Andrew Huggett Ottawa Manotick Citizen
1976
January - Record Olympic Song for competition, Tooting, London.
April - Rent the London home out to the Split Enz.
May - Return to Aylmer, Quebec.
July - Play at the Summer Olympics in Montreal, Quebec.
August - 7 shows at the National Arts Center, Ottawa.
September - Orillia, Vancouver, Comox, Powell River, Kamloops,
100 Mile House, Williams Lake, Prince George, Smithers,
Terrace, Kitimat, Prince Rupert, Skeena River, Sudbury.
October - TVO taping, Toronto.
November - 19 school shows, Ottawa.
December - Stephenville, Cornerbrook, Grand Falls, Gander, Marystown, St. Johns.
December - CBC TV Christmas Show, Ottawa.
CONCERTS & EVENTS
LISTEN WHILE YOU BROWSE
THE GLOUCESTERSHIRE WASSAIL
Traditional. Arranged by Andrew Huggett
Over the years, the Huggett Family acquired an extensive repertoire of holiday songs and music. The Gloucestershire Wassail is a traditional English Christmas carol from County Gloucestershire in England and was a perennial family favorite. The song's first historical references appear around 1790 though the song may well be much olde
Leslie - vocals, recorder, krumhorn
Margaret - vocals, viol, recorder, krummhorn
Andrew - vocals, violoni, recorder, krumhorn
Jennifer - vocals, bass viol, recorder, krumhorn
Fiona - vocals, violin, recorder
With the Cathedral singers and Ed Honeywell, lute
SPLIT ENZ
The Huggetts were investing considerable time studying early music with some of the foremost experts in London. Their London home was large, with three floors and lots of rooms so that everyone could practice at the same time individually.
In May, Leslie was approached by a gentleman named Michael Gudinski, who'd been given Leslie's name by a contact at Air Studios. Gudinski, Australian, thin, late-20s, and wearing an expensive suit, explained that he was looking to rent a house for himself and some musical colleagues who had come to London to make a recording.
He arrived carrying a briefcase which, having made his purpose clear, he opened. It was full of cash. He explained that they needed somewhere they could all practice and that the Huggett's home seemed perfect. Further, they needed it precisely for the same time the Huggetts would be in Canada. Strangely, Leslie didn't ask where the cash came from, and a deal was struck.
Gudinski deftly never said who his colleagues were, but his bespoke manner suggested they were most respectable. His colleagues moved in at the beginning of May while the Huggetts were on a two-week holiday in their old stomping ground, Dorset, before their planned return to Canada. On their way to Heathrow, they stopped by the house to pick up their musical instruments, which they'd left in the attic. This was when they learned that the musicians in question were not, as they'd naively thought, an up-and-coming string quartet but members of the band Split Enz.
This was a time when it was not uncommon to read about hotel rooms left trashed by transient rockers. As Tim Finn's girlfriend said to Margaret, "Right, well, Michael always pays cash, so when people find out they've rented their place to a rock band, they can't kick us out." However, all worries were for naught as Split Enz turned out to be model tenants. The Huggetts are happy to have been able to support them as their career unfolded.
In May, Leslie was approached by a gentleman named Michael Gudinski, who'd been given Leslie's name by a contact at Air Studios. Gudinski, Australian, thin, late-20s, and wearing an expensive suit, explained that he was looking to rent a house for himself and some musical colleagues who had come to London to make a recording.
He arrived carrying a briefcase which, having made his purpose clear, he opened. It was full of cash. He explained that they needed somewhere where they could all practice and that the Huggett's home seemed perfect. Further, they needed it precisely for the same time the Huggetts would be in Canada. Strangely, Leslie didn't ask where the cash came from, and a deal was struck.
Gudinski deftly never said who his colleagues were, but his bespoke manner suggested they were most respectable. His musicians moved in at the beginning of May while the Huggetts were on a two-week holiday in their old stomping ground, Dorset, before their planned return to Canada. On their way to Heathrow, they stopped by the house to pick up their musical instruments, which they'd left in the attic. This was when they learned that the musicians in question were not, as they'd naively thought, an up-and-coming string quartet but members of the band Split Enz.
This was a time when it was not uncommon to read about hotel rooms left trashed by transient rockers. As Tim Finn's girlfriend said to Margaret, "Right, well, Michael always pays cash, so when people find out they've rented their place to a rock band, they can't kick us out." Split Enz turned out to be model tenants, and the Huggetts were happy to have been able to support them as their career unfolded.
The Huggett's London home. It had many rooms for practicing and well-suited musicians of all musical genres.
Split Enz, not a New Zealand string quartet, were perfect tenants.
Michael Gudinski looked most bespoke in a three-piece suit carrying a briefcase full of cash.
THE 1976 MONTREAL SUMMER OLYMPICS
Nineteen seventy-six was a significant year in Canada and particularly in the province of Quebec. The City of Montreal would play host to the Games of the XXI Olympiad, and fall provincial elections would see Rene Levesque and the Partie Quebecois take power. Separatist sentiment ran high throughout the province of Quebec and in Montreal.
Early in the year, an Olympic theme song, "Bienvenue à Montréal," sung by René Simard, was boycotted by radio stations who called it unimaginative and over-promotional. In response, the Montreal Olympic Committee ran a competition in search of a replacement song. Andrew eagerly, though perhaps somewhat naively, given the prevailing nationalistic sentiment of the time, responded to the request for entries with "Canada's First Olympic Games," written in English with French lyrics by Odette Legault. The Huggett Family recorded it in January in London, England. The song, sung by Andrew in both English and French, was not successful. The winning song was 'Je t'aime' by Christian St-Roch and Jean Robitaille and was recorded by Estelle Sainte-Croix.
However, the Huggetts were not to be left out of the celebrations. On July 17, the Montreal 1976 Summer Olympics opened. Montreal had outbid Moscow and Los Angeles for the honour of hosting the event and was only the second French-speaking city to host the Summer Olympics after Paris. This was also the first and only Summer Olympic Games held in Canada. The Huggetts, hot on the tail of their Grands Ballets Montreal success, were invited to perform two concerts at Place Des Arts on July 30th and 31st as part of the International Olympic Committee and the Canadian Government's official cultural program.
The Huggetts always presented new repertoire in their shows each year. At the last minute, Leslie decided Margaret should add a brand new song to the program's second half as he felt it was too short - a challenging proposition requiring a last-minute arrangement from Andrew and added rehearsals. Learning and memorizing new songs did not come easy to Margaret. To add to the challenge, a two-week electricity blackout with no running water immediately preceding the Montreal dates made all household matters, which were also Margaret's domain, more difficult.
However, the extra song was added to the program, and the Huggetts arrived in Montreal on July 29, looking forward to their hotel's hot showers.
Blackouts were common in Quebec. Two weeks without power or water and the last-minute addition of a new song to the program made preparations for the Montreal show particularly challenging for Margaret Huggett.
Though their Olympic show was in English only, all Huggetts were working on their french and would soon start touring concerts in both languages.
Given the political realities in Quebec, the Huggetts considered their engagement as one of 540 international artists to be chosen for the Olympic cultural program to be a huge compliment.
Nostalgia shows through in a very English way
By ERIC McLEAN
Perhaps one of the explanations for the success of the Huggett Family is that most of us secretly wish we were members... not performing in public, of course, but just picking up a songbook or bowing a viol in a casual sort of way for the sheer enjoyment of the thing. It is a nostalgic yearning for our lost amateur status, for the days when most people played or sang, even without formal musical education.
As for the Huggett Family's success, it is incontestable. In a
cultural festival where anything more than a half-filled theatre has been regarded as a triumph, the Huggetts managed to pack Place Des the Arts on Saturday, the last night of Olympic organizer's month-long program devoted to the arts in Canada. All the Huggetts were there: Leslie and Margaret (the father and mother), Andrew (who plays the lute and works on the folksong arrangements), Jennifer, Ian, and Fiona, all of whom sing and play a variety of instruments that were common in England at the timeof Shakespeare: a chest of
viols, various percussion instruments, recorders, crumhorns, a harpsichord which passed for virginals, a violin which passed for a fiddle — which Leslie must know is not at all the same thing — and, of course, Andrew's lute. All were dressed in modified Elizabethan costumes (although the men's tunics would have been more appropriate to fieldwork than to a musical soiree), and each of their numbers was introduced by Leslie, who also read appropriate atmospheric bits from 16th and 17th-century writers. It was not a
bilingual presentation; in fact, it was very English, which is not surprising considering — the Huggetts moved from England to Ottawa less than ten years ago.In the first half, we were offered a wide selection of instrumental and vocal music by such composers as Dowland, Holborne, Munday, and John Farmer, and even a couple of dances — a galliard and a pavane — executed by the senior Huggetts. For the second part, the Huggetts changed into informal 20th-century costume and performed a number of folksongs, some of them true folksongs, others modern works composed in the folk tradition. All of them were arranged in a very up-to-date manner by Andrew Huggett.lf the Huggetts make us feel we would like to join in, it is because there is no intimidating professionalism in their work. They are not the Dometsch's on a determined quest for authenticity, They all sing and play a number of instruments, and their principal asset is a kind of familiar and easy charm that springs from their love of this repertoire. When they pick up a recorder or take part in a madrigal, the listener's reaction might be: "Why, I could do that!" And if they could persuade some of their audience to do exactly that, their whole career would be justified.
The Huggett Family - Fiona, Ian, Leslie, Margaret, Andrew, Jennifer.
CANADIAN CONCERTS
THE NATIONAL ARTS CENTRE, OTTAWA
Once again, The Huggett Family returns to the NAC in August of 1976 for a week of concerts.
NAC THEATRE
16-21 August
16-21 août