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Wishing Donald Peck—a member of the Chicago Symphony Orchestra from 1957 until 1999 and principal flute for over forty years—a very happy ninetieth birthday!

Donald Peck in 1994 (Jim Steere photo)

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.'”

Donald Peck in 1966 (Dorothy Siegel Druzinsky photo)

Also for Peck, William Ferris wrote his Flute Sonata and Lee Hoiby dedicated his Pastorale Dances for Flute and Orchestra. He regularly performed as a guest artist with other orchestras, including appearances at the Pablo Casals Festival with concerts in Puerto Rico, the Dominican Republic, and in Carnegie Hall. In Australia, Peck recorded Mozart’s flute concertos for the Australian Broadcasting Corporation, and he regularly appeared at the Carmel Bach Festival in California, the Victoria International Festival in Canada, the Grand Teton Music Festival in Wyoming, and the Tanglewood Music Festival in Massachusetts, along with numerous other orchestras from coast to coast.

As principal flute of the Chicago Symphony Orchestra, Peck performed on over three hundred recordings under twenty-two conductors for twelve labels. In his retirement, he has recorded works for flute and piano with Melody Lord for the Boston label.

Peck has served on the faculties of DePaul and Roosevelt universities, where he taught flute and woodwind ensemble. A frequent lecturer and guest teacher, he has given master classes at the Juilliard School and the Manhattan School of Music in New York, at the Rotterdam Conservatory in Holland, for the Osaka Flute Club in Japan, at the Sydney Flute Association in Australia, and at over thirty universities and music groups throughout the United States and Canada. For many years, Peck played a flute—fashioned in platinum-iridium—handmade for him by Powell Flutes of Boston.

In 1997, the National Flute Association honored Peck with a lifetime achievement award. Indiana University Press published Peck’s memoir, The Right Place, The Right Time! Tales of Chicago Symphony Days in 2007, and the Chicago Flute Club’s biennial international flute competition is named in his honor.

Near the end of his tenure as principal flute, Peck spoke again with von Rhein for the Chicago Tribune. “The flute has the potential for more color and brilliance [and] the woodwind section can be most exquisite, like glittering jewels. . . . I have been a very lucky person, having performed with wonderful musicians and done so much. What more could I want?”

Happy, happy birthday!

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Theodore Thomas

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