FEATURED ALUMNI: DR. Calvin Dyck

Violinist Calvin Dyck graduated from Biola in 1985 with a Bachelor of Music Degree in Violin Performance. He and his wife, Heather, live in Abbotsford, British Columbia, Canada, with their two children, Christine (9), and Andrew (8).

Following his undergraduate work at Biola, Dr. Dyck completed a Master of Music degree in Violin Performance from University of Southern California in 1988, and a DMA from USC in Violin Performance, with minors in choral conducting, music history and music education in 1991.

Along with his family, music is at the core of Calvin’s life. He makes his living as a freelance violinist, concertmaster for the Vancouver Island Symphony, producer, teacher, adjudicator, and touring artist. Additionally, he is involved in music at the local church. While he was at Biola, Calvin was the concertmaster of the chamber orchestra, sang in the Biola Chorale, and, a perhaps not so well known musical fact, he played the accordion.

Reflecting on his time at Biola, Calvin credits his experience here as having helped shape who he is as a person and musician. He states, “Biola helped give me a holistic perspective on the arts, to see all the arts and their various expressions as reflecting the creative nature of God.”

When a student comes to college as a freshman, often his/her viewpoint on any number of subjects is limited. Part of college life is the broadening of thought processes and experiences to give opportunity for the appreciation of other points of view, as well as growth in academic subjects. Sometimes this is welcomed by the students; sometimes it takes place in spite of their resistance and is only recognized later in life. Calvin related that when he joined the Biola Chorale under the direction of Loren Wiebe, he was resistant to the idea of using choreography in their “Third Half” show. However, his experience at Biola helped him realize that dance is a God-given gift and an art form that could be used in tasteful and God-honoring ways. He now seeks out ways to collaborate with dancers for his own programs.

Also, for students whose goal is to perform, some of the more “mundane” classes they are required to take don’t fit their picture of being a music major. Calvin had this to say on the subject: “I, like a number of my classmates, was reluctant to take piano class and music theory. But the ability to transcribe music from an aural source and the ability to accompany my students on the piano have proved invaluable tools in my profession.”

Continuing, “Perhaps one of the most valuable lessons I learned was from Marlin Owen, our string coach. He emphasized the importance of valuing each person’s contribution. To truly collaborate, one must give the other person’s ideas an honest try and also hold one’s own ideas loosely. Some of our best productions have been those that have come out of shared ideas.” The making of music is often, of course, a team effort.

Calvin shared some of his own thoughts on being a Christian and a performer, an occupation that can take a toll on a person’s self esteem, asking the question,“What enables you to get up in front of a crowd, lay it on the line, to be vulnerable?” During his time in Los Angeles, Calvin had a “watershed” moment. During a concert in which he was soloist, he got lost, much to his embarrassment. Avoiding the reception following the concert, he went home and wrote in his journal, feeling like a complete failure. He had disappointed his conductor, his colleagues, the audience, and himself. But then it came to him that God’s love for him does not depend on his “performance.” God loves him for who he is as a person whom He created, and his value to God is apart from his status as a violinist, regardless of success in his own or his peers’ eyes. This knowledge is the basis of Calvin’s confidence as a musician, and has helped him ride the roller coasters of auditions, audience response, reviews and the uncertainties of freelancing.

Calvin states, “I enjoyed many good classes and top notch instruction at other institutions, but the relationships I built at Biola are the only institutional relationships that have lasted to this day.” Perhaps the most influential among his Biola profs was fellow Canadian, Dr. William Lock. Dr. Lock had high standards for his students and demanded much of them. But the biggest life lesson was that he invested in people. Calvin recalls that a history paper was due. Dr. Bill told the students, “It is due at 11:00 a.m. Friday, but if you wish, you can turn it in at 11:00 p.m. at my house and I’ll serve ice cream.” Most of the students took him up on his offer.

Calvin now includes in his teaching opportunities to connect with students and colleagues outside of classroom/ performance settings in an effort to build relationships. “People hunger for a chance to belong, and to be valued for who they are, not so much for what they do.”

The ultimate compliment to Calvin’s experience in the realm of music at Biola is that he has sent his own students to us. Currently, two of his former violin students are making major contributions to the life of the Conservatory of Music. Calvin also is very active in Biola’s alumni association, helping to coordinate events for the Canadian chapter.

You can find a number of articles and references to Calvin if you do a Google search on his name. He has released several CD’s which benefit MCC Supportive Care Services, a faith based organization which assists people living with disabilities. Calvin can be contacted at chdyck@shaw.ca.

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	Conservatory CD's are available through the Conservatory Office by calling (562) 903-4892. The recordings reflect the diversity of talent and creativity within the Conservatory.

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