The discussion of an orchestras placement on the platform has been
interesting.

I recall the changes made in Boston after Symphony Hall was renovated in
the 60's.  The acoustics of Symphony Hall were changed.  Experiments were
made extending the platform to move the strings out into the hall more.
Someone commented at the time on the unforeseen sound affects the annual
Pops seasons had on the orchestras sound.  All the grime from 60 some Pops
seasons (Much of it smoke from the Pops audience.  In addition to the seats
being removed from the floor of Symphony Hall during the Pops seasons, food
and drink was served, and Patrons were allowed to smoke on that old wooden
floor for a good number of years.) Also the paint buildup from the twice a
year painting of the walls in Symphony Hall.  Was it Pops pink and Symphony
green? After 60 some years there were at least 120 layers of paint on the
walls.  After the renovation, in addition to trying to move the orchestra
further into the hall, I recall the location of the percussion was also
moved, and I think the last time I saw the timpani were still located
along the back and centered.

Somewhere I once saw a comment on the arrangement of the Vienna
Philharmonic.  As I recall the placement of the cellos in Vienna is unique.
(I think where we may often find the violas in other orchestras?) If anyone
is familiar with their arrangement, and why, I am interested to learn more.
I got the impression the placement in Vienna is not as dynamic as we find
with other orchestras.  Possibly because of its impact on the sound?

Their is another issue I am curious about.  How does the sound an orchestra
makes affect the quality of the orchestra itself? I understand three of the
highly regarded Halls are in Vienna, Amsterdam, and Boston.  Cities with
orchestras of significant reputation.  Does the Hall these orchestras play
in contribute to the quality of the musical organization? Certainly these
are cities with the resources to have notable orchestras, but can the
building these organizations live in make any contribution to their musical
ability.  It's my impression both Boston and Vienna are good building for
players to hear the rest of the orchestra in, while in Amsterdam it takes
some getting used to the sound levels to attain good balance.

Thanks, and best regards to all,

Tom Connor