A musical autobiography . . .

I joined the Boston Symphony Orchestra as second flutist in 1978, and played my final concert as a member of the Orchestra on August 27, 2006.  During that time I spent five years as acting assistant principal flute of the BSO, and first flute of the Boston Pops Orchestra.  But I have always been interested in all kinds of classical music.  Before joining the BSO I was a member of the New England Woodwind Quintet; I have performed on Baroque flute with Boston’s leading early-music ensembles, and for thirteen years was a member of the contemporary-music ensemble Boston Musica Viva. I've been a member of the Boston Chamber Music Society since 1984.  After thirty seasons, my annual recitals (in Jordan Hall since 1983) are a prominent feature of Boston’s concert calendar.  In recent years I have introduced to Boston audiences Lukas Foss' Renaissance Concerto, and the flute concertos of John Harbison and Christopher Rouse.  My interest in bringing unusual and little-known flute music to a broader public has resulted in premiere recordings of works by Copland, Foote, Gaubert, Ginastera, Koechlin, Dahl, Harbison, Cage, Pinkham, Schulhoff, Schuller, Schoenberg, Rorem, and Reinecke.

In 1972 I graduated from the Eastman School of Music, where I was among the last students of the great American flutist Joseph Mariano.  I was also strongly influenced by my colleague Doriot Anthony Dwyer, and by my friend James Galway, whom I came to know while I was living in West Berlin.  As a faculty member of the New England Conservory, where I am studio teacher and chamber music coach, I aspire to follow in their footsteps.  In 2001 I was the recipient of NEC’s Laurence Lesser Award for Excellence in Teaching.  I was Visiting Professor of Flute at the University of Michigan School of Music for the academic year 1997-98, and have presented masterclasses in China, Japan, Europe, and across the United States.

Boston has long been a world center of flute making.  I worked for 12 years for Verne Q. Powell Flutes, Inc., and play a Powell flute that I built. Although I gave up flute making when I joined the BSO, my interest in working with my hands later found a very different outlet: I designed a solar-tempered post-and-beam house which I built during the summer seasons in the woods of Richmond, six miles from Tanglewood.  A book by George Ehrenhaft entitled The Builder’s Secret describes the experiences of ten individuals who built their own houses. The chapter about me and my house is called Adagio in recognition of my profession, but especially because the project, started in 1982, is not yet complete - although the house has been comfortably functional since 1988.  (Owner-built houses are never finished!)

My long-time friend and colleague Leone Buyse and I founded the Greater Boston Flute Association in 1992 to promote interest in and appreciation of the flute.   GBFA has since grown to a flourishing organization of 600, with an ambitious calendar of events offered free to all members.  Events open to the general public include masterclasses, concerts, and GBFA's annual Flute Fair, offering performances by prominent local and visiting flutists, masterclasses and workshops on a variety of flute-related topics, and exhibitions by our corporate members - including several of Boston's world-class flutemakers.

A more recent undertaking combined my knowledge of building and my experience as recording artist. In 1995 I purchased a commercial building in the Roslindale neighborhood of Boston, which includes, on the top floor, the former Roslindale Masonic Temple.  After four years of renovation, rewiring, soundproofing work, acoustical improvement, and the installation of silent, computer-controlled heating, air-conditioning, ventilating and humidification systems, I created a state-of-the-art recording facility.  The Lodge Room has the size and acoustics of a fine recital hall, and retains its strikingly handsome original architecture.  It is also the permanent home of a superb nine-foot American Steinway piano.  Adjacent areas on the same floor serve as control room, editing room, office, kitchenette and lounge area.  The facility, dubbed The Sonic Temple in recognition of its origins as a Masonic Temple, is operated by John Weston of Futura Productions. He can be reached at 617 325-1004 or <jweston@futuraproductions.com>