Boy Choir Magazine

As the choirboy looks up from his seat in choir, all he can see is the visage and form of exacting authority that hovers over him in all that he does. It is, of course, the boy choir Director. The choirboy’s eyes follow every wave of the Director’s hands as they sweep majestically before his eyes and seek, at all times, to coax beautiful sounds from his throat. But most of all, it is the Director’s eyes that communicate – eyes that seem to connect with every singer at the same time. To the choirboy, the Director is both the demanding master and the kindly teacher all wrapped up into one magnificent, authoritative being.What the boy sees, however, is limited by his understanding of the art form in which he is taking part. For, just as the choirboy has a long and distinguished history, all of them – from the very first choirboy – have had the same source of inspiration: the Director. Without the Director, there can be no choirboy.

There is no way the choirboy can understand his own Director from moment to moment, except for his demand for excellence from the boy. But the Director himself comes in many different forms around the planet, and not all of them fully grasp the wide difference between one another. As editor of Boy Choir Magazine I have found there to be not only misunderstandings, but sometimes not even a polite agreement to disagree. Most of that disagreement is in setting and purpose. Although the basic instrument, the boy, is the same everywhere, how he is trained – or not – differs from choir to choir. (California Boys Choir Founder and Director Douglas Neslund shown on left.)

There is the rare female Director, but most Directors of boy choirs are men, and the position has traditionally been male. That does not allude to any matter of quality; it is but a statement of raw fact. Choir directors around the world are often strikingly different depending on their personality, calling and modes of expression.

Most boy choirs in the United States are typically not affiliated with churches but exist independently. Their Directors direct community based, non-residential choirs which vie for performance opportunities within the community and occasionally tour outside the community. The reality of survival in a country that, in general, does not realize the inherent value of a boy choir in their midst determines, to a large degree, the Directors’ modus operandi, their approach to performing and even their sensitivities toward the choir and the community.

Boy choirs in Europe were derived originally from court and church affiliations, but not in the linear mode as we assume. Cromwell in England and Napoleon in France were singularly responsible for the destruction of choir schools in their respective eras. We really do not know for sure how singing by boys was carried on during those awful times. But all that lies behind the choirmasters of today. Church-related programs seem to offer a bit more privilege and security than community organizations. Those who wish to call their own tune form their own instrument, while those who accept the authority of the local bishop, priest or music committee, might find a church job to be just the ticket.

In the Anglican tradition today, the Director is challenged by a consideration of “equal rights” to the extent that some foresee a schism in that denomination that will threaten the tradition of choirs made up of men and boys. Anglican Directors are typically assigned responsibility for the entire musical liturgy of their churches including services, special Christmas and Easter performances, and Evensong. These Directors are missionaries to providing music for worship and unselfishly pour their lives and art into their liturgical choirs.

Europe is also blessed with non-church affiliated choirs of majestic quality and historic reputation. Many are led by world renowned Directors. Such choirs as the Munich-based Tölzer Knabenchor, the Wiener Sängerknaben – Vienna Boys Choir, and the French Les Petits Chanteurs à la Croix de Bois are unaffiliated choirs which have gained international reputations. Many are led by world renowned Directors.

The choirboy looks up from his seat and comprehends neither the long history, the international differences, nor the long road that led to his being under the tutelage of his own particular Director. And yet, without that Director, the voices of the boys would be silent, regardless of the Director’s achievements, training or expertise. Famous boy choirs have existed for decades – or centuries – although, by the very nature of the transitory treble voice, an average of one-third of the boy members change from year to year. What creates the boy choir, and keeps it viable despite war, famine, pestilence, economic stress, taxes and generational shifts, is the Director!