Thomas W. Morris, Symphonic connector from Seiji Ozawa to John Williams

In this interview with Tom Morris, a veteran of orchestra management whose career included leadership roles with the Boston Symphony and the Cleveland Orchestra, conductor Devin Patrick Hughes provides a comprehensive look at the inner workings of orchestral institutions, the evolution of their management, and the crucial role of music in their success. Morris's journey from a percussionist to a top-level administrator offers a unique perspective, and his reflections provide valuable lessons for anyone interested in the performing arts.

One of the most compelling aspects of the interview is Morris's discussion of how his musical background shaped his management philosophy. He emphasizes his deep understanding of musicians' lives, having experienced firsthand the challenges and demands of performing in an orchestra. This empathy enabled him to build trust with musicians and approach labor negotiations with a unique perspective. Morris’s belief that "ultimately these institutions are about the music" underscores the importance of passion and artistic integrity in organizational leadership.

The episode also explores the historical evolution of orchestra management, particularly the Boston Symphony Orchestra. Morris recounts how, before the 1970s, the orchestra relied on simple postcards for subscription renewals. He explains that over the seventies and eighties, the percentage of the budget earned from ticket sales gradually fell. This shift necessitated the development of marketing and fundraising departments, leading to a significant increase in administrative staff. 

Morris shares fascinating insights about the Boston Pops, emphasizing that it was founded in 1885, before Arthur Fiedler became its 17th conductor in 1929. The Boston Symphony created the Pops to provide more employment for musicians and to perform lighter music for a broader audience. He discusses how the Boston Symphony transformed Symphony Hall into a "beer hall" to accommodate a more informal setting for the Pops concerts. He explains that in the early days the Pops sold blocks of tickets to community groups and did not have to focus on individual ticket sales. He also recounts how the popularity of Arthur Fiedler was enhanced even further by the "Evening at Pops" television series. Morris details the process of selecting John Williams as Fiedler's successor, explaining that Williams was chosen for his musical integrity and knowledge of the symphony orchestra.

Furthermore, the interview addresses the crucial dynamic between management, the music director, and the board of directors, which Morris refers to as the "Bermuda Triangle.” Morris suggests that this structure can function perfectly if the right people are in those roles and are bound by a common vision. He also emphasizes that having a collaborative culture is essential, but that collaborative decision-making should be avoided. Morris stresses the importance of clear lines of authority and not settling for "good enough" when hiring. He also shares that when hiring he uses Jim Collins' three C's: competence, character, and chemistry. These points underscore the need for strong leadership and a shared vision in any successful organization.

Morris also touches on the importance of thoughtful programming. He humorously mentions his collection of "dumb programs" and emphasizes the importance of carefully considering the combination of pieces in a concert. He contrasts examples of bad programming with one of his favorites, a concert he organized with Christoph von Dohnányi, which combined pieces by Ligeti, Wagner, and Bruckner. This conversation highlights that thoughtful artistic direction is an essential element in the success of an orchestra.

Thank you for joining us on One Symphony. Special thanks to Thomas Morris for sharing his life and leadership. You can pick up a copy of Always the Music: How a Lifelong Passion Framed a Future for Orchestras wherever you get your books.

For a list of recordings played on today’s episode, please check out our show notes. You can always find more info at OneSymphony.podbean.com or DevinPatrickHughes.com, including a virtual tip jar if you’d like to support the show. Please feel free to rate, review, or share the podcast! Until next time, thank you for being part of the music.

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Featured Music

All music selections for this episode feature the Boston Pops. 

Tchaikovsky’s Serenade for Strings in C Major, Op. 48: Waltz. Conducted by Arthur Fiedler, from the album Fiedler: Greatest Hits. 

L'Arlésienne Suite No. 2: Farandole. Composed by Georges Bizet. Conducted by Arthur Fielder, from the album Fiedler: Greatest Hits.

“Manhattan Skyline.” From the album Disco Inferno / Manhattan Skyline. Conducted by Arthur Fiedler. 

“I Got Rhythm, Embraceable You.” From the album Boston Pops Salutes Astaire, Kelly, Garland. Composed by George and Ira Gershwin. Conducted by John Williams. 

“Flying Theme” from E. T. Composed by John Williams. Performed live by John Williams conducting the Boston Pops in 2002. 

“America Medley: America.” From the album Salute to America. Composed by Leonard Bernstein. Lyrics by Stephen Sondheim. Conducted by John Williams. 

“None But The Lonely Heart.” From the album Pops a la Russe. Composed by Pyotr Ilyich Tchaikovsky. Conducted by John Williams. 

The Snow Maiden - Suite - Danse des Bouffons. Composed by Nikolai Rimsky-Korsakov. From the album Pops a la Russe. Conducted by John Williams. 

Holst: The Planets, op.32: 3. Mercury, The Winged Messenger. From the album Boston Pops Orchestra: John Williams. Conducted by John Williams.

Overture from The Merry Wives of Windsor. From the album Fiedler: Greatest Hits. Conducted by Arthur Fiedler. 

“Pizzicato Polka.” From the album 100 Fiedler Favorites. Conducted by Arthur Fiedler. 

“Funeral March of a Marionette.” From the album 100 Fiedler Favorites. Conducted by Arthur Fiedler.