A Life in Choral Music, Cultural Heritage, and Community
Burgess performing at the Consulate General of the Republic of Trinidad and Tobago for Calypso History Month, Toronto · Oct 21, 2024
Lindy Burgess has dedicated his life to choral music, cultural preservation, and community engagement. From his early years singing in school and church choirs in Trinidad and Tobago to leading La Petite Musicale of Toronto for nearly five decades, his passion for music has remained unwavering. Deeply influenced by mentors like his aunt, Rita Baptiste, and the rich musical traditions of the Caribbean, Burgess has not only nurtured voices but also strengthened the cultural ties between Trinidad, Venezuela, and Canada. In this interview, he reflects on his musical journey, the evolution of Caribbean choral music, and the role of La Petite Musicale in keeping the rhythms and stories of the diaspora alive.
By Jacinto Salcedo
The name "La Petite Musicale" is synonymous with the legendary Olive Walke, founder of the La Petite Musicale folk choir in Trinidad and Tobago. Over the years, many members of this renowned choir emigrated to Canada. In 1969, five former members came together to establish a Toronto chapter.
Since 1975, Mr. Lindy Burgess has served as the musical director of La Petite Musicale of Toronto. Under his visionary leadership, the group continues to uphold the rich legacy of its parent choir. Their diverse repertoire features traditional Spanish and French folk songs, gospel, classical renditions, calypsos, and parang.
Mr. Burgess is also a highly respected educator and advocate for the cultural heritage of Trinidad and Tobago. His dedication has significantly influenced several organizations, including York University's Music Program, the Thornhill African Caribbean Canadian Association Steel Orchestra, the TDSB Panfest, and Caribana (Toronto's Caribbean Festival).
Here’s our interview with Mr. Burgess.
La Petite Musicale at Singing Together, Toronto 2024.
How did your musical journey begin in Trinidad and Tobago? How has your upbringing influenced your approach to choral music? Did you meet Olive Walke?
My musical journey began in my pre-teen years, being involved in music through my school and church choirs. I became obsessed with choral music, an obsession that remained with me throughout my adult life. This led to me being the musical director of La Petite Musical for the past 50 years.
Unfortunately, I was never able to meet Mrs. Olive Walke; she passed away in 1969 when I was a student in high school. However, her legacy has lived on through the efforts of La Petite, a group that was founded in 1969.
Who have been your most significant musical influences in Trinidad and internationally?
My aunt, Mrs. Rita Baptiste, my music teacher, Mrs. Louise McIntosh, and Dr. Desmond Waithe were my most significant influences in my early years. Later on, I also listened to the Brooklyn Tabernacle Choir, a group that I later patterned because of their intricate choral harmonies.
Could you share some of your experiences with La Petite Musicale of Toronto and explain how you got involved with the group?
I was introduced to La Petite Musicale of Toronto by Father Michael Pascal in 1975, and I have been connected with the group ever since. Apart from the music, there was a strong emphasis on social gatherings, which still exists. When I first joined the group, getting to and from rehearsals by subway was challenging at times (especially during the winter months). Although it was a challenge, it did not prevent members from attending rehearsals on a regular basis.
After being appointed musical director in 1975, I enjoyed the process of moving the group forward, performing to sold-out audiences across Ontario and on a few occasions to Washington, DC. Apart from the music, our productions usually included dance, drama and steelpan accompaniment.
La Petite Musicale has always been more than just a choir; it’s a cultural institution. How do you perceive its role within the larger Caribbean-Canadian community?
Most of La Petite Musicale's productions have been based on Caribbean experiences. The feelings of nostalgia that they evoked left our audiences wanting more. As a result, our audiences have supported us religiously for many years. We have taken our productions to retirement homes and performed at weddings and other types of social events, including the annual Caribbean Carnival. We have also participated in many fundraising ventures in support of the Caribbean Canadian Community for decades.
Can you describe some unique elements of Caribbean choral music that you incorporate into your performances?
Our music takes its roots from Africa, East India, the Amerindian culture and our colonizers, including the Spanish and French. We have embraced all these influences and, as such, our music is sung in different languages. Over the years, we have captivated our audiences by introducing the unique sound of voices and steel (steelpan). In addition, the conventional classics accompanied by steelpan left our audiences mesmerized.
LP. La Petite Musicale of Toronto – Caribfolk (1977)
How have Venezuelan musical traditions, such as joropo and parranda, influenced the rhythms and styles of Trinidad and Tobago’s music?
Venezuelan musical traditions, particularly joropo and parranda, have significantly influenced the music of Trinidad and Tobago, especially at Christmas time.
Joropo, characterized by its lively rhythms and use of instruments like the harp, cuatro, and maracas, has a direct influence on the formation of various Caribbean genres. In Trinidad, elements of joropo can be seen in the incorporation of similar rhythmic patterns and the use of the cuatro. The upbeat tempo and syncopation found in joropo resonate with the energetic sounds of calypso and soca, enriching the local music scene.
Parranda, which involves festive gatherings often featuring singing and dancing, has parallels in Trinidad's parang music, especially during the Christmas season. Parang is characterized by its use of Spanish lyrics and folk themes, mirroring the communal and celebratory nature of parranda. The instrumentation in both styles often includes guitars and percussion, creating a vibrant atmosphere that invites participation and celebration.
Overall, the cross-cultural exchanges between Venezuela and Trinidad and Tobago have fostered a dynamic musical environment where traditional Venezuelan styles blend seamlessly with local forms, resulting in unique sounds that reflect the shared heritage and cultural interactions of the Caribbean region.
La Petite Musicale performing at a Senior Home in Toronto.
Although you teach and promote the steel pan, I was told that your favourite instrument is the Venezuelan cuatro. How is that possible?
The steelpan recently became the national instrument of Trinidad and Tobago after 81 years of existence. I grew up listening to the pleasant sound of this instrument, became familiar with the voicing and always included it in my vocal arrangements. Although I did not play the instrument as a young person, because of my choral background, teaching the instrument was not difficult.
Being exposed to the cuatro at an early age developed my interest in this instrument. In high school, as instructed by my music teacher, I began teaching the instrument to my fellow students. Being in the company of the late Dr. Desmond Waithe took my cuatro playing to a different level. I have used this instrument over the years to accompany choral groups and other music ensembles. The cuatro remains my favourite instrument.
Is it true that Trinidadians who live in Canada have two carnivals a year? The official carnival in Trinidad and Tobago in March, and Caribana in Toronto in August
It’s true! Trinidadians who live in Canada have two carnivals a year. Carnival in Trinidad and Tobago is a pre-Lenten celebration and Caribana is a summer festival celebrated in the first weekend of August, with festivities starting in July and continuing to the actual day of the Caribana Parade.
Although you’re retired from your position as a university teacher, you are still active in the music scene. What keeps you motivated?
Music has always been an integral part of my life and continues to be so. Although I am officially retired from teaching, from primary to post-secondary levels, I continue to support music programs in the TDSB schools, to direct La Petite Musicale of Toronto, and to instruct a senior steelpan program in Vaughan.
Working with the youth and seniors brings me great satisfaction; it keeps me motivated and young at heart.