All posts by Hank Hehmsoth

Jazz

My Jazz Concert With Miss Beverly Sills

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Rob RoyIn the 1980’s, I played piano non-stop for corporations, grand openings,  and big  gala events.

Everybody wanted a live pianist in a tux, and I was glad to oblige. High-end homes sprang up in West Austin at that time, and Rob Roy was the newest premiere gated private neighborhood community. A fund raiser for the March of Dimes was held at 65 Pascal Lane, a gorgeous huge 4 million dollar home, that was purchased by a corporation to hold lavish parties. Pascal Lane

The night was pleasant… limos and evening gowns, good food, and pleasantries. Suddenly, all heads turned, and  in stepped Beverly Sills. I didn’t know until years later, that Beverly was the National Chair of the March of Dimes’ Mothers’ March on Birth Defects, and helped to raise over $80 millions during her tenure.Beverly Sills

Everyone wanted to meet her, and the excitement was palatable. I was playing background jazz, and at these classy events I always play tunes with strong recognizability, like Gershwin, Harold Arlin, and Cole Porter. I  noticed that Beverly Sills kept looking at me while she was chatting with people. She kept staring at me and smiling. I only knew her as the great operatic diva, so I thought she must just like piano. She came over and started a conversation with me. She liked my playing, and I told her that I worked with many jazz singers. She told me that she loved jazz, and used to sing in clubs when she was younger. I asked her if she wanted to sing a tune, and she said, “Yea! Let’s do it!”. We decided on 3 Gershwin tunes, “Summertime”, “Someone To Watch Over Me”, and “Our Love Is Here To Stay“. Everyone at the event stopped their conversations, took seats informally around us, to watch and listen to this impromptu concert.Sills

Beverly Sills never asked, and never told me what key to play. She just let me play the music, and she would sing. Do you know how remarkable that is? She could sing in any key, it didn’t matter.  Her voice was like silver, always so natural (and jazzy!), and she was the consummate professional. She was wonderful, and a delight to watch. She naturally commanded everyone’s attention with not only her voice, but with her smile and persona. She gave me space musically to improvise and take a solo on all the tunes, too. With just eye contact she knew to come in on the bridge, and we had fun making up tag endings. I found out later that she had done TV shows, appearing with Frank Sinatra, Carol Burnett, Danny Kaye, and Ann Margaret.

sills_sinatra

After our little concert, it was  we were like old friends. I have always felt that after you play music with someone, you know a lot about them. If I play music with you, I know your name, and I know you forever. This was a very special and unforgettable evening. When Beverly was ready to go, she made a point of coming by once more to say how much fun that was. And I got a little kiss, too!

Thanks for the great night playing with you, Beverly!!

Beverly

Composer, Jazz

A Private Lesson with Aaron Copland

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Aaron Copland in 1961

In 1974-5, I had the remarkable opportunity to meet and have a lesson with the legendary composer Aaron Copland. At that time, I was immersed in my music studies, completing my undergraduate degree and embarking on my graduate studies. Although I had taken an extra year to finish my undergraduate degree to focus on a recital, I had already accumulated 15 graduate hours towards my Master’s degree. My musical activities were diverse and engaging. I had delved into the extensive piano repertoire of Igor Stravinsky, performing works such as the piano/violin duo version of “L’Histoire du Soldat” on a mini-concert tour. I had also played Three Movt. from “Petrouchka” for James Dick, declined his invitation to be his student, and explored the thrilling 2-piano version of “The Rite of Spring,” arranged by Stravinsky himself, with Tom Wells.

During that time, I was privileged to serve as the director of the New Music Ensemble, which had found a permanent performance space in the Art School surrounded by contemporary art and sculptures. Additionally, I had the opportunity to explore jazz and Middle Eastern music in a band led by the now-conductor Howard Hudiburg. My composition teacher was Karl Korte, who has remained a respected figure in the music world. As a teaching assistant, I had the honor of working with Kent Kennan, who had orchestrated Igor Stravinsky’s visit to Austin in 1967, although I had been in high school and unaware of the great composer at that time.

It was through Karl Korte’s friendship with Aaron Copland that I found myself in a truly unforgettable experience. Copland had arrived in Austin to conduct a performance with the Austin Symphony, and Korte invited him for a luncheon at the Erle Stanley Gardner room in the Academic Center of our school. Only a select few professors were present, and I was asked to attend because I was currently preparing Copland’s Piano Fantasy for performance.

The moment Mr. Copland entered the room at noon, his radiant smile, vibrant energy, and impeccably dressed appearance immediately caught everyone’s attention. After the introductions and handshakes, he approached me with genuine interest and asked me to introduce myself. I humbly stated that I was a student studying piano and composition and that I would be performing his Piano Fantasy. Showing his characteristic enthusiasm, Copland requested that I play it for him, and although I felt a mix of nerves and excitement, I agreed.

Following the luncheon, the group made its way from the Academic Center to the old music building, hastily preparing a large classroom on the second floor for the impromptu performance. Whether it was Copland’s suggestion or a collective assumption, the gathering unexpectedly turned into a private one-on-one lesson. While I can’t recall precisely which sections of the Piano Fantasy I performed, I must admit that my understanding of the piece at that time was quite limited. Nevertheless, Copland’s insightful questions and guidance during our interaction revealed new layers of the composition to me.

At one point, Copland inquired about my passions and interests, and when I mentioned my love for jazz, his eyes gleamed with excitement. He shared his own affinity for jazz and encouraged me to play some for him. Without hesitation, I launched into an F blues, followed by Miles Davis’s iconic tune “So What,” and perhaps a fragment of a ballad, most likely “Stella by Starlight.” Copland’s infectious enthusiasm and warm encouragement instilled a newfound confidence in me. He emphasized the importance of pursuing my dreams and continuing to work diligently.

As our lesson progressed, a mention of Copland’s scheduled rehearsal that afternoon abruptly interrupted our time together. Recognizing the need for him to depart, the lesson came to an abrupt end. However, what remains etched in my memory to this day is the sheer energy in Copland’s speech, his comfortable and engaging conversational style, and the genuine focus he bestowed upon me during our encounter. His willingness to spend time and offer personal inspiration has left an indelible mark on my musical journey.

Reflecting on that experience, I realize that I have subconsciously adopted Copland’s approach in my own teaching today. I strive to provide my students with the same attention, encouragement, and belief in their potential that Copland so generously shared with me. I am immensely grateful for the privilege of meeting Aaron Copland and cherish the lasting impact he has had on my life and career.

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Career

Full Circle – 100 Years of the Paramount

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Paramount-Theatre2I was interviewed for an upcoming book about the Paramount Theatre’s 100 year anniversary.

CarlHehmsoth
Carl Hehmsoth

My father (yes! my father!) was born in 1889, and was musical director at the Paramount a century ago, 40 years before I was born.I have been a performer, arranger, and frequent guest at the Paramount since my college days. I saw Miles Davis there!
I was interviewed by Terri Schexnayder, who authored the 100 year anniversary history of the Paramount. We chatted about the following:
My dad was musical director, orchestra conductor, and principal violinist for silent movies and vaudeville at the Paramount (then called the Majestic) during its first years in existence. He contributed to the entertainment and culture of early Austin.
As his son, and performing artist/composer at the Paramount I have been arranger for the 2000 production of Jesus Christ Superstar, the Broadway shows “Nunsense 1 & 2” with Joe Ann Worley, and “Together Again” Sid Caesar and Imogene Coca. In 2014, I was principal pianist for Philip Glass’ “Icarus At The Edge Of Time” 33 piece orchestra w film. Notably, I performed in live orchestra performances of original scores to famous silent movies, with Gilian Anderson (not X-Files!) “Wings”, “Birth Of A Nation”, “Nosferatu”, and “Robin Hood”. These historic and great early movies were shown at the same time my father was conductor, and in the same Paramount Theatre I am performing nearly 100 years later!

And at the 100 year Centennial I was honored as a VIP. My son Milo and I attended.IMG_3314

 

 

 

 

Paramount Theatre holds amazing memories for me, and I am honored to be part of their rich history in Austin culture. I contributed the following to the book:

image003FULL CIRCLE
Every time I come to the Paramount, to attend an event, or working as a music professional, I feel a connection with the past, with my dad a hundred years ago, with Austin in its early days, and with all the great artistic endeavors and creativity that have been presented here. There is a spiritual delight and pleasure here. I feel it every time. It’s in every seat in the house!
I see my father here, 100 years ago, rehearsing the orchestra, walking backstage and downstairs to the green room, or under the bright lights onstage during showtime. He is conducting, performing, laughing, and living here, bringing music to life, 35 years before I was even born.
I hope when I perform at the Paramount, I connect today’s audiences with different times in Austin’s culture, in the way that only music does, bringing the old to new generations of ears…. FULL CIRCLE.

Hank Hehmsoth
Hank Hehmsoth

P.S.
I especially want to thank my friend, John Bernardoni, the Co-Founder that conceived the restoration and rejuvenation of the Paramount Theatre in Austin, Texas – a Texas Landmark and listed on the National Registry of Historic Places, and who served as director from 1975 to 1985. I played at his wedding! John loves jazz, and came out often to hear me at Sullivan’s.
Read about his early struggles to save the Paramount:
Dave Brubeck and Sons – Inaugural Show – February 1975 – Paramount Theatre – Austin
I went to this show!

This is a letter to my father, thanking him for his contributions to the culture and entertainment in Austin, from Majestic Theatre (now the Paramount) Executive Director Faulkner. Check the date!Majestic-Theatre1924 (1)

Jazz

Some Compositions

Two Desert Dances

You can view the score here:

Two Desert Dances

Hank Hehmsoth, a faculty member in the School of Music at Texas State University-San Marcos, has been selected as the MacDowell Colony Norton Stevens Fellow. Hehmsoth was awarded a MacDowell Fellowship in 2011

Hehmsoth was selected for this honor based on the spirit of his work and importance to the world community of artists.

In 1975, in honor of Colony fellow Aaron Copland, the Norlin Foundation established an endowment to provide the fellowship for composers. The MacDowell Colony Norton Stevens Fellowship is one of the highest awards given in the United States to artists. The MacDowell Colony is the nation’s leading artist colony. The Colony nurtures the arts by offering creative individuals of the highest talent an inspiring environment in which they can produce enduring works of the imagination.

I was awarded a MacDowell Fellowship in music composition for 2011 for a 2010 composition, “Two Desert Dances,” a jazz and string ensemble piece featuring live performance with 60-year-old recordings of Native American dance from the John Donald Robb Archive of Southwestern Music.

“These two dances are inspired by field recordings of New Mexican Native Americans,” Hehmsoth said.
“Arroyo Storm is derived from a Taos Jemez Indian dance. The source material for Blue Moon Mist is a four-note melody played on a pito, a Native American flute, similar to an ocarina. Both were recorded in the 1950s.”

In order to find these two pieces I spent hours listening to almost all 6,000 recordings on line at the Robb Archive. Both fascinated me in many ways, both for their seeming simplicity, and yet full of musical content. I transcribed both, deconstructed them in terms of harmony, melody and rhythm, and ultimately wrote a contemporary jazz composition that allows a live ensemble to perform in sync with the 60-year-old recordings.

Research helps me to interpret and seek patterns from multiple sources, test concepts simultaneously, and ultimately decide and finalize a concept and personal artistic vision.

I was invited to speak about Creativity at UT during the summer of 2021:

I begin with an idea and then it becomes something else.
– Pablo Picasso

Career

Broadway Show – Pianist

for my students (and anybody else interested) this is a modern setup for a pit orchestra keyboardist at a live Broadway show. Obviously, besides being a solid pianist, and ensemble player (and jazzer, too!) you have be technically proficient on a number of other skills. This Show is “Beautiful – The Carol King Musical” – full of 60’s and 70’s rock and ballads. I performed at — at Bass Concert Hall in Austin, TX.

Show Setup

The pit is below the stage, and all musicians have headphones, and video attached to their music stands. It’s a band, and an orchestra.

IMG_3860

The app MainStage, runs on a MacBook Pro, and manages all the pedals, sounds, keyboard, volumes, basically everything.

Show Setup

 

Above the music stands (wide enough to open up to 8 pages) are 2 video monitors. One lets you see the live conductor, the other is a video feed from the stage for synchronizing to the actors and singers.

footswitches

Smart Feet: You basically keep your left foot on the volume pedal, right foot between the Sustain and Patch forward. And occasionally to switch the Organ Leslie on/off. In case of error, you can Patch back (ex. if you press Patch forward accidentally)

Score ExampleCharts are very clear about exact volume levels, and when there are Patch Changes, and Leslie switches, and keytouches. Beside being a pianist and playing the music, you need to be a good navigator of all the extra-musical instructions.

keyswitchesSpecial setups for organ sounds to be dirty, glassy, tonal envelopes can be switched by touching a key. The very bottom key is orange, and acts as a Panic Key, if some notes gets stuck and you can’t stop anything, this key will clear all patches and stuck notes. (It happens!)

MainStage-ApplicationMainStage controls all keyboard sounds in a sequence for the show. Footpedals move forward or backwards one step at a time. Volume pedal goes from 0-127 on the right. Organ Leslie switches on/off. and Sustain pedal, all are connected.

PreShowPre show for “Beautiful: The Carol King Musical” — with Eric Johnson, Paul Deemer, John Mills and Paul Baker at Bass Concert Hall. These musicians are 1st call in every town for these road shows. A national tour can go on for 2 or more years.

 

 

 

Career

Opening Minds to the World!

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As a performing artist, Hank has remarkably played over 10,000 international, national, state and regional area performances, from classical to jazz to pop/rock, as well as Broadway, concert tour music, nightclubs, and symphony.

He is a lifetime voting member for the GRAMMY© Awards. Hank teaches Composition and Jazz Piano, and is the Director of Computer Applications and WebMaster for the School of Music.

“I am out to create a new, signature American sound, from a synthesis of contemporary art music, jazz, and world music, with a global approach and unique blend of influences, that gives my music a brand, its own distinctive place in the international scene. I wish to push my music in new directions, and continue focusing on socially engaged programming.”

Hank’s students play piano, bass, sax, flute, guitar, and have won awards and scholarships including Berklee School and the Patti Strickel Harrison Scholarship. Composition students learn commercial arranging and contemporary techniques in jazz. His studio includes international students from Serbia, China, and South America.

Full Circle – 100 Years of the Paramount

My 2nd Fulbright Senior Specialist visit to Chile!!

Jazz

My 2nd Fulbright Senior Specialist visit to Chile!!

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HANKThey really have me working this time! 🙂
3 week long seminars 3 hours a day on:

  • Jazz Theory and Improvisation
  • Jazz Composition and Arranging
  • Jazz Piano Techniques

Individual MasterClasses on:

  • Innovative, Creative, and Successful Techniques for the Practice of Music
  • Contemporary Creativity- Where Does It Come From?
  • Harness Your Potential for Professional Success

and a week of Concerts:

ProjazzSchedule