for learning about this wondrous musical genre in all its splendid and inspiring variety.  

A few introductory comments about myself are in order, I suppose: I am a professor of choral music at a large Canadian university, University of Alberta, where I co-supervise a well established graduate program in choral conducting, and conduct a chamber choir, the University of Alberta Madrigal Singers, that has had the good fortune to engage in a wide range of regional, national and international activities over the nearly three decades I have led them.  I also direct a larger symphonic choir in the city of Edmonton, the Richard Eaton Singers (named after one of this city's musical pioneers who founded the choir in 1951) which performs regularly with orchestral ensembles here, including the Edmonton Symphony and Alberta Baroque Ensemble, and also hosts its own concerts each season.

Having recently completed a five year term as chair of my Department, I am on leave this year, so while I have not been in regular rehearsals with my ensembles or teaching classes, I have enjoyed the large chunks of free time to read, study and listen to a great amount of interesting choral (and other!) music.  The World Symposium on Choral Music in Copenhagen last summer, and more recently the ACDA National Convention in Oklahoma City, have been rich sources for gathering new music and ideas about music, hearing amazing ensembles from all over the world, and inspiration to get back to it when the time comes!