Happy birthday to Fifty & Fabulous. It was in October 2004, that the first column ran. We thank the author, Grammy award-winning singer, coach, NASCAR driver, politicians, and several others who have shared their stories and inspiration.

By Mary Jekielek Insprucker
October 2005

William Henry

While other 14-year-olds were busy playing ball or other games, William Henry was conducting a community orchestra in Pittsburgh. “At the time, I was gung-ho and confident so my viola teacher put me in front of the orchestra without any training,” said , the current resident conductor of the North Carolina Symphony (NCS). “I asked him to teach me first and he said, ‘Good conducting can’t be taught.’” Like a football under his arm, it was a philosophy ran with the rest of his life and it proved to be a touchdown for him.

His natural talent led him to worlds of harmonies including conducting in Israel, Taiwan, and Thailand. “I was surprised the Taiwan orchestra had the swing of a Strauss waltz, but they did an excellent job,” said the 51-year-old. While working with the Sai Jai Thai Orchestra in Thailand, also highly qualified, had an interesting experience. “The State Department wanted me to do two benefit concerts sponsored by the King of Thailand, one of Beethoven and one of pop. For the pop concert I thought of show tunes and thought The King and I would be perfect.” However, because of the less than perfect portrayal of the king in the story the country had banning issues. had to receive special permission from the king to perform it, as music, no lyrics, only. Israel, too, held a twist. While sightseeing, his guide warned him not to go down Arab controlled streets.

explained that it’s not different countries, but different approaches to conducting that make poignant music. “I use my hands, gestures, and facial expressions to create powerful music, not just notes. I don’t want technical music; I want inspirational music.”

It is this attitude that is seen repeatedly in ’s conducting. “My neighbor’s wife came to one of my Summerfest concerts and asked if I was conducting a different orchestra because they sounded more expressive.”

As with many 50-plusers, starting taking stock of his life, which led him down a new path- composing. His Eulogy for a Dream was its by-product. The 17-minute piece is in honor of Martin Luther King Jr. “I wanted to lead a life more lived for others than myself. I had a sense to leave a legacy. It has been the highlight of my career to have it universally accepted.” The piece has now become a January staple celebrated by America’s finest orchestras.

Yet, the glory comes with some challenges. “The most difficult thing you can do as a musician is put your music in front of an orchestra asking them to play Tchaikovsky, Strauss and !” said the conductor, who admits he didn’t sleep well for two weeks before the first rehearsal, recalling the words said to him by Aaron Copland. “He told me as a conductor you’re competing with mostly living conductors. But as a composer you’re competing with dead composers from 400 years ago, as well as living ones.”

Almost one-third of the NCS musicians are 50-plusers, and says they bring distinct attributes to its sound. “Many joined the symphony 25 years ago and they stayed because the orchestra and North Carolina seduced them. They bring valuable experience. Having played the standard repertoire many times, they are steeped in experience and know how to pace themselves. When you play a 65-minute symphony, you need to know when to relax, concentrate, coast and where the dangerous areas are. It’s a great deal of work but they do it easily because the music is in their hearts and minds.”

On his own end of being a 50-pluser, “We oldster need to pass on to the next generation what we know and cherish. In my third act, I want to teach young people,” which is why he has acted as a guest conductor at several universities such as UNC, Duke, and Yale.

New this fall for the NCS will be a Faust Symphony by Franz Liszt. “I have never conducted it before and the orchestra has never performed it before. It will be a challenge, but worthwhile.” said also novel this year would be more late twentieth and twenty-first century music performances.

Where did he think he would be at 50? “I remember in seventh grade being asked to write a term paper on what you wanted to be when you grew up. I wrote that I wanted to be Leonard Bernstein. Bernstein had always said he didn’t just want to be a composer, or teacher, or pianist; he wanted to do them all. I’m not there yet, but I’m catching up by using my love of music as a gift or offering to society.”

What can he do to top himself during the next 50 years? “The outcome for me is not as important as the journey to become a great composer. Fifty can be fulfilling if you’ve played the first 49 years correctly.”