Little Did I Know: A Sister's Memoir of George Little, Musician (review)

'George said he had two favourite composers: one was Johann Sebastian Bach, the other was "Silence."' Colourful anecdotes such as this, of which this book furnishes numerous examples, offer a revealing glimpse into the mind of a truly great Canadian musician. George Little (1920-95) will be remembered for his lifelong affinity for the music of Bach, a characteristic eloquence and humour, and his pioneering leadership of the internationally renowned Montreal Bach Choir and CAMMAC (Canadian Amateur Musicians/Musiciens amateurs du Canada). A choir director, organist, educator, and administrator, he was a brilliant musician who demanded the same standards of excellence from the musicians under his direction. Yet for all of the trained professionals with whom he was affiliated, among them singer Maureen Forrester, Little's advocacy for the development of amateur music-making was unsurpassed.

In this biographical study by Edna H. Knock, Little's many achievements are told from a uniquely personal perspective. The author, an accomplished musician and educator as well as a singer in Little's choirs, offers much more than a sister's memoir. The book's six sections, framed by a prelude and postlude, include quotations from musicians, critics, students, family members, and others who knew Little to present a vivid picture of an inspiring musical life.

Parts 1 and 2 trace Little's life from childhood in the Maritimes to his arrival (professionally as well as physically) in mid-century Montreal and his marriage to Madeleine Bodier. Knock tells of a musically rich upbringing in which French folk songs, Protestant hymnody, and above all the piano inspired frequent collaboration with musically talented family members. Of special note here is Little's duo piano pairing with brother Carl, a childhood partnership that would evolve into a professional one later in life with the founding of CAMMAC. By early adulthood, Little's musicianship had become legendary, as evidenced in the following recollection of family friend Geoffrey Payzant: 'On one occasion George came for dinner not long after we had re-tuned our piano a semitone above international pitch ... He jumped back from the piano in astonishment and announced that it was a semitone high. I apologized and explained that it had been re-tuned. To this day I can hardly believe what we witnessed next. After poking at a few keys George played the piece, from memory, transposing a semitone low so we could hear the music in its original pitch.'

Part 3 examines the origins and growth of the Montreal Bach Choir, aspects of choral music, and the founding of CAMMAC. Of special interest for musicians are Little's interpretive insights into baroque choral music, including aspects of rhythm, dynamics, articulation, and tempo. The affectionately dubbed 'Bachoholic,' as Knock points out, nonetheless took every opportunity to commission works by Canadian composers, including Violet Archer, Jean Coulthard, Otto Joachim, Kelsey Jones, Pierre Mercure, and Robert Turner.

The remainder of the book explores the triumphs and setbacks of Little's later decades, including international tours with the Montreal Bach Choir, active involvement with the International Society for Music Education, and his courageous battle with Parkinson's disease. As the author demonstrates, Little and his choristers were superb ambassadors for Canada, drawing rave reviews and large audiences in locales as diverse as Brussels, Leningrad, Paris, Osaka, and Tunis. The choir gave frequent performances of Canadian folk songs and works by Canadian composers while on tour and, following Little's example, embraced the cultures of the various host nations. In many passages, Little's endearing sense of humour comes vividly to the fore, such as his whimsical description of the Canadian linguistic duality: 'francophones and anglosaxophones.'

This memorable tribute is a welcome addition to the literature of Canadian biographies. Written in an engaging and easily accessible style, this book offers something of interest for music specialists, educators, students, and those with a general interest in music. In short, it embodies the inclusive nature...