On August 18 the Minnesota Orchestra played its fifth and last concert in South Africa before a capacity audience of 1,000 that included Dr. Makaziwe “Maki” Mandela, Nelson Mandela’s eldest daughter.
Here is an account of the concert and Orchestra members’ intersections with local musicians.
The concert opened with the playing of the South African and U.S. national anthems. The Orchestra then played the following works:
Overture to the operetta Candide by Leonard Bernstein, who shares this year with Nelson Mandela as the centennial of their births.
Harmonia Ubuntu, by South African composer Ndodana-Breen with lyrics taken from Mandela’s writings and speeches and with South African soprano, Goitsemang Lehobye, as soloist.
Beethoven’s Symphony No. 9 (The Choral Symphony) with the combined Minnesota Chorale and South Africa’s Gauteng Choristers and soloists (Goitsemang Lehobye, soprano; Minette Du Toit-Pearce, mezzo-soprano; Siyabonga Maqungo, tenor; and Njabulo Madlala, bass-baritone).
Osmo Vänskä returned to the stage after a standing ovation, conducting the orchestra and choir in “Usilethela Uxolo.” He then turned the podium over to Xolani Mootane, who brought down the house with “Bawo Thixo Somandla.” Vänskä again returned to lead the ensemble in a final vocal performance of the unofficial national anthem, “Shosholoza.”
The concert was held in the Johannesburg City Hall, he home of many historical and political events throughout its more than 100-year history. Here are photograph of the Hall and of the Orchestra, both by Travis Anderson.
At a post-concert farewell dinner, the Orchestra’s President and CEO, Kevin Smith, said this tour is, “by all accounts, the biggest project the orchestra has ever done. it’s hard to know where it goes from here, but I think the orchestra will continue to be more adventurous and extensive in how it works and with whom it works and where it goes.”
Roderick Cox, the Orchestra’s Associate Conductor, stayed the next day (Sunday) to conduct the African National Young Orchestra in in Jean Sibelius’ Symphony No. 2 after they had rehearsed the work the prior week with Orchestra musicians. According to Cox, his job is to “ take all this vibrant, passionate sound they’re giving and try to contain it and shape it for the music we’re doing, like Sibelius.” An aspiring local conductor, Chad Hendricks, age 27, commented that seeing Cox, who is black, on the platform, “inspired a lot of kids.” For South Africans growing up in black and mixed-race communities, there aren’t a lot of opportunities, and there isn’t a lot of exposure to this kind of thing. A lot of the underprivileged kids that were here … they’re seeing someone they can relate to.”
The centerpiece of the Minnesota Orchestra’s tour of South Africa was its August 17 concert in Soweto’s Regina Mundi Roman Catholic Church. As shown in prior posts,the township and church played central roles in South Africa’s struggle against apartheid, and Soweto was the home for Nelson Mandela before his imprisonment and the site for at least two of his speeches to the nation. 
The importance of this concert was emphasized by Bongani Ndodana-Breen, the South African composer of the piece for orchestra and soprano that was performed at all of the South African concerts. He said, “We have a history where culture was used by the apartheid regime to prove its cultural superiority over Africans. So one of the most enlightened things about this tour is that the orchestra is doing a concert in Soweto, the heartland of the resistance against apartheid. For them to go there is huge. It’s going to be very emotional.”
Now we look at the concert itself, the highlights being the choral music provided by 50 members of the Minnesota Chorale and 50 members of Johannesburg’s Gauteng Choristers, the latter a group of talented youth from previously disadvantaged backgrounds. Below are photographs of the church and of the choirs that night.
The Orchestra opened with the South African national anthem, which was sung with full-throated enthusiasm by the audience of more than 1,000 people, most of whom were black and many lifelong Soweto residents and also included members of the South African Youth Orchestra who had rehearsed with the Minnesota Orchestra earlier in the week. The smaller number of U.S. attendees tried their best to match that joy with the U.S. national anthem.
First, the Orchestra played pieces from previous concerts on this tour—Sibelius’ En Saga and Leonard Bernstein’s Overture to Candide.
Especially significant for the largely black South African audience was the performance of Ndodana-–Breen’s Harmonia Ubuntu with lyrics from the writings of Nelson Mandela and the singing by South African soprano, Goitsemang Lehobye.
Then the Orchestra and the combined choirs of Gauteng Choristers and the Minnesota Chorale performed the Final Movement of Beethoven’s Symphony No. 9 (The Choral Symphony). All of the soloists were South African: –Goitsemang Lehobye, soprano; Minette Du Toit-Pearce, mezzo soprano; Siyabonga Maqungo,tenor; and Njabulo Madiala, bass-baritone.
Afterwards. David Mennicke, a tenor section leader for the Minnesota Chorale, said this performance of the Ninth Symphony was especially moving. “To sing it in this context with brothers and sisters from halfway across the world—that feeling, that sentiment, that idea of all humanity becoming brothers and sisters—we are actually . . . becoming that.”
The concert ended with the following three South African pieces for chorus and orchestra:
Akhala Amaqhude Amabili by J.S. Mzilikazi Khumalo (orchestrated by Peter Louis Van Dijk) is a combination of two Zulu folk “wake-up” songs in which the Zulu cock-crow call (Kikilikigi) admonishes the people to get up and start the day, an important signal for people who had no time-pieces.
Ruri(Truly) by Michael Mosoeu Moerane (arranged by Sue Cook) celebrates nature as evidence of divine benevolence.
Usilethela uxolo (Nelson Mandela) by Stompi Mavi (arranged by Gobingca George Mxadana and orchestrated by Jaakko Kuusisto). The text celebrates Mandela’s release from prison, and this song remained a popular tribute to Mandela throughout his life.
The last of these brought the audience to its feet, singing, stepping, clapping and shouting “U-Mandela.”
Interjected in these three songs was one for chorus alone: Bavo Thixo Somandla by Arnold Mxolisi Matyila (arranged by J. S. Mzilikazi Khumalo). In the 1980s this song was adopted by protesters against apartheid. Eventually it became one of South Africa’s most popular and familiar protest songs. It too had the audience singing, clapping and dancing.
After encores, including “Shosholosa,” the unofficial South African national anthem, Orchestra members left the stage while many of the singers cried and hugged one another and the bass singers in the two groups started stepping and singing. Violinist Susie Park with tears streaming on her cheeks said the experience reminded her of music’s pure power. “It’s bigger than ourselves and our perspectives. We have to share it with the world. And that’s what we did here.”
Overlooking the concert was the church’s stained-glass image of Nelson Mandela.
Minnesota and South African Musicians’ Interactions
On the Friday morning of the concert four of the Orchestra’s musicians gave solo and chamber music performances for students at Missourilaan Secondary School. The Minnesotans then attended a special event for their home-based nonprofit Books For Africa, which is donating 40,000 books to this community, some 12,000 of which for this school. Judge LaJune Lange, Minnesota’s Honorary South African Consul, said, “We want to partner with Missourilaan and make it a place of excellence,”
At Regina Mundi, immediately before the concert, Minnesota Orchestra musicians, dressed in their concert black, wandered through the crowd. They chatted with the early arrivals, showing and explaining their instruments to young members of the audience, as their adult companions listened in too.
The principal interactions were those of the Minnesota Chorale and the Gauteng Choristers. After all they had to sing together in languages that were unfamiliar to both groups (German in Beethoven’s symphony for the South Africans and African languages for the Minnesotans). That is why they started rehearsals on Monday for the Friday concert although the Minnesotans had sung the South African pieces at home in a July concert, Maya Tester, a Minnesota soprano, said that in South Africa their movements got looser, the dynamics bigger and the pronunciations more precise. There also was a generational difference: the South African singers were in their 20s and 30s while the Minnesotans were 20 to 30 years older.
This concert truly was an awe-inspiring highpoint of the Orchestra’s South African tour. I wish I had been there.
On August 10, the Minnesota Orchestra played the first concert on its South African tour in Cape Town’s City Hall. Below are photographs of the City Hall’s auditorium where the concert was played and of its exterior (with Table Mountain in the background).
The concert opened with the Orchestra playing the South African and U.S. national anthems and then Jean Sibelius’ “En Saga, ” an 1882 tone poem which the composer said was “ the expression of a state of mind. I had undergone a number of painful experiences at the time and in no other work have I revealed myself so completely. It is for this reason that I find all literary explanations quite alien.” (Sibelius and the Orchestra’s Music Director, Osmo Vänskä, are both Finnish natives.)
South African soprano, Goitsemang Lehobye, then joined the Orchestra to sing “Harmonia Ubuntu,” which was commissioned for this tour and which had its world premiere at the Orchestra’s home in Minneapolis on July 21, 2018. A review of the world premier of this work said it had a “bublingly eventful score that effectively referenced African rhythms and melodies, and peppered the orchestral textures with a Wasembe rattle and a djembe” African goblet-shaped drum. 
The work’s South African composer, Ndodana-Breen, who was in the audience for both of these concerts, said this work was inspired by Mandela’s exemplifying the African values of ubuntu—the knowledge that one’s humanity is tied in harmony to the humanity of others. The lyrics, which were drawn from Mandela’s speeches and writings, are the following (in English translation):
“I learned that courage was not the absence of fear, but the triumph over it. The brave man is not he who does not feel afraid, but he who conquers that fear.”
“For to be free is not to cast off one’s chains, but to live in a way that enhances the freedom of others.”
“If you want to make peace with your enemy, you have to work with them. Then he becomes your partner.”
“In the end, reconciliation is a spiritual process. It requires more than just words. It has to happen in the hearts and minds of people.”
“I learned that courage was not the absence of fear, but the triumph over it.”
“We understand it still that there is no easy road to freedom. We know it well. That none of us acting alone can achieve success. We must therefore act together as a united people for reconciliation, the birth of a new world.”
“Let there be justice for all. Let there be peace for all. Let there be work, bread, water and salt for all.”
“There is nothing like returning to a place that remains unchanged to find the ways you yourself have changed.”
“After climbing a great hill, one only finds that there are many more hills to climb.”
“The greatest glory in living lies not in never falling, but in rising every time we fail.”
“I learned that courage was not the absence of fear, but the triumph over it.”
The concert concluded with Leonard Bernstein’s Overture to Candide, an operetta first performed on Broadway in 1956, and Ludwig van Beethoven’s Symphony No. 5, which had its premiere in Vienna in 1808.
After a few standing ovations, Vänskä, for the first encore, turned again to Sibelius. But for the second encore, the director returned to the podium with a surprise.
After single drum beats were joined by marimba and horns, the Orchestra musicians started singing “Shosholoza,” a song originally sung (in call and response style) by all-male African workers working in diamond and gold mines and later sung by the prisoners on Robben Island. Mandela described it as “a song that compares the apartheid struggle to the motion of an oncoming train” and went on to explain that “the singing made the work lighter.” Here is one English translation of the lyrics: “Go forward. Go forward, from those mountains, on this train from South Africa. Go forward. Go forward. You are running away. You are running away, from those mountains, on this train from South Africa.” It is so popular in South African culture that it often is referred to as the country’s unofficial national anthem.
As soon as the Orchestra started singing this song, the crowd erupted. They laughed, they clapped, they pulled out their cellphones. Then many of them sang along.
Before leaving this account of the Cape Town concert, it also should be mentioned that this city played an important part in the life of Nelson Mandela. Roughly 4 miles west of Cape Town across Table Bay lies Robben Island, where Mandela spent the first 18 years of his imprisonment. And on February 11, 1990, after over 26 years of imprisonment, he was released from Victor Verster Prison, roughly 40 miles east of Cape Town and immediately went to the front steps of its City Hall for his first speech as a free man for a crowd of 50,000 people and a worldwide television audience; this speech will be covered in a later post.
 Minn. Orchestra, Minnesota Orchestra in Cape Town, Blain, Beethoven, with South African flavor, StarTribune (July 23, 2018); Ross, Packing instruments and loads of goodwill, StarTribune (Aug. 5, 2018).
 Minn. Orchestra, Sommerfest Program;Blain, South African composer celebrates Mandela’s Message, StarTribune (July 20, 2018); Ross, Ode to Minnesota and South African Joy, StarTribune (July 22, 2018); Blain, Beethoven, with South African flavor, StarTribune (July 23, 2018); Ross, Packing instruments and loads of goodwill, StarTribune (Aug. 5, 2018); Ross, In a historic moment for Minnesota Orchestra, music echoes the words of Nelson Mandela, StarTribune (Aug. 10, 2018)(the digital version of this article has beautiful photographs of the concert).
Last night I saw a spectacular production of “West Side Story” at the Guthrie Theater. The wonderful singing and dancing made this the best production I ever have seen in nearly 50 years of seeing plays at this theater. It runs through August 26, 2018. I strongly urge you to go!
As you may recall, the original play–with music by Leonard Bernstein, lyrics by Stephen Sondheim and book by Arthur Laurents–is set in 1957 on Manhattan’s West Side. Two rival gangs, the white Jets and the Puerto-Rican Sharks, are prowling the streets. When Tony falls for Maria, the sister of a rival gang member, a rumble is planned. Like Romeo and Juliet they’re caught in an ongoing feud with no escape, even as they pledge their love for each other. It features incomparable songs like “Maria,” “Tonight,” “Cool” and “I Feel Pretty” that are merged with the greatest love story ever told in this larger-than-life musical. (This production reinterprets the clash as between the Puerto Rican Sharks and the Jets as a pluralistic group of contemporary Americans.) Here are two photographs from this production:
The program has an interesting article, “On Reimagining a Classic,” by Joseph Haj, the play’s Director and the Theater’s Artistic Director. He reports that his research for directing this play “uncovered reports from government agencies regarding districts with solidly immigrant populations.” One such report stated the following:
“The tenants seem to wholly disregard personal cleanliness, and the very principles of decency, their general appearance and actions corresponding with their wretched abodes. This indifference to personal and domiciliary cleanliness is doubtless acquired from a long familiarity with the loathsome surroundings, wholly at variance with all moral and social improvements.”
Haj continues, “But this report wasn’t about New York City’s Puerto Rican population in the 1950s–it was filed in 1864 about a district with a predominantly Irish population. . . .”
This report from 1864 should be a strong warning to those in America today who feel and express great anxiety over today’s immigrants.
On January 3, 2016, a group of musicians from the Minnesota Orchestra played a beautiful and successful concert to benefit Syrians displaced in their own country. Here is a poster for the concert with photographs of (a) Erin Keefe, the Orchestra’s Concertmaster, with Osmo Vänskä, the Orchestra’s Music Director; and (b) Beth Rapier and Tony Ross, Cellists with the Orchestra and the originators of the idea for the concert.
The concert raised over $75,000 for the Minneapolis-headquartered American Refugee Committee (ARC) to support its efforts to help the 7.6 million Syrians who have been forced to relocate within their own country because of the war. There ARC with the aid of heroic Syrians works to:
help improve the physical conditions of make-shift shelters where people have fled;
build and repair water and sanitation infrastructure, helping to prevent disease;
provide youth mentoring and support services;
reconnect orphaned children with family members;
counsel victims of abuse and trauma; and
provide children the opportunity to play and have fun.
Other contributions for this cause would be appreciated; just go to ARC’s website [http://www.arcrelief.org/site/PageServer] and do so.
The concert was opened by the Minnesota Orchestra Brass Quintet. They played several numbers, including Leonard Bernstein’s “Maria” and “Tonight” from “West Side Story,” the Broadway musical. The Quintet members were Douglas Wright, trombone; Robert Doerr and Charles Lazarus, trumpet; Steven Campbell, tuba; and Michael Gast, horn.
Then Osmo Vänskä, an accomplished clarinetist in addition to being a great conductor, played the clarinet in Wolfgang Amadeus Mozart‘s beautiful Clarinet Concerto in A Major (K 622), which was composed shortly before Mozart’s death in 1791. Vänskä was backed by 18 members of the Orchestra.
Above are photographs of Vänskä playing the concerto and of the audience of over 900 in the beautiful and modern sanctuary of Our Lady of Grace Catholic Church in Edina, Minnesota.
The program ended with Peter Illyich Tchaikovsky’s difficult String Sextet in D minor (Op.70). It was titled “Souvenir de Florence” because the composer sketched one of the work’s principal themes while visiting Florence, Italy in 1890. The violinists were Erin Keefe and Cecilia Belcher; violaists, Tom Turner and Sabrina Thatcher; and cellists, Ross and Rapier. Ross thought the piece might be Tchaikovsky’s greatest.
The concert had principal support from St. John’s Episcopal Church of Minneapolis and Our Lady of Grace along with 24 other Christian, Jewish and Islamic congregations from the Twin Cities.
 ARC, Syria Relief. As explained in a prior post, one of the international legal requirements for refugee status is an individual’s being outside his or her home country. Therefore, the beneficiaries of this concert, Syrians who have not left their own country, are technically not “refugees,” but rather “internally displaced people” or “IDP’s” in international relief jargon. But they are just as deserving of our compassion as those Syrians who have fled their country, perhaps more so because those who stay are trying to live in the midst of the war.
According to a recent article in Minnesota’s StarTribune newspaper,  this past January the Orchestra’s president, Kevin Smith, thought it would be great if the Orchestra could be the first U.S. ensemble to go to Cuba after the December 17th announcement of rapprochement between the U.S. and the island nation. Smith immediately called Minnesota’s U.S. Senator Amy Klobuchar and asked for help in pursing this idea. She, of course, said yes with this comment: “This trip is an example of the type of relationship we want to continue building between our people. Cubans are looking forward to more opportunities to interact with Americans.” 
Smith then asked the Orchestra’s musicians if they would give up a scheduled week of vacation in May in order to go to Cuba. They too said yes with enthusiasm. An Orchestra violinist, Aaron Janse, who was in a small advance group that went to Cuba in April, said, “We absolutely feel that we represent the state, the United States. We have a responsibility to be a bridge between the two countries. For us, as a community, to get this all together speaks volumes to where the Minnesota Orchestra is.”
Both concerts will be broadcast live by Minnesota Public Radio’s classical music stations (99.5 FM in the Twin Cities) on May 15 and 16 at 7:30 p.m. (CDT).Tune in.
The Orchestra also will visit a musical school and arts university and hold a joint rehearsal with a Cuban youth orchestra. The Minnesota Orchestra members will give small “Minnesota Orchestra” pins to people they meet. Presumably they will be wearing “Minnesota Twins” baseball caps as they travel around Havana. As former Minnesota Twins Cuban-American baseball player, Tony Oliva, has said, Cubans know about the Twins and their cap.
Accompanying the Orchestra on a chartered direct flight from the Twin Cities to Havana will be a group of board members and community supporters as “cultural ambassadors.” They will be led by board member, Marilyn Carlson Nelson, and her husband, Glen Nelson, who are paying for the trip. As a co-owner and former chairman of Carlson Companies, a global hotel company, Carlson Nelson is interested in business opportunities in Cuba for her company.
On a historical note, the Orchestra (then called the Minneapolis Symphony) in 1929 and 1930 performed in Havana, and one of its pieces on the first trip was Beethoven’s “Third Symphony,” which will be played again this weekend by the Orchestra. MPR News has a 1929 photograph of some of the Symphony members getting ready to board a ship in Havana after their first trip.
 In addition to the StarTribunearticle, check out information about the trip on the Orchestra’s website and in a MPR Newsarticle.
 As discussed in prior posts, Senator Klobuchar is a strong advocate for U.S.-Cuba reconciliation. She is the author of the pending Senate bill to end the U.S. embargo of Cuba. She was a member of a U.S. Senate delegation that visited Cuba this February. She endorsed the formation of the U.S. Agricultural Coalition for Cuba that is being lead by Minnesota’s Cargill Incorporated.
Westminster‘s September 2nd worship service opened with a jazzy set of three organ preludes entitled “Organ, Timbrel, and Dance,” played by Melanie Ohnstad, the church’s Organist and Director of Music and the Arts.
The three preludes were based on German chorales as reinterpreted in jazz idioms. As a lover of German organ music and American and Latin jazz, I was fascinated and moved by the three pieces:
“Swing Five” used the rhythms of Dave Brubeck’s “Take Five” for the chorale “Erhalt uns, Herr” (Lord, Keep Us Steadfast).
“Bossa Nova,” the Brazilian rhythms for “Wunderbarer Konig” (Wonderful King).
“Afro-Cuban,” the rhythms and melody of Leonard Bernstein’s “America” from West Side Story for “In dir ist Freude” (In Thee Is Gladness).
The composer is Johannes Matthias Michel, who was born in 1962 and grew up at Lake Constance (Germany) and who studied piano, church music, and organ in Basel, Heidelberg, Frankfurt and Stuttgart. He has composed many pieces for organ, and his organ discography includes more than a dozen CD recordings. One is of these three preludes, and there is a YouTube video of Michel playing these preludes.
Michel teaches artistic and liturgical organ playing at the University for Church Music of the Protestant Regional Church in Baden (Hochschule fur Kirchenmusik Heidelberg). Affiliated with the Evangelical Lutheran Church, the University is in the city of Heidelberg in the historical region of Baden on the east bank of the Rhine River. Baden is the western part of the Baden-Wurttemberg state of Germany.
Since 1999 he also has been the director of music at Christuskirche in Mannheim, which also is located in Baden. This is a Protestant church in the Oststadt district of the city. The church’s building was built in the early 20th century in the Art Nouveau style with Neo-Baroque accents. It escaped major damage in World War II. At Mannheim Michel also conducts the Bachchoir Mannheim and the chamber choir Mannheim and teaches organ at the State Academy of Music (Staatlichen Hochschule für Musik) in Mannheim.
Melanie Ohnstad has served Westminster as organist since November 1995. She received the Doctor of Musical Arts degree from the University of Minnesota. She also holds the Master of Music in Organ Performance degree from Arizona State University and the Bachelor of Music degree from St. Olaf College.
A streaming video of the Westminster worship service is available on the web so you too can hear this amazing set.
Joseph Welch’s participation in the televised Army-McCarthy hearings in 1954 brought him national prominence. We have seen a summary of those hearings and his performance as the U.S. Army’s lawyer.
As a result, Welch became a celebrity. His career expanded to do new things.
Welch appeared on various national television programs, most notably talking about the U.S. Constitution on the Omnibus program. A book of those commentaries was published.
In 1959 Welch provided commentary during intermissions of several televised concerts by the New York Philharmonic Orchestra, then under the baton of Leonard Bernstein. After Bernstein apparently had called Welch a “great American,” Welch responded, “I suspect you are a better judge of good music than you are of what could truly be called great Americans. Do not think for a moment, however, that it is not music to me to have you say of me what you do.” Welch added that for him to accept money for being on a Christmas concert with Bernstein and soprano Marian Anderson was “just barely distinguishable from cheating.”
Correspondent with Groucho Marx
Welch’s television appearances had an impact on comedian Groucho Marx. In a serious article in TV Digest about the status of television programming, he said, “[I]t speaks very well of television and its audience that the man so constantly in demand for more TV appearances after the Army-McCarthy Hearings was not Senator McCarthy, but Joseph Welch.”
This article came to Welch’s attention, and he wrote to Groucho on his law firm’s letterhead that listed the names of all the 40 or so lawyers in the firm. Welch said that it had not been necessary to hire extra help “to hold at bay swarms of people anxious to get me to appear on television or in the movies.” He then expressed admiration for Groucho’s work and said it “must be wonderful to be (a) Rich, (b) Intelligent, and (c) Funny. I trust I list them in their correct order.”
Groucho responded that he was not rich, but “rich enough . . . to know that inflation is knocking hell out of what I have.” He also said he was a “little frightened” by the imposing list of 40 lawyers on Welch’s law firm’s letterhead. Groucho said he had been sued over the years on most of the “minor charges—rape, larceny, embezzlement and parking in front of a fire plug,” but those law firms never had more than four lawyers. Groucho then asked a series of questions about life in such a large law firm.
Welch could not let this Marx missive go unnoticed. Welch told Groucho that he had misunderstood the letterhead: “All the names below the first line are the name of our professional witnesses. They hang around street corners and turn up unexpectedly as witnesses in all the automobile cases we try.” Welch then answered Groucho’s questions about the firm:
“Q: How do you get along in the office?
A: By leaning on each other heavily and on our secretaries.
Q: Do you trust each other?
A: In every area except money, property and women.
Q: Does each one have a separate safe for his money?
A: Yes, except I have so much money I have two safes.
Q: Isn’t there some danger that you and one of your partners could both be in a courtroom, representing opposing clients?
A: Damned if there isn’t and every now and then somebody takes in a case where the client is against the client of another guy in this office and there is hell to pay and no foolin’.
Q: Do you have one community storage room for your briefcases? Or does each one sit on his own case?
A: I do not understand this question. I sit on what you sit on only I do more of it than you do.”
While Welch said he hoped that Groucho would visit him in Boston, Welch advised him to keep it quiet because “a highly numerous and vocal collection of people in Boston thought and still think that hanging is too good for me.”
Welch indeed matched wits with Groucho.
In 1959 Welch became a movie actor when Director Otto Preminger picked him to play Judge Weaver, a Michigan trial-court judge, in the film, Anatomy of a Murder, which is still an entertaining movie.
The basic plot concerns an Army Lieutenant, Frederick Manion (played by Ben Gazarra), who is accused of murdering a man, Barney Quill, for allegedly raping his beautiful wife, Laura Manion (played by Lee Remick). Manion’s lawyer, Paul Biegler (played by Jimmy Stewart), is assisted by his friend, Parnell McCarthy (played by Paul O’Connell), an alcoholic lawyer. They oppose the district attorney, Mitch Lodwick, and a state assistant attorney general, Claude Dancer (played by George C. Scott). Judge Weaver (Joseph Welch) presides over the trial. Several interesting issues of legal ethics are posed by the trial, which is a subject for another day.
Filmed in a small, apparently all white, county seat in the Upper Peninsula of Michigan, the movie has an enjoyable digression. Duke Ellington, the great jazz musician, appears in one scene as Pie-Eye, a musician playing the piano with a black jazz band, at a roadhouse. Joining him on the piano is the defense attorney (Jimmy Stewart), who is a jazz aficionado.
The movie received many Oscar nominations, but lost “Best Picture” to Ben-Hur while Stewart lost “Best Actor” to Charlton Heston in the latter movie.
During the filming, Welch became a good friend of John Voelker, the author of the film script and of the novel of the same title and a fellow attorney and a former member of the Michigan Supreme Court. They discussed the possibility of Voelker’s assisting Welch in writing an autobiography, but that never happened. In their extensive correspondence over the last 18 months of Welch’s life, Welch compared his wordsmithing as “counterfeit” coins to Voelker’s “complete access to, if not ownership of, the First National Bank of Words.”
Law Firm Partner
Welch’s graciousness, so evident in the Army-McCarthy hearings, also was present in Welch as a law firm partner.
In 1952 the Hale and Dorr law firm was faced with an issue of whether it should make a claim on the estate of a deceased partner who had paid himself more than he was entitled to, i.e., who had embezzled law firm funds. The firm adopted Welch’s proposal to make a claim for one-half the amount. Said Welch, “Let him pay for his choice of life style. But because of the nature of the partnership and because we truly liked him at his best, let us forgive a half.”
In addition, presumably in the late1950’s Welch wrote a letter to his partners at Hale and Dorr, “This is like my will to you. I have lived a successful, rewarding and happy life. I believe that I owe the firm money rather than visa-versa. In any event, since my second wife does not need any money, any moneys owing to me by the firm upon my death should be paid to you [the partners], not to my family.”
Welch also prepared what he called an “office will:” It stated, “All the rest and residue and remainder of me as a lawyer I leave to all those in Hale and Dorr that I have loved. To a very large degree they . . . have made me what I am. Such success as I have attained I owe largely to them. I have lived my whole professional life in an office free from grief, envy, and jealousy. Few lawyers have been so blessed in their associations continually all through life. For the serenely happy life I have had with all of you, I say a simple and inadequate thank you.” Welch concluded: “this is my office will and is undated. The identity of the typist is to remain a secret. It is not witnessed. But even so—no fooling. Joseph N. Welch.”
The author in his years as a practicing lawyer in large law firms has never heard of anything like these gracious comments from a partner to his or her fellow partners.
Welch’s first wife, Judith Lyndon Welch, died in 1956, and he was remarried to Agnes Rodgers Brown Welch.
Welch died on October 6, 1960, just weeks before his 70th birthday.