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MUSIC FOR FLUTE \u0026 PIANO
DONALD PECK
Chicago Symphony Orchestra’s principal flute
JUDITH OLSON, piano
1. SCHERZINO OP. 55, NO. 6 / Joachim Anderson
2. ANDANTE IN C, K. 315 / W. A. Mozart (1:47)
3. SONATA / Richard Lane
1st Movement: Allegro vivace (7:32)
4. MINUET AND DANCE OF THE BLESSED SPIRITS / C. W. von Gluck (10:31)
5. SONATA NO. 3 IN G MAJOR / G. F. HANDEL
1st Movement: Adagio (15:55)
2nd Movement: Allegro (17:36)
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Donald Peck, former principal flute for CSO, dies at 92
Donald Peck, the principal flutist of the Chicago Symphony Orchestra from 1958 to 1999, died on Fray at his home in Chicago. He was 92.
Source: www.chicagotribune.com
Date Published: 3/18/2022
View: 4831
Remembering Donald Peck | Chicago Symphony Orchestra
Donald Peck, a member of the Chicago Symphony Orchestra from 1957 until 1999 and principal flute for over 40 years, died Fray, April 29, …
Source: cso.org
Date Published: 9/9/2021
View: 9508
Chicago Symphony’s longtime principal flute, Donald Peck, 92
“Donald Peck, the principal flutist of the Chicago Symphony Orchestra from 1958 to 1999, died on Fray at his home in Chicago.
Source: hub.americanorchestras.org
Date Published: 3/11/2022
View: 9689
Sad news: Donald Peck – has died aged 92. – Colin’s Column
Sad news: Donald Peck – a member of the Chicago Symphony Orchestra from 1957 to 1999 and principal flute for many years – has died aged 92.
Source: www.colinscolumn.com
Date Published: 12/12/2021
View: 8309
Chicago Symphony mourns principal flute – Slipped Disc
Donald Peck, a member of the Chicago Symphony Orchestra from 1957 until 1999 and principal flute for over forty years, died on April 29.
Source: slippedisc.com
Date Published: 4/7/2021
View: 8788
Donald Peck, principal flute and ‘the voice of the wind section …
Donald Peck, the principal flutist of the Chicago Symphony Orchestra from 1958 to 1999, died on Fray at his home in Chicago. He was 92.
Source: kalasuabhivyakti.com
Date Published: 7/14/2022
View: 4880
Donald Peck, principal flute and ‘Voice of the Wind’ section for …
Donald Peck, the lead flutist of the Chicago Symphony Orchestra from 1958 to 1999, died Fray at his home in Chicago. He was 92 years old.
Source: premiere.news
Date Published: 12/11/2021
View: 5119
Donald Peck Death – Member of NFA Community Dies At Age 92
Donald Pec Cause Of Death, Obituary Unavailable Yet – Donald Pecksadly passed away according to a Facebook post by The National Flute …
Source: snbc13.com
Date Published: 4/6/2022
View: 7632
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- Author: Trombone Keiji
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- Date Published: 2016. 7. 20.
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Donald Peck, principal flute and ‘the voice of the wind section’ for the Chicago Symphony Orchestra, dies at 92
Donald Peck, the principal flutist of the Chicago Symphony Orchestra from 1958 to 1999, died on Friday at his home in Chicago. He was 92.
His death was announced by the CSO later that evening and confirmed by his friend and former CSO violinist Paul Phillips, Peck’s power of attorney. He left no survivors, with plans for a memorial service to be announced at a later date.
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In his 40-year tenure at the CSO, Peck was a constant through wildly varied regime changes at the CSO. Then music director Fritz Reiner appointed him assistant principal flute in 1957, promoting him to principal in short order. From there, Peck played under music directors Jean Martinon, Georg Solti and Daniel Barenboim, performing in thousands of concerts and on more than 300 CSO recordings.
“He was the voice of the wind section for so many years,” says CSO archivist Frank Villella.
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And what a voice it was. It could be soulful and brooding, with a somber duskiness, as in his haunting flute solo in Brahms’s Symphony No. 4 or Debussy’s “Prelude to the Afternoon of a Faun,” which he recorded twice with Solti.
It could also radiate with life-affirming splendor. Who needs beachside real estate when you can hear a Lake Michigan sunrise in the CSO’s 1965 “Daphnis et Chloé” recording, Peck’s thrushlike flute calls sporting against an otherworldly vista of pastel sky?
Flutist Donald Peck of the Chicago Symphony Orchestra, conducted by music director Daniel Barenboim at Symphony Center in 1998. (JOHN BARTLEY)
After years of hearing Peck live and in recording, Villella assisted him with CSO-related research for his 2007 autobiography, “The Right Place, the Right Time! Tales of Chicago Symphony Days” (Indiana University Press). The man he befriended was vivacious, generous and opinionated, with a “wicked sense of humor.” It was a far cry from the firebrand many of his orchestra colleagues remembered, back when Peck was one of many larger-than-life personalities holding down CSO principal seats.
“I think he mellowed after his retirement, as one does,” Villella says.
Perhaps the most infamous example is Peck’s longtime feud with principal oboist Ray Still, which remains a cautionary tale for orchestral politicking everywhere. Despite sitting next to each other for decades, they did not speak for much of Martinon’s directorship (from 1963 to 1968), the rupture between them festering bitterly after Peck sided with the then-music director’s attempt to oust Still from the orchestra.
Solti is often credited with eventually brokering an uneasy détente between the two. While true, Peck himself cited a different turning point. During the Solti era, while easing into his seat, Still once knocked Peck’s flute off his stand onto the floor. Those onstage, including Peck, froze in horror.
According to Phillips, however, Still’s profuse, panicked apology convinced Peck not only that the accident was just that — an accident — but that they were, at their core, united in their love for the music.
“Soloists have strong ideas about the way music should be played. They have to have confidence, they have to be assertive, they have to believe the way they’re playing something is the way it should be played. And Don was a soloist,” says Tom Hall, a former CSO violinist and close friend.
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Flutist Donald Peck of the Chicago Symphony Orchestra on the orchestra stage at Symphony Center between rehearsals in 1998, before his retirement. (TERRY HARRIS)
By Villella’s count, Peck was a featured soloist in more than 120 CSO concerts, including the premiere of a flute concerto written for him by Morton Gould in 1985. As is traditional for retiring principal players, Peck got to select his own send-off for his final season. He picked Carl Nielsen’s Flute Concerto, performing the work with Barenboim in December 1998 before retiring at the end of the season.
Not that Peck would have put it that way.
“He would never say he retired. He always said he ‘resigned,’” Phillips says.
Hall remembers consulting Peck when he, too, plotted his own exit from the orchestra in the mid-aughts.
“Don said, ‘Don’t worry about it. When it comes time to retire, you’ll know.’ And that’s exactly what happened,” Hall says. He followed Peck into retirement in 2006.
Born Jan. 26, 1930, in Yakima, Washington, Peck played in the Seattle Youth Symphony and Seattle Philharmonic Orchestra as a young man before attending the Curtis Institute on a scholarship, where he studied with Philadelphia Orchestra principal flutist William Kincaid. Before Reiner’s invitation in 1957, he was principal flute of the Kansas City Philharmonic Orchestra, having also performed with the National Symphony Orchestra in Washington, D.C., and in the U.S. Marine Band.
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In non-retirement, Peck continued teaching — while in the CSO, he maintained a private studio and served on the faculty at DePaul and, later, Roosevelt University — and playing solo and chamber repertoire. He recorded run of live solo and chamber albums on Boston Records, most often with pianist Melody Lord Lundberg.
Peck grappled with Alzheimer’s in his final decade, eventually all but forcing him to retreat from social life. Phillips, however, remained in close contact with Peck until the end. Since the early 1990s, the friends lived just two floors apart in a Gold Coast high-rise until last year, when Peck moved to Admiral at the Lake, a retirement complex in Edgewater.
“It’s a great loss for the musical world. I can’t tell you any negative things about Don, because I don’t remember any of them,” Phillips says.
Peck’s death is the latest in a heavy year for the CSO. Former principal horn Dale Clevenger died in January, with third horn Richard Oldberg following him just a few weeks later. Former CSO assistant conductor Michael Morgan died last August, and Bernard Haitink — who, along with Pierre Boulez, led the CSO in four artistically rich seasons between 2006 and 2010 — died in October. Though not a CSO musician, Valerie Solti, Solti’s wife and devoted mama bear to the orchestra, died in March 2021.
“Frankly, it’s difficult for me to watch videos (of the orchestra) now. Memories can be wonderful. But they can also be painful in the sense that to go back and watch and remember…” Hall pauses, briefly overcome. “To have been a part of it, it’s just unbelievable.”
Peck, too, reflected fondly upon his beloved colleagues in the introduction to his autobiography.
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“I see that we were all driven by some inner impulse. We had to be dedicated, to study our music and instruments throughout our careers,” he wrote.
“It is of no credit to us; we just followed our fate.”
Hannah Edgar is a freelance writer.
The Rubin Institute for Music Criticism helps fund our classical music coverage. The Chicago Tribune maintains complete editorial control over assignments and content.
Remembering Donald Peck
The Chicago Symphony Orchestra family mourns the passing of Donald Peck, a member of the Chicago Symphony Orchestra from 1957 until 1999 and principal flute for over 40 years. He passed away earlier today, April 29, 2022. Peck was 92.
Born on January 26, 1930, in Yakima, Washington, Donald Peck received his early musical training in Seattle, where he played in the Seattle Youth Symphony Orchestra and the Seattle Philharmonic Orchestra. As a teenager, he performed with his first teacher, Frank Horsfall, in the Seattle Symphony. He was a scholarship student at the Curtis Institute in Philadelphia, where he studied with William Kincaid. Peck performed with the National Symphony Orchestra in Washington, D.C., and spent three years in the U.S. Marine Band. He was principal flute of the Kansas City Philharmonic Orchestra for two years before Fritz Reiner invited him to join the Chicago Symphony Orchestra in 1957 as assistant principal flute. The following year, Reiner promoted Peck to principal flute, a chair he would hold for over forty years until his retirement in 1999.
Peck first appeared as soloist with the Orchestra at the Ravinia Festival in August 1959, in Bach’s Fifth Brandenburg Concerto, and on subscription concerts in Orchestra Hall in November 1960, in Bach’s Second Orchestral Suite, both with Walter Hendl conducting. During his tenure, he appeared as soloist on more than 120 concerts directed by twenty-five conductors — including music directors Reiner, Jean Martinon, Sir Georg Solti, and Daniel Barenboim — in Orchestra Hall, at the Ravinia Festival, and on tour.
On April 18, 1985, Solti led the Orchestra in the world premiere of Morton Gould’s Flute Concerto, commissioned for Peck. In a preview article in the Chicago Tribune, John von Rhein described his playing as, “Lustrous and penetrating, tender and lyrical, charming and sensual, its hues would put a chameleon to shame. It is one of the most distinctive voices in the orchestral choir, blending well with any ensemble even as it serves a key role within the woodwind section. . . . as principal flutist of the Chicago Symphony Orchestra, Peck has carried out that role with a combination of technical skill and musical understanding that has earned him widespread admiration. Within the fraternity of the flute he is considered to be without peer. No less a judge than Julius Baker, the longtime principal flutist of the New York Philharmonic [and principal flute of the Chicago Symphony Orchestra from 1951 until 1953], pronounces Peck ‘the greatest flutist I’ve ever heard.'”
Obituary: Chicago Symphony’s longtime principal flute, Donald Peck, 92
“Donald Peck, the principal flutist of the Chicago Symphony Orchestra from 1958 to 1999, died on Friday at his home in Chicago. He was 92,” writes Hannah Edgar in Monday’s (5/2) Chicago Tribune. “He left no survivors, with plans for a memorial service to be announced at a later date. In his 40-year tenure at the CSO, Peck was a constant…. Then-music director Fritz Reiner appointed him assistant principal flute in 1957, promoting him to principal in short order. From there, Peck played under music directors Jean Martinon, Georg Solti and Daniel Barenboim, performing in thousands of concerts and on more than 300 CSO recordings…. ‘He was the voice of the wind section for so many years,’ said CSO archivist Frank Villella. And what a voice it was. It could be soulful and brooding, with a somber duskiness, as in his haunting flute solo in Brahms’s Symphony No. 4… His 2007 autobiography [was titled] ‘The Right Place, the Right Time! Tales of Chicago Symphony Days.’ … Born Jan. 26, 1930, in Yakima, Washington, Peck played in the Seattle Youth Symphony and Seattle Philharmonic Orchestra as a young man before attending the Curtis Institute on a scholarship.”
Chicago Symphony mourns principal flute – Slippedisc
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Donald Peck, principal flute and ‘the voice of the wind section’ for the Chicago Symphony Orchestra, dies at 92
www.chicagotribune.com
Donald Peck, the principal flutist of the Chicago Symphony Orchestra from 1958 to 1999, died on Friday at his home in Chicago. He was 92. His death was announced by the CSO later that evening and confirmed by his friend and former CSO violinist Paul Phillips, Peck’s power of attorney. He left no …
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Donald Peck, principal flute and ‘Voice of the Wind’ section for the Chicago Symphony Orchestra, dies at 92
Donald Peck, the lead flutist of the Chicago Symphony Orchestra from 1958 to 1999, died Friday at his home in Chicago. He was 92 years old.
His death was announced by the CSO later that evening and confirmed by Paul Phillips, his friend and former CSO violinist, Peck’s power of attorney. He left no survivors, with plans for the memorial service to be announced at a later date.
In his 40-year tenure at the CSO, Peck was steady at the CSO through wildly varied governance changes. Then music director Fritz Rainer appointed him assistant principal flute in 1957, making him principal in short order. From there, Peck played under music directors Jean Martinen, George Solti and Daniel Barenboim, performing in thousands of concerts and over 300 CSO recordings.
“He was the voice of the wind section for so many years,” says CSO archivist Frank Villela.
And what was the sound? It can be soulful and contemplative, with a melancholy tone, as in Brahms’s Symphony No. 4 or his haunting flute solo in Debussy’s “Prelude to the Afternoon of a Fawn”, which he recorded twice with Solty. .
It can also radiate with life-affirming splendor. Who needs beachside real estate when you can hear the sunrise of Lake Michigan in CSO’s 1965 recording of “Daphnis at Chloe,” flute like Peck’s thrush playing against another kind of vista of pastel sky has been
Flutist Donald Peck of the Chicago Symphony Orchestra, conducted by music director Daniel Barenboim at the Symphony Center in 1998. (John Bartley)
After years of listening to Peck live and recording, Vilela published his 2007 autobiography, “The Right Place, the Right Time! Tales from the Chicago Symphony Days” (Indiana University Press). The man he befriended was lively, generous, and thoughtful, with a “wicked sense of humour.” It was far from the firebrand many of his orchestral colleagues remembered when Peck was one of several larger-than-life personalities occupying the leading seats of CSO.
“I think he softened after his retirement, as does one,” Vilela says.
Perhaps the most infamous example is Peck’s longstanding feud with prominent oboist Ray Still, which remains a cautionary tale for orchestral politics everywhere. Despite sitting next to each other for decades, they did not talk much about Martinen’s direction (from 1963 to 1968), in favor of the then music director’s attempt by Peck to oust Stills from the orchestra. After that a split broke out between them.
Solti is often credited with eventually brokering an uneasy relationship between the two. While true, Peck himself cited a different twist. During the Solti era, while resting in his seat, Stills once dropped Peck’s flute from its stand to the floor. Those who came on stage, including Peck, were in a panic.
According to Phillips, though still prolific, the scathing apology convinced Peck not only that the accident was just an accident—but that they were, at their core, united in their love for music.
“Soloists have strong ideas about the way music should be played. They have to be confident, they have to persevere, they have to believe that it’s the way they’re supposed to be played. And Don was a soloist,” says Tom Hall, a former CSO violinist and close friend.
Chicago Symphony Orchestra flutist Donald Peck on the orchestra stage at the Symphony Center between rehearsals in 1998, before his retirement. (Terry Harris)
By the count of Vilela, Peck was a lead soloist in more than 120 CSO concerts, including the 1985 premiere of a flute concert written for him by Morton Gould. As is customary for key players retiring, Peck got to choose his own remittances. his final season. He picked up Carl Nielsen’s Flute Concerto, working with Barenboim in December 1998, before retiring at the end of the season.
Not that Peck would have put it that way.
“He would never say he retired. He always said he ‘resigned,’” says Phillips.
Hall remembers consulting Peck when he, too, made plans to drop out of the orchestra in the Middle Ages.
“Don said, ‘Don’t worry about it. When it’s time to retire, you’ll know.’ And that’s exactly what happened,” Hall says. He entered retirement after Peck in 2006.
Born on January 26, 1930 in Yakima, Washington, Peck played in the Seattle Youth Symphony and Seattle Philharmonic Orchestra as a young man before attending the Curtis Institute on a scholarship, where he studied with William Kincaid, the principal flautist of the Philadelphia Orchestra. Did. Prior to Rainer’s invitation in 1957, he was the lead flute of the Kansas City Philharmonic Orchestra, which also performed in Washington, D.C. with the National Symphony Orchestra and the US Marine Band.
In non-retirement, Peck continued to teach—while at CSO, he maintained a private studio and served on the faculty at DePaul and, later, Roosevelt University—and playing solo and chamber repertoire. He recorded live solo and chamber albums on Boston Records, most often with pianist Melody Lord Lundberg.
Peck battled Alzheimer’s in his last decade, all of which eventually forced him to withdraw from social life. However, Phillips remained in close contact with Peck until the end. From the early 1990s, the friends lived in Gold Coast high-rise buildings just two floors apart until last year, when Peck moved into Admiral at the Lake, a retirement complex in Edgewater.
“It’s a great loss to the music world. I can’t tell you any negative things about Don, because I don’t remember any of them,” says Phillips.
Peck’s death is the latest in an overwhelming year for the CSO. Former principal Horn del Clevenger died in January, followed only a few weeks later by third horn Richard Oldberg. Former CSO assistant conductor Michael Morgan died last August, and Bernard Hatink – who, along with Pierre Boulez, led the CSO over four artistically rich seasons between 2006 and 2010 – died in October. Although not a CSO musician, Valerie Solti, Solti’s wife and devoted uncle to the orchestra, died in March 2021.
“To be honest, it is difficult for me to watch (orchestra’s) videos now. Memories can be wonderful. But they can also be painful in the sense that going back and watching and remembering…” Hall pauses, turning away briefly. “To be a part of it, it’s incredible.”
Peck also reflected affectionately on his dear colleagues in the introduction to his autobiography.
“I see that we were all driven by some inner impulse. We had to devote the course of our careers to studying our music and instruments,” he wrote.
“It’s no credit to us; we just followed our destiny.”
Hannah Edgar is a freelance writer.
The Rubin Institute for Music Criticism helps fund our classical music coverage. The Chicago Tribune exercises full editorial control over assignments and content.
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