The Boston Pops files: Evening at Pops with Narration by Julia Child

I got a bunch of Boston Pops records from the 1960s and 1970s. This is one in a series of blog posts about them.

In yesterday’s review of American Salute, we started to see the Boston Pops crossover machine in full swing as Chet Atkins joined the Pops and Arthur Fiedler for a few tracks on this album of Americana. Today’s 1972 record—a recent eBay find for me—is deep in the heart of crossover-land: it’s a document from a 1971 performance of Evening at Pops with a headliner celebrity narrator—the inimitable Julia Child, no less—and a bunch of lowercase-p pop songs, alongside the lightest of light classics.

Let’s start with Evening at Pops. Most modern audiences outside the Boston area probably trace their knowledge of the Boston Pops to this television program, which aired over PBS from 1970 to 2005 (that this is the year I joined the Tanglewood Festival Chorus can only be ironic coincidence). Wikipedia calls the program “the public television version of a variety show,” and this is a fair description, judging both from the contents of this record and the curiously wistful timeline captured on the program’s last website.

(Aside: I remember watching with my parents when I was a kid. It was one of a handful of true “hi-fi” TV experiences I had as a kid; since the program was often simulcast on both public television and public radio, my dad would turn down the TV volume and turn up the radio volume so we could get the program in full stereo accompanying the cramped visuals on our little 19″ TV. Ah, those were the days…)

In terms of programming, there are a few surprises here. The opening is a full-orchestra arrangement of John Morris’s great (second) theme song for The French Chef, Julia Child’s breakthrough PBS cooking show. I don’t know how many times the Pops performed the kids’ classic “Tubby the Tuba,” but Julia makes a hysterically sympathetic narrator in her trademark burbling tones—and adds a unique punchline all her own at the end. The Sesame Street gang also appeared in the 1971 Evening at Pops lineup, so an arrangement of the theme song follows “Tubby.” It’s in turn followed by “I’d Like to Teach the World to Sing,” in an incredibly timely arrangement of the November 1971 hit based on a Coke jingle.

The second half of the record is more familiar Pops fare: we get two Leroy Anderson numbers (“Bugler’s Holiday” and “A Trumpeter’s Lullaby”), “Jalousie,” two Tchaikovsky movements from the Nutcracker (“Dance of the Sugar Plum Fairy” and “Dance of the Toy Flutes”), and as a closer, “76 Trombones.” Almost all this fare could be found on earlier Pops recordings like Pops Festival.

So if you look at the overall program, it’s really a standard Pops program, with the celebrity narrator guest elevated to headliner. But by this time “standard Pops” was only about 50% light classics and was relying increasingly on pop songs and other pop-crossover fare. We’ll see that in tomorrow’s record as well.

Here’s Julia Child reading “Tubby the Tuba” from the TV broadcast. Enjoy!

Memorial Day 2017

Yesterday was lost in mist. I spent the day cooking and thinking about sacrifices. And the paradoxical beauty of spring that so many died so that we could enjoy it.

Massive rhododendron in front of our house, finally in bloom
Tree shaded rhododendron
Rhododendron, late bloom
Iris, transplanted from Arlington, and before that from my grandmother’s garden in North Carolina
Confrontation between swan and duck at Peeper’s Pond


Coming up with the TFC: the Busoni Piano Concerto

One of the comforting things in my life right now is that, no matter how much things change, music remains a constant. On Friday and Saturday I am lucky enough to be able to take my place with the men of the Tanglewood Festival Chorus in a rare performance of the Busoni Piano Concerto, whose “everything and the kitchen sink” approach to orchestration includes a men’s chorus part in the final movement.

The choral writing in the work is interesting, anticipating modern harmonies in several places, and our guest conductor Lidiya Yankovskaya has drawn some rich sonority out of the ensemble. I’ve enjoyed preparing the work, which has involved sitting “hashed” so that we can all hear all the other parts and blend our sound and pitches more effectively.

The men’s choral sound also makes me nostalgic for my friends in the Virginia Glee Club, whose exploits this week on tour are being chronicled on Frank Albinder’s tour blog. Wafna!

Support your local floofy celebrity

Harvard Dangerfield greeting his public at Tanglewood, August 2016
Harvard Dangerfield greeting his public at Tanglewood, August 2016

One of my good friends from the TFC is slightly less famous than her dog. That’s no knock on Dana, but when your dog is Instagram celebrity and gorgeous Samoyed Harvard Dangerfield, you get used to playing second fiddle to his gorgeous floof.

Harvard’s having some health troubles, so Dana has put up a page selling a calendar and some other Harvard merch as a fundraiser. Do your Christmas shopping a favor and pop over and buy a calendar!

Unexpected side benefits of the Apple Watch


I’ve got a new health benefit from the Apple Watch to tout: it deflects canine teeth.

Our old neighbor hosted a garden party on Saturday, and one of the guests brought their dog, a rescue who is devoted to the family. Unfortunately, it wasn’t enjoying the chaos (eight kids, almost all under the age of 10) and was a bit jumpy. I thought it was trying to sniff me, so I put a hand out, and next thing you know it was trying to bite me. Not a play bite either.

I retrieved my now-tattered sleeve from its jaw, talked to the owner to make sure the dog had its vaccinations, and cleaned up. When I looked at my arm, I realized I had gotten lucky; the “milanese loop” band of my watch had slightly deformed under the pressure of the dog’s teeth. If not for the watch, I would have been far worse off than the slight scrape I got.

Apple Watch: like chainmail for your wrist.

Memorial Hall, Harvard University

Memorial Hall, Harvard University, September 11, 2016
Memorial Hall, Harvard University, September 11, 2016

It was an unusual treat to spend so much time in Memorial Hall and Sanders Theater this week. The high Gothic style of the building and the sombreness of the memorial hall proper was a good preparation for the work we were there to sing.

I posted an album of my favorite photos of Memorial Hall to Flickr.

Review roundup: Rossini Stabat Mater, Verdi Aida

The TFC lines up at the back entrance to the Shed prior to Aida.
The TFC lines up at the back entrance to the Shed prior to Aida.

Coming back from Tanglewood is always challenging, and doubly so after a weekend like the one we had August 19 and 20. As I told a co-worker, it feels weird to walk into our office and not hear the magnificent Aida trumpets heralding our approach.

I go back out tomorrow for a Prelude concert (music set to the words of Shakespeare, mostly by British composers) and the Beethoven 9. Before I lose the music in my head, here are a few reviews that came in.

Rossini Stabat Mater with Charles Dutoit: I had never sung this piece before, and surprisingly the BSO had never played it at Tanglewood, and had only played it twice before, in 1974 and 2010. It turns out to be a fairly monumental work that blends sacred and operatic choral traditions, with some seriously intense solo writing (the tenor’s high note in the second movement comes to mind) along with choral writing that runs the gamut from amazingly delicate pianissimi to operatic descending lines. The fifth and ninth movements, sung a cappella, might have been my favorites.

Boston Classical Review (Lawrence Budmen): Dutoit, BSO serve up a Rossini rarity along with a heartening solo appearance at Tanglewood. “Under guest choral director James Burton, the Tanglewood Festival Chorus brought gleaming vocal sonority and subtly terraced dynamics to their a capella voicings of the ‘Eeia, mater’ and the lamentations in ‘Quando corpus morietur.’ Dutoit skillfully blended both chorus and vocal soloists with the orchestra’s highly charged playing.”

Boston Musical Intelligencer (James Prichard): Stabat Mattered at Tanglewood. “The choral work that opens the masterpiece (Stabat mater dolorosa) immediately established the high standard that was to prevail throughout the performance. Prepared by guest chorus director James Burton, the Tanglewood Festival Chorus once again displayed the smooth voice blending and comfortable control over a wide dynamic range that Boston audiences came to expect from them during the long tenure of founding director John Oliver.”

Verdi, Aida (Acts I and II) with Andris Nelsons: This was an astonishing piece even in performance of only half the opera, with a huge chorus and orchestra supplemented by offstage banda and, of course, the Aida trumpets. We were with a stellar crew of soloists including the stentorian Morris Robinson and Met soprano Kristine Opolais, who happens to be conductor Andris Nelsons’ wife. (The performance featured a total of 17 married couples among the soloists, orchestra and chorus, a fact which did not go unremarked-upon.)

Boston Classical Review (Lawrence Budmen): Uneven singing but thrilling moments in Verdi’s “Aida” at Tanglewood. “For the second night in a row (following a strong showing in Rossini’s Stabat Mater), the Tanglewood Festival Chorus was a tower of strength. The sumptuous sound of the female voices was particularly outstanding in a splendidly coordinated ensemble under guest choral director James Burton.”

Albany Times-Union (Joseph Dalton): A marriage of mighty forces for ‘Aida.’ “…as can often happen in a concert performance of opera, the inner workings of the score, especially the orchestration, were revealed as fresh wonders. Examples were the use of harps with the chorus, and an extended passage of dancing and swaying lines that started in the flutes and expanded into the entire woodwind section.”

Boston Globe (Jeremy Eichler): At Tanglewood, an ‘Aida’ both intimate and grand. “Bethany Worrell, a TFC member, did the chorus proud in her solo turn. Overall the TFC, this time prepared by James Burton, sang with a nuance and confidence that lifted its work notably above the level of other recent outings.”

Berkshire Eagle (Andrew Pincus): With Nelsons’ return, BSO goes adventuring. “The chorus, prepared by James Burton, was a consistent presence as troubled citizens of Memphis.”

Boston Musical Intelligencer (James Prichard): Celeste Nelsons, Opolais, Verdi, BSO, et alia. “Special mention is due soprano Bethany Worrell, a TFC member whose ethereal tone as the High Priestess enriched the texture of the production beyond the few measures of music in which we heard it.”

Summertime rolls


It’s entering the busy season of my summer, though in reality the whole summer feels both jam-packed and oddly relaxed. Last week: mid-year team offsite. This week: mid-year sales training. Next week: hacker summer camp.

Then there are rehearsals. In late August there’s Rossini, and Aida, and a Prelude concert and Beethoven’s 9th. So of course we’re in high rehearsal mode. I think I’ll have had over 18 hours of rehearsal in the last couple weeks of July by the time all is done.

But right now all I can think about is how much fun it was taking my kids around the Museum of Science on Sunday and watching the Tesla coils make music with The Girl. Turns out that you can translate AC frequencies directly into musical tones.


KGB at the Lilypad in Inman Square, June 1, 2016

KGB at the Lilypad in Inman Square, June 1, 2016

I met some work colleagues at Bukowski’s in Inman Square last night. Generally when I’ve been there in the past it’s been to go to Hell Night, which is a pretty all-consuming experience in itself. Last night I was able to soak in a little more of the ambience.

Like Lilypad, a jazz club that’s only about half a block away from Bukowski’s. As I walked by last night to go to the bar, there was a pretty hot sounding quartet going (Tetraptych, if their calendar is right), but by the time we got back to the club KGB was playing. This trio (Ethan K. on guitars, Patrick Gaulin on drums, Rich Greenblatt on vibes) was sounding pretty good, playing a variety of originals, some standards (a Gershwin tune floated past at one point) and some post-bop stuff.

The last tune was “Eighty-One,” the Ron Carter/Miles Davis standard that he premiered on E.S.P. Here Ethan K. played the melodic line as Greenblatt provided chordal backup, with Gaulin providing elliptical drums underneath. I loved it, but the interpretation was a little different than what I think of as the core of the song, and it got me thinking about what that means.

In the original recording, by the second great Miles quintet on their first album, the essence of the song is the strong central bassline centered on the relationship between F (the tonic) and B-flat and providing rhythmic drive, while the horns play the melody complete with the leap up the octave and into a moment of silence, followed by sustained chords. The same players, with Wallace Roney filling in for Miles on the 1991 A Tribute to Miles, begins with a minute of free playing by Herbie Hancock and Wayne Shorter before going to the melody, and plays up the pause dramatically, with everyone but Carter and Tony Williams dropping out for a whole measure before the tune continues. I’ve heard some live Herbie recordings that do the same trick, with different players spotlighted in the gap, including his V.S.O.P. quintet live recordings from the 1970s. I’ve come to love this interpretation.

Last night, the gap wasn’t there–each player drove ahead into the space, letting the groove take them. It was a great version, but I missed that pause. It clues you in to listen to what’s happening underneath—the groove, the drive, the breakneck craziness at drums and bass that was Carter and Tony Williams at their best.

Odds and ends blogging

Reentering after a week-plus of travel and family time is a little challenging, but I’m managing it. This morning was, of course, errandsville: getting shoes fixed, getting a tire ordered for the car, voting.

It strikes me as unlikely that the profession of cobbler still exists, given the increasingly disposable nature of shoes. But I’m glad it does; I’d much rather spend tens of dollars to fix a pair than $200 to replace them. The cobbler in Arlington, around the corner from my son’s old preschool, works in a cluttered shop on a cash only basis but does phenomenal work. I don’t know who’ll take his place when he’s gone

And voting: my son will enter kindergarten in the fall, in (redistricting willing) an extremely crowded elementary school. So it’s time for our town to deal with Proposition 2 1/2. Fortunately, our town seems pretty rational about the whole thing, recognizing that the high quality of the schools is what makes our homes worth something. So I’ll pay a little more for the privilege of sending my son to one of the finest public school systems in the country. Seems like a fair trade.

Slouching toward spring

It’s April 4, the day on which we remember the passing of Martin Luther King, Jr. So of course it’s snowing. 

This has been a weird winter—very little precipitation, freezing days and 70° days. And now that spring is (calendrically) here, the weather is determined to make up for it. It snowed four inches before noon yesterday, then the sun came out and melted most of it. Now it’s snowing again, hard, and will for most of the day. 

I’m having a hard time getting in the mood for spring. Even the thought of going to Charlottesville in a little over three weeks to celebrate the Glee Club’s 145th doesn’t cheer me up. Well, much. I need this snow to be done. 

Happy first day of spring


After a warmish winter, it seems only appropriate that we got about five inches of snow on the first day of spring. We are hardy souls, though, and have already dug out and sent the kids to school (albeit two hours late).

There are other signs of spring, too, like the imminent arrival of the orchestra rehearsals for this week’s performance of the Kancheli “Dixi” with the Boston Symphony. More to come…

An appreciation of John Oliver

Boston Globe: Tanglewood chorus director Oliver to step down.

I auditioned for the Tanglewood Festival Chorus almost ten years ago. In that audition, I showed my lack of symphony and opera experience by singing a work by Landini — a good audition piece for an early music ensemble, woefully out of place for a symphony chorus. But John Oliver took a risk on what he heard and invited me to join the chorus. And he let me continue to participate through travel, at least one blown reaudition, and the appearance in the chorus of many other more qualified singers.

In the process, he has taught me a great deal as a singer, including:

  • Sing with the whole body as an instrument. Be aware of the resonant space in your head, the position of your body, the depth of your breath.
  • Language matters deeply. Articulating precisely conveys not just words but meaning.
  • Memorization allows you to inhabit the music deeply and fully — and sometimes builds electricity in the performance via sheer terror.
  • Connect with the conductor and the audience.
  • Be committed completely. Don’t settle for less, in yourself or others.
  • There isn’t one “correct” interpretation of a musical work. Be open to what others bring to it.

There is much to be said for John’s tenure as founder and director of the TFC, and I’ll write it someday. For today, I’ll  just note my gratitude for this acerbic, demanding, opinionated… and secretly generous man, and for what he taught me as a singer.

Welcome, Andris Nelsons

Boston Globe: BSO names Andris Nelsons music director, succeeding James Levine. An exciting day. I sang with Nelsons last summer at Tanglewood in a deeply felt (if a little idiosyncratic) performance of Symphony of Psalms. I also watched him conduct the BSO in a spine tingling version of Ravel’s La Valse that was easily the best musical moment of the Tanglewood anniversary concert. Can’t wait to sing with him again.