Musical Elision

On March 6th, conductor Hans Grim and sixty plus talented friends and family will present choral works of Whitacre, Lauridsen, Elgar and more. The concert will also feature a jazz combo and solo piano performing works by Adam Guettel, William Joel and David Yazbek.

The concert will take place at 7:30 in Texas Wesleyan University’s Martin Hall at 1309 Wesleyan Street, Fort Worth, TX

The forty-six voice chorus has been rehearsing since October and will be presenting these eight gorgeous choral works:

Water Night – Eric Whitacre

“False Love” from Edward Elgar’s Scenes from the Bavarian Highlands

O magnum mysterium by Morten Lauridsen

Ave verum corpus by Wolfgang Amadeus Mozart

Give Me Jesus the Fleming arrangement

Let Not Your Heart Be Troubled by Bob Burroughs

Hark, I Hear the Harps Eternal, Shaw/Parker Arrangement

and premiering an arrangement of Stravinsky’s Firebird for Chorus and Timpani

Some of the choir's Headshots

An all-star jazz combo will feature an original tune by Cal Lewiston called “A Daisey for Annie” as well as some musical theatre songs by Adam Guettel, Jason Robert Brown and David Yazbek.

This will be a very special evening of wonderful music in a wide variety of styles. Please consider joining the fun at this free event.

RSVP – to see who’s coming at the facebook event page.

Out of Time – Archive Recordings

Mary's Headshot for West Side Story 1999

In March of 2002 I recorded an EP with my wife and some great friends of mine under the band name “Out of Time”.  I found a CD of it floating around and decided I should plop the mp3’s out there on the net so people could hear what an amazing singer my wife is.  And this was almost ten years ago!

Wes Griffin

The bass player is the amazing Randy Hayes and percussion is Wes Griffin.  I’ve spent the afternoon reminiscing about how fun this recording was and what a shame I don’t get to play with these guys anymore.  Randy, if you’re out there – I’ve totally lost your number!  and Wes – I’m not sure what our excuse is.

[mp3-jplayer]

Cool Tempo for West Side Story

The second show I ever Musical Directed was West Side Story. In retrospect – that was like a whole year of college training crammed into a 4 week period. My wife had been cast as the lead in a Granbury Opera House production. The score is written for a 30 piece orchestra and is among the most challenging musical scores to conduct.

"Musical Director Hans Patrick Grim tackles that formidable Bernstein score with a mere trio. But with some creative doubling on instruments, they manage admirably." -Perry Stewart; Fort Worth Star-Telegram

The Granbury Opera house budget allowed for me and 2 additional musicians. I hired my best friend Wes Griffin for percussion and my brother Evan for Guitar, Keyboard, Trombone and additional percussion as needed.

It remains one of my all time favorite productions and I would never have made it through without Evan and Wes’ help and the Directors – David Swan and Kate Swan.

However, one story though sticks with me to this day as a cautionary tale. It involves a particularly tricky dance number in the show entitled “Cool”.

To set the scene – In Granbury there were 7 shows a week – and the show ran for 4 weeks so we got plenty of opportunity to think about the music. One Friday afternoon in about the second week, my wife mentioned casually that the dancers thought the tempo on “Cool” was getting a little slow. So my brother Evan, Wes and I sat down a little early from dinner and dialed up the metronome marking from the score. Sure enough – it was quite a bit brighter than we had ever played it. We tried playing it at that tempo and were delighted that we could even keep up. After two weeks of playing the show – we now found ourselves able to play it much faster than we originally could. So I set the metronome on my stand and when Riff cued the song I counted the piece off in the prescribed tempo.

We had a blast! It was so much fun flying through that tune as Bernstein had originally intended (well – with 10% of the music personnel of course).

Well – at intermission we went backstage expecting to hear how great we had played it and how much better the tempo was. WRONG! The dancers it seemed did not have anywhere near as much fun as we musicians did. Apparently they nearly flew right off the stage at our brighter brisk tempo and were absolutely furious with us. It seems funny now, but at the time – you’d think we’d set fire to the set as they were dancing on it. We had no idea it might cause them bodily harm. It was pretty tense for the rest of that week. The cast took it VERY personally.

And a very green musical director learned an important lesson about tempos!