Batonblog

Zachary gets a new trumpet

2007-01-21T15:41:00.001-08:00

In 1951, just as I turned 10, my parents built a house at 721 Devonshire Road in Dayton, Ohio that would be in the family for the next 53 years. I transfered schools from Lincoln to Belmont Elementary around Thanksgiving of that year. I remember the kids in the general music class there were playing tonettes (a recorder like instrument). Miss Viola Benz, the music teacher, sent me to the cloak room with Pamela Peerce to bring me up to speed on reading music. In a flash everything clicked -- I was finally ready to 'read' music and started from that time forward to devour everything I could in music. About that time, too, a kid (Dick Braden) came to our 5th grade class and played a trumpet solo. I was hooked! The sound he produced, to my ears then, was glorious -- and I wanted to learn how to make that kind of magic. With very little urging, my parents bought me an old cornet for $15 from a veteran musician who had played in circus bands for part of his life. I was thrilled and began to take private lessons in sixth grade from Carl Forbriger, the orchestra and chorus teacher at Belmont Elementary. It has been my pleasure to visit Mr. Forbriger in Dayton in recent years -- but more about that at another time. After about four months Mr. Forbriger recommended that I take lessons from Paul Blagg, the principal trumpet in the Dayton Philharmonic. I remember the first thing Mr. Blagg recommended was a new trumpet -- an Olds Embassador -- which my good friend and trumpet cohort, Gary Spahr, had just been given by his parents. Then in one of the initial lessons, Mr. Blagg told me that to be a successful trumpet player, I needed to have a really fine embouchure. Not knowing what that was, I ran upstairs from his studio at Roetter's Music Store in downtown Dayton, and asked Mr. Roetter how much it would cost to buy a really fine embouchure. The whole place cracked up! Well I made very fast progress...went to Interlochen Music Camp in my freshman and sophomore summers in HS and had graduated to a very expensive ($320.00 in 1956) Olds Mendez trumpet when I entered high school. (Rafael Mendez had been one of my early idols, and I had the pleasure to hear and meet him when I was very young.)

[Zachary gets Hal's trumpet for his 9th birthday]

But, for now, fast forward half a century to September, 2006. I'm sitting at home in Las Vegas. Phone rings. It's my eight year old grandson, Zachary, in Jacksonville, Florida. "Guess what papa!?" he says excitedly. "I'm going to play trumpet in my school band!" I said something like "Great for you kiddo...you'll have a lot of fun!" "It was all my decision, papa," he said. He then got a rental trumpet to start out with, and I thought then how that old Olds Mendez would be a perfect birthday gift for him in October (2006). It took sometime to find that horn that hadn't been played in 35 years. But under one of the beds...there it was all tarnished and in desparate need of a major dose of TLC. I took it to Kessler's Music in Las Vegas and had it thoroughly refurbished, bought a new case for it...and off Betsy and I went to Jacksonville for the October birthday festivities. Needless to say, Zachary was thrilled to have a shiney 'good as new' trumpet to show off to his buddies in band. And now, some weeks later, he's saying things to his dad like "maybe I'll be a trumpet player when I grow up!" Well, Zachary, whatever you become just be sure to work hard and have fun with it....and make sure you have a really fine embouchure-- not to mention a stiff upper lip!

[Zach and his band buddies]

Relive the Fourth

2006-07-06T07:12:00.000-07:00

If you missed the Las Vegas Philharmonic’s Fourth of July concert, you still have three opportunities to catch it on television in Las Vegas.
There will be three local rebroadcasts over Cox Channel 96:
1pm July 7 (Friday)
7pm July 9 (Sunday)
8pm July 11 (Tuesday)
Tune in and see how we did!

Memorial Day 2006

2006-05-29T08:52:00.000-07:00

Betsy and I have always been proud of our family. But today, on Memorial Day, we are most proud of younger son Chris & his wife Sherrill who have served their country well -- both rising to the rank of Lieutenants Commander in the United States Navy.

Chris has been a Naval Aviator for 13 years and now pilots the new Boeing C-40 jetliner world wide. His squadron has had many assignments, including missions to New Orleans for rescue operations following hurricane Katrina.

Sherrill, a medical doctor, served eight years in the Navy before leaving last year to enter private practice. One of Sherrill's tours of duty was aboard the hospital ship Mercy which spent two months in the Indian Ocean to provide relief for the tsunami and earthquake victims in Indonesia and surrounding area.

They and their two children, Zachary David (8) and Megan Elizabeth (5), are planning to relocate in late July from Coronado, CA to Jacksonville, FL were Chris will continue to fly the C-40 and were Sherrill will continue her medical practice. The photo above shows Sherrill treating a little boy and his mother in Indonesia following the devastation of the earthquake of 2004.
_________________________________________
"An individual has not started living until he can rise above the
narrow confines of individualistic concerns to the broader concerns
of all humanity."

-- Martin Luther King, Jr.

Concert Review

2006-05-09T06:00:00.000-07:00

Philharmonic tackles daunting work
By JULIA OSBORNE REVIEW JOURNAL

In 1999, Harold Weller, the Las Vegas Philharmonic's musical director, swallowed hard and decided that the orchestra would tackle Gustav Mahler's powerful "Symphony No. 2 in C minor," also known as the "Resurrection."
The Philharmonic's performance of the sweeping work -- which encompasses life, death and rebirth with drama, vigor and a vast range of emotion -- this past weekend was far more impressive than that previous offering.
The number of performers was stunning. The approximately 110 musicians were joined by about 80 vocalists onstage and another 60 or so singing from performance balconies.
Vocalists included members of the Las Vegas Master Singers, the University of Nevada, Las Vegas Concert Singers, and the Southern Nevada Musical Arts Society, as well as soprano Sarah Hibbard and mezzo soprano Juline Barol-Gilmore. (Weller conducted the combined group.)
Equally spectacular was the quality of the performance. This is not a Sunday-walk-in-the-park piece composed for a harpsichord and a few strings; instead, in style typical of its time, it requires dozens of musicians along with the vocalists.
The piece demands expression of tenderness and fright, nihilism and hope, desperation and an ultimate optimism.
It also provides a workout for everyone involved. The orchestra hit the ground running as drama and passion burst forth from the stage from the first notes. Weller had to take a breather to mop his brow after the immense, emotion-laden first movement. He stepped away from his music stand for several moments before taking a deep breath and launching into the rest of the piece.
Weller was able to breathe a bit easier as he conducted the second movement, written to be lighter and more reflective. Kudos to the violin players who took their instruments, nestled them in their laps and plucked away as if this were typical for classical musicians.
The musicians tucked away the third movement, symbolic of fear of the unknown and the search of life's meaning, with a triumph before a well-deserved intermission.
During the break, the vocalists filed onto stage, then Weller accompanied Hibbard and Gilmore as they returned. Both singers had relatively short but meaty solos. All the vocalists brought enough well-modulated sentiment to their work that the feelings were generally able to transcend the original German lyrics.
A minor complaint involves the division of the performance. Here, intermission was set between the third and fourth movement, yet Mahler believed the movements should flow into each other without pause.
And some audience members applauded at the conclusion of each movement. Wrong, certainly, but what was one to do at the conclusion of that third movement, when the orchestra and the conductor were going to leave the stage for 20 minutes? No typical audience would let the great work to that point go unrecognized. Perhaps this was a bona fide exception to the quiet-between-movements rule.

From the Review Journal

May 09, 2006
Copyright
© Las Vegas Review-Journal

Concert Review

2006-02-28T11:35:00.000-08:00

Philharmonic proves Mozart's versatility
By JULIA OSBORNE REVIEW-JOURNAL

Normally, a ringing cell phone during a concert would bring glares and more.
But at the Las Vegas Philharmonic's Saturday tribute to Wolfgang Amadeus Mozart, the tone (which came between selections and was quickly silenced), happened to mimic a portion of one of the orchestra's upcoming numbers. So musical director and conductor Harold Weller simply turned, smiled and nodded.
It was, in fact, just one more tribute to the 250th anniversary of the birth of Mozart, whose more than 600 works were mostly light and bright, lending themselves well to a variety of instruments -- including cell phones.
The evening's highlight was "Concerto for Flute and Harp in C major, K. 299," featuring Kim DeLibero on harp and Richard Soule on flute. DeLibero coaxed each subtle note from her harp, while Soule provided his own effective work during the straightforward, smooth piece.
Both had individual moments to shine, then worked well with the orchestra, which was trimmed essentially to strings for this piece. There was no competition between soloists and the other musicians; Weller kept all in hand for a successful point/counterpoint and effortless blends.
The orchestra brought special luster to the oh-so-familiar "Serenade for Strings in G major (Eine Kleine Nachtmusick), K. 525."
The evening's program also included the powerful "Symphony No. 39 in E-flat major, K. 543" and "Der Schauspieldirektor (The Impressario) Overture, K. 486," which was upbeat and offered with just the right note of grandeur.
Comprehensive and easy-to-understand program notes by associate conductor and educational coordinator Richard McGee added much to the evening's enjoyment.

REVIEW
What: Las Vegas Philharmonic
When: Feb. 25
Where: Artemus Ham Hall, University of Nevada, Las Vegas
Grade: A

From the Review Journal

Brunch buddies

2006-01-02T17:28:00.000-08:00

A New Year’s Day celebration at Lake Las Vegas with friends Gary Karr, Harmon Lewis, and their American Eskimo pups – Shinju and Shasta.

Cheers!

2006-01-02T15:05:00.000-08:00

With Rick and Jeri Crawford wearing party hats!

Happy 2006

2006-01-02T15:03:00.000-08:00

With John & Anita Meyer at Lake Las Vegas.

Should auld acquaintance...

2006-01-02T15:02:00.000-08:00

Phoenix singer and friend Beth Nicastro and Hal. Beth was soloist at the innaugural performance of the Las Vegas Philharmonic (7/4/98).

Happy New Year!

2006-01-02T15:00:00.000-08:00

Hal and Betsy ringing in the New Year.

Happy Anniversary

2006-01-02T14:56:00.000-08:00

39th wedding anniversary dinner with Dick & Joan McGee.

Concert Review

2005-12-19T06:52:00.000-08:00

Philharmonic, choruses offer treat for the holidays
By BARBARA HALL
REVIEW-JOURNAL

A perfect blend of the traditional and innovative marked the Las Vegas Philharmonic's annual "A Holiday Celebration" on Sunday.

The Philharmonic, under the baton of music director Harold Weller, began the evening with "O Tannenbaum," which led into a spectacular Christmas light display. The orchestra then expressed the tenderness and joy of the holiday season with John Rutter's "Magnificat Anima Mea."

The Las Vegas Master Singers, under the direction of Jocelyn Kaye Jensen, brought a special beauty to this holiday celebration. Singing with tenderness and passion, they gave depth to Rutter's "Angel's Carol" as well as "For Unto Us a Child Is Born" and "Hallelujah" from Handel's "Messiah."

The center piece of the second part of the program was "The Polar Express" featuring baritone Tod Fitzpatrick and the University Children's Chorale under the direction of Jeff Kriske, Liz Goodman and Barbara Buer. Fitzpatrick's rich, deep tones were the perfect counter balance for the children's exceptionally poised, young voices.

The Philharmonic's associate conductor, Richard McGee, took the baton for several pieces after intermission, including a rousing version of the "Trepak Dance" from "The Nutcracker."

But the highlight of the second part of the program was the touching and heartfelt "A Gaelic Blessing."

What: Las Vegas Philharmonic's "A Holiday Celebration"
When: Dec. 10-11
Where: Artemus Ham Hall, University of Nevada, Las Vegas
Grade: A

Christmas 2005

2005-12-14T10:45:00.000-08:00

Happy Holidays from the Wellers!

Kurt, Chris, Megan, Betsy, Sherrill, Hal, & Zachary
(Photos taken Dec 10th after the Las Vegas Philharmonic’s Holiday Concert)

Concert Photo

2005-12-01T15:58:00.000-08:00

Hal and George Walker

Concert photo

2005-12-01T15:56:00.000-08:00

Hal and Jennifer Frautschi, after the concert

Review

2005-12-01T15:53:00.000-08:00

Nov. 22, 2005
Copyright © Las Vegas Review-Journal
Original piece, guest top Philharmonic's night
By JULIA OSBORNE Review-Journal

The mood of the last movement of the Las Vegas Philharmonic's final offering Saturday was almost as malevolent as the looks cast by audience members at others who actually applauded between movements.
Note to those offended audience members: Your mirthless laughs and outraged sighs are just about as distracting as that applause.
Under the direction of music director Harold Weller, the Philharmonic pleased both groups with a program spanning three centuries.
The evening was highlighted with a piece commissioned for the Philharmonic and the city's centennial celebration, as well as a performance by talented young violinist Jennifer Frautschi.
The evening opened with "Hoopla (A Touch of Glee)," which 83-year-old George Walker composed for the orchestra. He was in attendance as the orchestra embraced his discordant, percussive and always-energetic paean to the energy of the city. While no one could leave the hall humming this 15-minute composition, the audience took away a definite impression of strength and will combined with vibrancy and more than a bit of boldness.
Frautschi joined the Philharmonic for Aram Khachaturian's "Concerto for Violin and Orchestra." This three-movement piece is typical in its construction but is infused with contrasting emotion. Frautschi sizzled, her music wandering in, around and about that of the other musicians.
Vigorous and rapt, Frautschi moved into the violin, occasionally bobbing to her left to reach for the perfect note. She brought a searing intensity and luminous skill to her work, enveloping herself in the music and its emotions.
The orchestra generally played a fine second fiddle to this featured performer. Early on, Frautschi was drowned out by some of the enthusiasm, but the situation righted itself until a wildly energetic climax during which Frautschi could have been miming her work as far as the audience could hear.
After intermission, the orchestra returned with Hector Berlioz's "Symphonie Fantastique, Op. 14." The five parts were described by the composer as symbolizing sections in the story of an unrequited love a musician has for a woman. The musicians capably adapted as they moved throughout the piece.
The early "ball" is worthy of any classic waltz, here featuring two harps, as the musician finds himself in a festive party but without his love. The third part, "scene in a countryside" concludes the way the fourth scene, "march to the scaffold," begins, with big, booming drums resembling thunder.
The musician imagines that he has killed his love and is to be hanged in the last scene, "dream of a witches' sabbath." The orchestra captured the despondency and futility of the section, in turn solemn and extravagant -- with an undercurrent that erupted into pure evil. A repeating knell functions as the omnipresent metronome of death, a few frivolous fillips countered with overall nihilism.
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REVIEW
What: Las Vegas Philharmonic
When: Nov. 19
Where: Artemus Ham Hall, University of Nevada, Las Vegas
Grade: A-
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Julia Osborne can be reached at osbo@sisna.com. You can write her c/o Las Vegas Review-Journal, P.O. Box 70, Las Vegas, NV 89125.

Proclamation

2005-12-01T15:52:00.000-08:00

'Harold Weller Day'
The Mayor of Las Vegas, Oscar Goodman, proclaimed October 9, 2005, as "Harold Weller Day" in Las Vegas in recognition of the Las Vegas Philharmonic music director's many contributions to the arts in Las Vegas. This proclamation was issued before 175 guests attending "Dinner and Dancing Under the Stars," a celebration at the Hard Rock Hotel, sponsored by The Las Vegas Philharmonic Guild. Highlights included a live band, a silent and live auction, and a special tribute to the Philharmonic’s maestro and co-founder.For more about the event, check out this report by the Review-Journal's Dorothy Huffey.

Review

2005-12-01T15:44:00.000-08:00

Season Opener Gets an 'A'
Sep. 20, 2005
Copyright © Las Vegas Review-Journal
Philharmonic shows off its upbeat side
By JULIA OSBORNE REVIEW-JOURNAL

Now in its eighth season, the Las Vegas Philharmonic may have shown its best yet Saturday in this season's opening concert.
Under the direction of Harold Weller, the 81-member orchestra offered accessible music -- including a world premiere -- and showcased an understated but excellent guest artist. The only complaint was that the guest, pianist Leon Bates, was sometimes drowned out.
One highlight was the nine-minute "Jackpot: A Celebratory Overture for Large Orchestra," written for the Philharmonic by Dan Welcher.
Commissioned to commemorate the centennial, the work may not bring to mind the sound of slot machines and buckets of coins tumbling from them quite as much as Welcher imagined, but it does catch the fever and fervor associated with the city's favorite sport. The orchestra first suggested the anticipation of a quick win with some grand cascades gradually building to a fever pitch, some slower sections (reminiscent of those inevitable losses) and an ultimate conclusion as bright as the city itself.
The evening's other highlight was the appearance of Bates, who accompanied the Philharmonic on George Gershwin's "Concerto in F for Piano and Orchestra." The work includes themes and phrases reminiscent of Gershwin's "Rhapsody in Blue" and "An American in Paris," with some of the emotion of "Porgy and Bess."
From a flourish of cymbals and drums, a jazzy and strong melody soon welcomed a bright, smart piano solo. When the orchestra came to life again, it offered both smooth music and a strong reminder of the likable cacophony just outside Carnegie Hall's doors. Percussion, horns and strings in willing harmony, working with Bates, contributed to a smooth conclusion to the first movement.
After lengthy applause (many audience members still don't heed the advice to refrain from applause between movements), the second movement was more blues-y and melancholy, with easy-to-recognize phrases similar to those in "Rhapsody." This was a time for Bates to show his style and substance. His easy attitude was evident as he seemed relaxed but focused, and ready to pounce when it was required. He never exhibited the intense posture of some classicists, instead bending at the neck or sitting as if he were ready to sing as well as play. The smooth moves complemented his smooth playing, and he and the orchestra ended with a third movement that was first frantic, then adamant, then what could only be called celebratory in this unique piece. The audience responded with a standing ovation for him and the orchestra.
Also on the bill were "The Unanswered Question," a 1946 piece by Charles Ives that was impressive in its showing of just what a solo trumpet can do, and Aaron Copland's "Appalachian Spring (Ballet for Martha), Suite." The Copland piece, performed just before intermission, was both energetic and contemplative, a familiar offering that allowed audience members to exit the hall humming the tune.
Classical denizens might complain that the program was more suited to a pops concert, but it provided a glimpse of an upbeat, bright side of the Philharmonic that could be shown more often.
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REVIEW
What: The Las Vegas Philharmonic
When: Saturday, Sept. 17, 2005
Where: Artemus Ham Hall, University of Nevada
Grade: A-
________
Julia Osborne can be reached at osbo@sisna.com.
You can write her c/o Las Vegas Review-Journal, P.O. Box 70, Las Vegas, NV 89125.