Pops tonight sign on symphony hall roof (compare Krispy Kreme's "Donuts Hot Now" outdoor sign!)
It was indeed an honor to be invited to play the hall's historic Aeolian-Skinner pipe organ in 39 performances in December at Symphony Hall, Boston for the Holiday Pops series.
As an orchestra member, I have found the BSO and Pops staff to be incredibly helpful and accommodating, and the other orchestra members and conductors very friendly and welcoming.
I learned a lot of history from talking with others in the "tuning room" (instrumentalists' lounge) while waiting for the call to stage.
Affectionately known as "America's Orchestra," the Boston Pops is the most recorded and arguably the most beloved orchestra in the country.
Boston Pops History Holiday Pops through the Years
WCRB 2015 broadcast (recorded 12/11) will be aired 12/19 and 12/21 - no time has been published.
Here are some observations and comments about the 2015 season, from a guest's perspective:
The Symphony Hall organ is an Aeolian-Skinner, vintage 1947 (rebuilt and expanded with great improvements in 2004 by Foley Baker/Connecticut), and the original organ in the Hall when it was built was a 1900 Hutchings. Many pipes were carried forward from the Hutchings to the A-S (revoiced by A-S). The new 2004 console (French style, see image near bottom of this page) is smaller than the large 1947 console, but still takes up a lot of space on stage. Space is at a premium, especially with a 60-voice choir and 70-piece orchestra with a huge percussion section. Because there is not enough room for the 2004 big console, Pops concerts typically use the "tuning console" (aptly named because it has complete albeit awkward access to all ranks and divisions in the chambers and is very convenient physically to move out when the organ tuner is here). It has no pedals and only two manuals. Music scores have to be heavily adapted to be played musically/tastefully on this limited console. From the edge of the stage where it is placed this year, only 2-3 measures out of everything can be heard by the organist-- you are flying (playing) blindly and hoping the registration (stops/ranks) is correct and that the synchronization matches the orchestra (I'm not complaining, just explaining the challenges that await the organist). This is not to mention the difficulty in time lags between depressing a key and the pipes sounding, and not being able to hear other sections of the orchestra (at all; much less without a time lag). Foley-Baker page on Symphony Hall's Aeolian-Skinner
Symphony Hall normally seats around 2600, but there are several hundred fewer when the 240 tables (5 people each) on the main floor replace the concert seating (only seats, no tables). Tickets range from $31 to $185 per seat. There is one "company night" which is a fundraiser for the Pops itself (which raised $1.2M this year) where companies buy blocks of tickets for a fee that is considered a large donation. The program for company night and the WGBH taping (to be aired in Dec 2016)
are altered to delete some of the more classical repertoire in favor of seasonal jazz standards (this year Sara Evans was guest vocalist).
This year the orchestra has 44 strings (12-10-8-8-6), 10 woodwinds, 13 brass, harp, 5 percussion for any given concert (there are plenty of substitutes because 39 concerts is difficult to fit into everyone's schedules and stamina). Primarily the Pops orchestra is made up of BSO members. The Tanglewood Festival Chorus sings each concert, all volunteering (and paying for their own downtown Boston parking!), 60 on stage, from a pool of about 225 (auditioned) singers.
There are three rotating conductors this year, but most concerts are conducted by resident conductor Keith Lockhart (b.1959), Pops conductor since 1995.
There are about five "runout" concerts (everyone runs-out to a non-Symphony Hall venue). These are held at a variety of remote halls (Hanover Worcester was one). A duplicate of everything (except the pipe organ and celesta [a synthesizer is used]) and everyone (orchestra, chorus, stage managers, etc.) are loaded into semi-trailers and busses and transported to that venue for each concert. One concert this year was in an ice hockey arena in Manchester NH (awful acoustics).
In spite of all of the logistics and behind-the-scenes complexities, the result is a spectacularly thrilling two hours of holiday musical celebration. The brilliantly crafted program includes favorites from medleys of every carol you can think of from Hallelujah Chorus to a humorous visit from Santa, Sleigh Ride's horse whinny shenanigans and an audience sing-along. The production surpasses even top-shelf Hollywood (but omit Hollywood's artificiality). Great performers combined with incredibly clever and complex arrangements/orchestrations fill the gracious space and acoustics of Symphony Hall with this breathtakingly glorious experience. One cannot help but be lifted out of the world's daily problems into a festive mood of holiday cheer and heartfelt emotion. The Pops planners and performers get it really right! Even tho there are 39 performances (99% the same program), each is a fresh and invigorated celebration of live holiday music offered to appreciative audiences of all ages.
Pops tonight sign on symphony hall roof (compare Krispy Kreme's "Donuts Hot Now" outdoor sign!)
Click above image thumbnail for interactive 360 virtual tour of the hall from the center position of the orchestra.
My corner between the harp and percussion section, using the small "tuning console" (no pedals), with audio spkr monitor next to the wall to hear the brass section.
The tamtam (gong) keeps all who are in this corner from drifting off!
Tuning Console: this micro console has the ability to play ALL of the Aeolian-Skinner instrument (but not at the same level of agility as the larger "real" console, 3-manual with pedal).
Each square pushbutton (French: touches) is equivalent to the stopknob on the larger console, and toggles on-off when pushed (lit when "on").
Pedal, Solo, Bombard are "floating" divisions for this console and can be assigned to either manual. Most commonly used is "Pedal on Swell" (l.h.), and r.h. on the normal great (perhaps coupled to).
The great division is always on the great manual, and the swell is always on the swell (but with a provision for Unison Off).
There are 20 general pistons (and 99 levels!) just for this console. The pistons are both Capture SET style as well as hold and set (which i find very useful for minor adjustments).
There are no pedals, swell shoes, nor piston toe studs. Shades for the three chambers under expression are controlled (if you really want to!) via "volume control" knobs in the upper left.
No organ shoes are required to play this console!
Don't deviate from the written score: one time i added some passing tones, and Keith kindly remarked afterwards: "I rather preferred the original"
Foley-Baker 2004 console: Note the lo-rise profile for effective seeing/hearing the orchestra & conductor.
Aeolian-Skinner (1949) facade lit in holiday colors.
REHEARSALS . . .
Various holiday designs are projected onto the facade and walls.
The last time I played with the pops in the 1970s (Poulenc concerto), the orchestra was not very respectful for Maestro Fiedler who was late in his career by then; When Harry Ellis Dickson stepped to the podium, all was back to professional musical business.
View from the stage door
32' Open, huge wood pipes in chamber, near where cipher was (during a concert)
The cipher story . . .
Upon completing the first piece involving the pipe organ, applause filled the room and as is normal, instruments touch up their tuning softly between pieces. However it wasn't the low strings that kept playing--
Will asked one of the percussionists if he heard it too, and, having perfect pitch, he said "It's a low C" and in fact a valve had stuck open, to keep a low pipe sounding, like a distant fog horn, sounding from behind the trombone section.
Will ran out into the hall to kill the blower switch, and then in the 10 minutes that ensued before the last piece of the first half, strategized with Chris the stage manager to turn on/off the organ blower (wind supply)
a measure before the most important organ parts for one of the premiered pieces this season. One staff member ran to get a full score copy, and Chris got an extra music stand and stand light, and dimmed the backstage hall lights.
The low CC (swell voix celeste, which has the full 61-note compass) was noticeable in the softer sections, but the organ had
several important phrases that could not be omitted. So the on-off plan was the only thing that could be arranged during the concert before that next piece.
The show went on.
After the concert, Will crawled into the chambers, found the pipe, crawled under the chests to its toe, and slipped a piece of paper under the pipe to silence it.
(It helps being a slender organ technician to navigate the narrow passages in and around the wind trunks and chests; it also helps not to be claustrophobic!)
Union does not pay extra for instrument maintenance :)
Part of the Great principal chorus pipes.
Percussion corner, filled with a plethora of instruments (only the larger ones show) (timpani not shown, celesta hard to see)
The stage crew helps with backstage holiday spirit for the performers! (train engine is seen whizzing by at the front of the loop of track; flatscreen fireplace below warms our spirits)
They've since added several components for a color light show surrounding this homey scene.
