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Boston Pops: Does Lockhart give autographs like Williams?


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I'm going to the "Oscar and Tony" show on Sunday (which should have lots of film music). I've never been to a Boston concert without Williams conducting, so I'm wondering if Keith Lockhart meets concert patrons for autographs after the show. I'd like to get that latest "America" CD and get it signed. Anyone know what the chances are?

Also, did anyone happen to see full program for this concert?

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When I heard "Lockhart," I totally thought of the Potter character. The contrast between him and the ever-humble, "why-would-anyone-want-my-autograph" attitude of John Williams made me laugh.

Sorry, can't help you out with the question...but thanks for the laugh! :folder:

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Does Lockhart give autographs like Williams?

No. His autographs say "Keith Lockhart" and not "John Williams". They are not alike in anyway.

Neil - who has both autographs

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The closest I've come to him was perhaps thirty feet, with a thick door (with a window!) between us. It was after last year's Hollywood Bowl performance, and he was talking with a few people in a little room. About twenty fans waited around outside, hoping to get a quick chance to meet him. Not a chance. He skeedaddled in a getaway vehicle, using the hidden parking garage, without us even knowing. But I got a few photos! :)

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Why on earth would one want Keith Lockhart's autograph? A loud conductor who's not particularly impressive.

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Well, I'm back from vacation and am proud to report that I got Keith to sign the new Boston Pops' "America" album (which has Williams' Liberty Fanfare on it).

As for the concert, I was shocked to see that they seem to have replaced the entire orchestra without warning! It was advertised as being the "Boston Pops Orchestra", but in the program book it was renamed the "Boston Pops Esplanade Orchestra". I couldn't recognize any of the players (like Tamara, Martha, etc.). Sure, they played fine, except for "Stars and Stripes" where the timing fell apart near the beginning, but still I wish the BSO would be more honest and admit that the audience wouldn't be seeing the "real" Boston Pops that evening. Most don't notice I'm sure, but for someone who's been to about 10 Boston concerts I noticed immediately.

Also, many pieces that were on the program on previous nights were taken out to make room for a middle section featuring youth soloists that had won competitions.

And to answer to Morlock, what don't you like about Keith Lockhart? I actually like his natural down-to-earth style more than other conductors who are so stuck-up and make gestures that nobody can understand.

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Well, I'm back from vacation and am proud to report that I got Keith to sign the new Boston Pops' "America" album (which has Williams' Liberty Fanfare on it).

As for the concert, I was shocked to see that they seem to have replaced the entire orchestra without warning! It was advertised as being the "Boston Pops Orchestra", but in the program book it was renamed the "Boston Pops Esplanade Orchestra". I couldn't recognize any of the players (like Tamara, Martha, etc.). Sure, they played fine, except for "Stars and Stripes" where the timing fell apart near the beginning, but still I wish the BSO would be more honest and admit that the audience wouldn't be seeing the "real" Boston Pops that evening. Most don't notice I'm sure, but for someone who's been to about 10 Boston concerts I noticed immediately.

Also, many pieces that were on the program on previous nights were taken out to make room for a middle section featuring youth soloists that had won competitions.

And to answer to Morlock, what don't you like about Keith Lockhart? I actually like his natural down-to-earth style more than other conductors who are so stuck-up and make gestures that nobody can understand.

You were seeing the "real" Boston Pops. They are the Boston Pops when indoors. When performing in the Esplande, they call themselves the Boston Pops Esplande Orchestra. That dates all the way back to Arthur Fiedler.

And, sure, Lockhart is down to earth, if you consider having the baton jabbed in your face down to earth. His stick technique is awful, and frankly I think the quality of the orchestra has gone down since he took over.

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The BOT4OJ suite on the Music from Stage an Screen cd is the only Boston Pops recording I like. The rest I've heard done far better on the OST or by other orchestra's.

The BPO often make the Prague orchestra's brass look good.

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The BPO often make the Prague orchestra's brass look good.

You are joking , right , just pissing me off?

If you prefer LSO Brass' rougher and bolder touch , I can live with that fact.

About the Prague brass ,all I can say is , that even my vacuum cleaner makes nicer sound than they do.

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The BOT4OJ suite on the Music from Stage an Screen cd is the only Boston Pops recording I like. The rest I've heard done far better on the OST or by other orchestra's.

The BPO often make the Prague orchestra's brass look good.

that's not true

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The Spielberg/Williams Collaboration version of Scherzo for Motorcycle and Orchestra makes the OST recording sound boring. And the orchestral sound on that olympic album from a few years back is stunning. They may not be the greatest orchestra out there (I suppose that would be true for any of the big symphony orchestras if you removed the first chairs), but saying they're worse than the Prague group on their Silva compilations is a strong exaggeration.

Oh, and the brass playing is still far superior to the so-called Vienna Philharmonic on a bad day (and that goes for Prague, too).

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"Scherzo" is one of the few concert versions that is better than the original piece.

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You were seeing the "real" Boston Pops. They are the Boston Pops when indoors. When performing in the Esplande, they call themselves the Boston Pops Esplande Orchestra. That dates all the way back to Arthur Fiedler.

And, sure, Lockhart is down to earth, if you consider having the baton jabbed in your face down to earth. His stick technique is awful, and frankly I think the quality of the orchestra has gone down since he took over.

They were indoors (at Symphony Hall). It was the July 1st concert I went to, not the 4th (I was in DC for the 4th). None of the familiar players were there. It was a completely different orchestra!

Also, what do you mean by "having the baton jabbed in your face"? I've never noticed that with Keith on TV. What I have noticed on TV are conductors like Abbado who just wave all over the place in a fashion that seems completely meaningless.

As for the talk about the brass section, it is a matter of personal preference. For instance, I don't like other orchestras' recordings when the brass drowns out the strings. I find the Boston ones to be better balanced. It also depends how it is miked or where you sit in the hall (brass always seems to drown out the strings at higher elevations like the balconies).

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As for the talk about the brass section, it is a matter of personal preference. For instance, I don't like other orchestras' recordings when the brass drowns out the strings. I find the Boston ones to be better balanced. It also depends how it is miked

This is the delicacy of the symphony orchestra that I was trying to say.The brass in the balance with the orchestra.

And they are still playing the forte hard enough when needed.

I'm a brass player myself but I prefer when its loud but still enjoyable.

It's miked all wrong when (the mike is dumped in to bell of the brass instrument) you here individual players.I need the whole brass section.

(except the solos of course)

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What I have noticed on TV are conductors like Abbado who just wave all over the place in a fashion that seems completely meaningless.

Ultimately, it's the resulting music that counts, not how it looks. I'm no fan of Abbado though.

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