• Doriot Anthony Dwyer, Pioneering Flutist, Dies at 98

    Doriot Anthony Dwyer, Pioneering Flutist, Dies at 98

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    Flutist Doriot Anthony Dwyer has died. Dwyer served as principal flute of the Boston Symphony Orchestra from 1952 to 1990. She was one of the first women to win a principal chair in a major U.S. orchestra.*

    Understandably, this was a very big deal. Back in the day, Boston didn’t even have a separate dressing room for women. Early notices were all about her gender and good looks, but soon it was her playing that was receiving raves. She won over players, audiences, and critics alike.

    To mark her retirement, the orchestra commissioned for her a flute concerto from Ellen Taaffe Zwilich. Zwilich was the first female recipient of the Pulitzer Prize for Music (in 1983!).

    Prior to her tenure in Boston, she was second flute with the National Symphony Orchestra and Los Angeles Philharmonic, and served as principal flute at the Hollywood Bowl. Early in her career, she also played with Frank Sinatra and the Ballets Russes.

    Dwyer died on Saturday at the age of 98.


    • Dwyer was preceded by, at the very least, Florence Wightman (principal harp, Cleveland Orchestra, 1929-30), Alice Chalifoux (principal harp, Cleveland Orchestra, 1931-74), Edna Philips (principal harp, Philadelphia Orchestra, 1930-41 and 1942-46), and Helen Kotas (principal horn, Chicago Symphony, 1941-48).

    An interview with Doriot Anthony Dwyer, in three parts:



    Dwyer with Leonard Bernstein conducting “Prelude to the Afternoon of a Faun”

    Debussy Sonata for Flute, Viola and Harp:

    https://www.youtube.com/watch?v=9frKtO0nRn8

    Prokofiev Flute Sonata:

    Ellen Taffe Zwilich Flute Concerto:

    Charles Munch bringing Dwyer forth for a solo bow (at the very end of the video)

    https://www.youtube.com/watch?v=hrMnUUWTBd4


    PHOTO: Doriot Anthony Dwyer, with harpist Olivia Luetcke and cellist Winifred Winograd (courtesy of the Boston Symphony Orchestra)


  • John Addison’s Centennial A Musical Tribute

    John Addison’s Centennial A Musical Tribute

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    Today is the 100th birthday of Academy Award winning composer John Addison.

    Addison was awarded his statuette for “Tom Jones” in 1964. The score is a brilliant admixture of unusual instrumentation (harpsichord, well-worn upright, banjo, accordion) and music hall brio.




    Addison also provided the memorable music for “Sleuth.”

    And, for television, “Murder She Wrote.”

    Addison was the composer to whom Alfred Hitchcock turned, notoriously, after his falling out with Bernard Herrmann over the scoring of “Torn Curtain.” The studio was pressuring Hitch for a more “popular” sound. Ironically, Addison just wound up trying to conjure Herrmann – as did every one of Hitch’s collaborators thereafter.

    Addison also provided music for “The Entertainer,” “A Taste of Honey,” “The Loneliness of a Long Distance Runner,” “Start the Revolution Without Me,” “Luther,” “The Seven-Per-Cent Solution,” “A Bridge Too Far,” and the television miniseries “Centennial.”

    A student of Gordon Jacob at the Royal College of Music in London, he wrote a number of concert works, though he remarked, “If you find you’re good at something, as I was as a film composer, it’s stupid to do anything else.”

    Here is Addison’s Trumpet Concerto:



    Over a half century before Warren Beauty and Faye Dunaway got caught up in the infamous “La La Land” snafu, Sammy Davis Jr. was bitten by “Tom Jones”:

    Happy birthday, John Addison!


  • Free Opera Online Met Streams Encore HD

    Free Opera Online Met Streams Encore HD

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    Everything is cancelled. But nature abhors a vacuum, so some musicians, ensembles, and organizations (Yo-Yo Ma, Joyce DiDonato, the Philadelphia Orchestra) have been stepping up to offer free concerts and recitals online.

    The latest is The Metropolitan Opera, which will share select encore “Live in HD” presentations for the duration of the house’s closure, streamed at its website, metopera.org. The series will begin tonight with Elīna Garanča as an especially sultry Carmen. But for me the pick of the bunch for this first week is Renée Fleming and the late Dmitri Hvorostovsky in “Eugene Onegin,” which will be made available on Sunday.

    The operas stream free from 7:30 in the evening to 3:30 the following afternoon. You’ll find more information and a complete schedule when visiting metopera.org.


  • Irish Music on The Lost Chord Pre-St. Patrick’s

    Irish Music on The Lost Chord Pre-St. Patrick’s

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    Don’t let the Italian surname fool you; my mother’s people came from Ireland. My own sensibilities tend more toward the Northern climes than to the Mediterranean. And I could be quite happy on a steady diet of praties and Guinness.

    This Sunday night on “The Lost Chord,” green is the new black. I hope you’ll join me, if only virtually, in anticipating St. Patrick’s Day, with music from, and in celebration of, the Emerald Isle. We’ll hear works by Irish composers John Larchet, Philip Hammond, Howard Ferguson, and A.J. Potter, and works on Celtic themes by Percy Grainger, Sir Arnold Bax, and John Foulds.

    That’s “The Sharing of the Green.” It will be all Guinness and no Corona, this Sunday night at 10:00 EDT, on WWFM – The Classical Network and wwfm.org.


  • WWFM: Coronavirus, Remote Ops & Classical Music

    WWFM: Coronavirus, Remote Ops & Classical Music

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    Any weekend that begins with Friday the 13th and ends with the Ides of March is bound to bring bad news.

    Last night, I received notification that, because of Coronavirus concerns, Mercer County Community College will shift to remote operations beginning on Monday. The move will coincide with spring break and will span an initial period of two weeks, with extensions, obviously, as necessary.

    WWFM, which makes its home on the MCCC campus, will continue its operations, but with a skeletal staff, so you may notice a temporary increase in syndicated and remote programming. Also during the period, it is possible that only the most urgent phone calls, messages, and email will receive immediate responses. Communication with our listeners is important to us, and we always try to get back to you as soon as we can, but under the circumstances we appreciate your patience and understanding.

    Over the past two weeks, it became increasingly evident that our community was at risk for a health emergency. I was asked to pull together five weeks’ worth of recorded shows for “Picture Perfect” and “The Lost Chord,” to be aired in the event of an extended shut-down and to be sent out into syndication. The first of these shows will air on Friday, March 20 (Picture Perfect), and Sunday, March 22 (The Lost Chord). Should the state of emergency continue, there is enough fresh material to last through April 20. It is unclear whether these shows will be posted as webcasts, or if that will have to wait until my return. “Music from Marlboro” will be suspended for the duration of my absence.

    These actions should come as little surprise, as schools and places of gathering have been shut down all across the United States in an attempt to stem the spread of Coronavirus.

    It would be vain of me to expect that my absence from the air waves will cause panic in the streets. You’ll still get your classical music, albeit in other forms. I just wanted to let you know that, for now, I remain healthy, and I am an inveterate handwasher.

    Though I will certainly miss our time together, I will use the break to work on another long-term project, for which I’ve been accumulating information over the past several months, and which I will announce here eventually.

    In terms of the newspaper, I’ve already had one article go to print with a disclaimer that the subject, a concert, had been cancelled, and a second article consigned to the Phantom Zone, to be resurrected when another event is rescheduled, hopefully, for a future season.

    It’s probably not the best time to ask for money, but I do want to point out that WWFM’s Bach 500 campaign is still ongoing. I’m not sure at this point what we can promise in terms of wall-to-wall Bach on Bach’s birthday (March 21), but your contribution will still help us to achieve financial success. Best now to make that donation online at wwfm.org. As of Saturday morning, we are halfway to our goal of 500 contributions. Remember, you can make that donation in any amount. It doesn’t matter how much you give. We make our goal when 500 of you step up.

    For now, stay healthy, everyone. Enjoy what you can. Hopefully we’ll meet up again in a few weeks, and I’ll be back to sharing my usual blend of music and unintentional comedy.

    Thank you for your understanding, thank you in advance for your concern, and thank you for your support of WWFM – The Classical Network.


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