Doriot Anthony Dwyer, in memoriam (1922-2020)

How sad to report that one of the brighs test stars of the flute universe has passed away at age 98—the wonderful and unique Doriot Anthony Dwyer, retired Principal Flute of the Boston Symphony.

I had the great honor and pleasure to work with the inimitable Doriot at Tanglewood many years ago, as well as in a few illuminating private lessons, and a red-carpet-rolled-out visit to the Powell Factory in Boston, where she helped me pick out the flute that, 27 years later, I still love and play.

Aside from my personal connection, she was a force to reckon with, musically and personally. A direct descendant of the American suffragette Susan B. Anthony, she too broke barriers, namely in winning (and holding for 38 years) a Principal position in a major U.S. orchestra. At that time, 1952, there were few women in the top orchestras, and none in a Principal position. Doriot (“DOH-ree-oh”) earned her job after preparing, she told me, “as if it were for a doctoral dissertation”, memorising the entire list and basically blowing away the competition.

As flutist of the B.S.O. she recorded innumerable works in recordings that are now considered recordings of reference. Her style of playing was uniquely vibrant, flexible, expressive and extremely powerful. The last time I heard her perform—the Concerto written for her by Ellen Taafe Zwillich, at an N.F.A. convention in Boston, AFTER her retirement—she walked onstage, last on a program of flute concertos, wearing a bright-pink, floor-length gown (she was actually tiny), planted her feet firmly, and…projected the hugest sound I ever heard into the entire hall. 

(Do you even have to ask? Yes, she was a Powell Artist—performing on a Custom Platinum Powell.) What a woman, what a flutist, what a musician!

Indeed, her comment to a journalist after retiring from the B.S.O. was “now that I’m retired, I finally have time to practice!” And to record chamber music and concerto CDs, and to continue teaching.

She was fierce, in the best possible way, and she will be missed, but always remembered. Thank you, Doriot, for breaking through an important glass ceiling, and for all the artistry of your playing, for so many, many years. Now, finally, dear Doriot, rest in peace.

The young Doriot Anthony; photo courtesy of the Boston Symphony Orchestra

The young Doriot Anthony; photo courtesy of the Boston Symphony Orchestra

Recording for a pop album! (Who, me?)

Back in October, I got a chance to do something “out of the box”, at least for me: record some flute-y bits for a pop music song, with Edgar Pinto—aka “Eddie”. He has an amazing studio kitted out, and we had a blast doing the session.

I felt like I returned to my Los Angeles roots—hey, I was born in STUDIO CITY, can you believe that? Probably the flute I used also did, since it’s the same (Powell) as what you will often hear on movies and TV sound tracks—that haunting alto flute sound.

This Thursday around 9am, the “Tempo” will be officially launched via SIC TV station, so check it out! The vibe is totally Brazilian and the perfect way to smooth yourself into a new day!

Here’s a composite photo from the session—can’t wait for the next one! Thanks, Eddie, and great song!

Composite photos by Eddie for his new song, “Tempo” - launch is Thursday, Jan. 30th on SIC TV

Composite photos by Eddie for his new song, “Tempo” - launch is Thursday, Jan. 30th on SIC TV

HELLO, 2020!

Wow, 2020! While I was busy doing X, Y, and Z, 2019 flew by, and BAM! here we are in a new decade!

There’s lots to recall but first off, a list of my upcoming activities, i.e., where I can be found in the near future:

January 31 and February 1st (Friday and Saturday afternoons) - I’ll have the privilege to give a master class and recital (Sat., 6:30pm, Cenjor 2) with flute students from the Lisbon National Conservatory—the Escola Artística de Música do Conservatório Nacional de Lisboa. The theme is how to prepare for auditions, exams and other important moments, and I look forward to sharing my experience with students from the Conservatory and other schools or teachers. The class is open to outside students, as well.

There will also be an exhibit of Powell Flutes, and some chamber music to play together! My heartfelt thanks to Professor Pérola Martins for the invitation and loads of help setting it all up!

Slightly further ahead, the weekend of February 8 and 9, I’ll be teaching a master class at the Palmela Conservatory, focussing on practice habits (i.e., how to do the most good work in the shortest time!) and integrating technical and artistic aspects of interpretation, and how to do all this while HAVING FUN! Many thanks to Professors Paulo Martins, Jorge Nunes and Margarida Quítalo for the chance to go visit Palmela (gorgeous!) and have a terrific weekend of flute-playing. Outside students also welcome!

In February I’ll also be in Paris and in Porto, but that’s another blog entry! Below, a photo of my fantastic colleagues of Musicâmara; we’ve just kicked off the new season with a program around Beethoven in stunning Vila Real, which will later travel to Cascais and Faro and elsewhere—stay tuned (got the pun?)!

Musicâmara musicians—program with Beethoven, Spohr, and Bomtempo

Musicâmara musicians—program with Beethoven, Spohr, and Bomtempo

Syrinx : XXII — back at work!

August at the beach? 'Fraid not! August finds me happily rehearsing a fantastic new program with Syrinx : XXII: António Carrilho, recorders and Raj Bhimani, piano. 

We are preparing for our return tour to India in November, taking a program of gorgeous works from four centuries, including Bach, Gluck, Schubert and Mozart, works by living Portuguese composers and the premier of a new trio by Sören Sieg, to boot!

Raj snapped this cool photo of me warming up on the bass flute for the Sieg work—a rollicking fun and beautiful trio that uses the bass flute to perfection—thank you, dear Sören, once again!

Why is the bass flute just so cool?

Why is the bass flute just so cool?