Curtis Catalog

CURTIS
INSTITUTE
OF MUSIC
CATALOG
2009 10
The Curtis Institute of Music
1726 Locust Street
Philadelphia, PA 19103
www.curtis.edu
Roberto Daz, President
(215) 893-5252 phone
(215) 893-5262 admissions phone
(215) 893-7900 admissions fax
editor: Laura C. Kelley, Director of Publications
graphic design: adamsmorioka and art270, Inc.
The Curtis Institute of Music is operated
under a charter granted by the Common-
wealth of Pennsylvania and is included
in the list of Colleges and Universities in
Pennsylvania Approved by the State
Council of Education for the Granting of
Degrees. The Curtis Institute of Music
is accredited by the National Association
of Schools of Music.
The Curtis Institute of Music is accredited
by the Middle States Commission on
Higher Education, 3624 Market Street,
Philadelphia, PA 19104 (267) 284-5000.
The Middle States Commission on Higher
Education is an institutional accrediting
agency recognized by the U.S. Secretary
of Education and the Council for Higher
Education Accreditation.
Contents
1 What Makes Curtis Unique?
2 Roberto Daz, President
3 Mission and Objectives
3 Programs and Scholarships
4 Curtis Faculty
6 Visiting Artists and Lecturers, 200809
7 Facilities and Instruments
8 Performance Opportunities
9 Career Development
10 How to Apply and Audition
13 Audition Repertoire Requirements
16 Student Fees and Expenses
18 Student Financial Assistance: Policies
and Procedures
20 Student Financial Assistance: Sources
22 The Curtis Curriculum
27 Course Descriptions
34 Academic Policies and Regulations
36 Academic Calendar, 200910
37 Curtis Student Information, 200910
38 Faculty Biographies
58 Trustees and Other Volunteer Boards,
200910
59 Curtis Staf
60 Index
61 Maps
WHAT MAKES
CURTIS UNIQUE?
Curtis limits enrollment to about 165 students. Curtis accepts
just enough students to maintain a full symphony orchestra and
an opera program, plus select departments in piano, composition,
conducting, organ, and harpsichord.
Curtis is extremely selective. Limited enrollment allows Curtis
faculty to be extremely selective at auditions. According to the
U.S. News and World Report survey, Curtis is the nations most
selective conservatory, with an acceptance rate of 5 percent. Its
high standard of admissions ensures that students rehearse and
perform alongside musical peers.
All Curtis students receive merit-based full-tuition
scholarships. As a result, artistic promise is the only considera-
tion for admission. Generous financial aid likewise ensures that
no student accepted to Curtis will be unable to attend because
of financial need.
All Curtis students receive personalized attention throughout
their studies. Curtis students receive personalized attention
from an extraordinary faculty of around ninety top-tier musical
artists and highly credentialed classroom teachers. Many students
have access to multiple teachers on their major instrument.
There are no teaching assistants at Curtis. Class sizes are small
and curricula are tailored to the needs of individual students.
Curtiss celebrated faculty includes a high proportion of
successful performing musicians. Because their livelihood is
not derived primarily from teaching, performance faculty mem-
bers are free to accept students on merit alone. Their practical
performing experience provides Curtis students with a direct
link to life as a successful professional musician today.
Curtis students learn by doing. All students are encouraged
to perform frequently. Curtiss 165 students present more than
125 public performances each year to critical acclaim and
enthusiastic audiences. The Curtis Opera Theatre offers four or
five productions per season, casting all voice and opera students
repeatedly. The Curtis Symphony Orchestra, in which all but
the very youngest students of orchestral instruments participate,
gives a three-concert season in Philadelphias Verizon Hall
and performs often in Carnegie Hall. All instrumental students
participate in chamber music, and Curtis offers more than
one hundred student recitals each season.
Curtiss high standards attract remarkable visiting artists.
Frequent master classes and residencies gives Curtis students in
all disciplines exposure to todays leading musical artists, some of
whom participate in performances alongside students. Well-known
stage and music directors work with the Curtis Opera Theatre
on fully staged productions every year. And since 1924, when
Leopold Stokowski was instrumental in Curtiss founding, the
school has enjoyed close ties with the music directors of the
Philadelphia Orchestra: Eugene Ormandy, Riccardo Muti,
Wolfgang Sawallisch, and Christoph Eschenbach.
There is no minimum or maximum age to audition for Curtis.
Curtis maintains that a greatly gifted young musician should
study with an important teacher from the beginning of his or her
conservatory days. Students of elementary-school or high-school
age receive training from the same teachers at the same intensive
levels as do their older colleagues. There are no preparatory
teachers. The length of a students stay is open-ended, and students
graduate when their teachers decide they are ready. In most cases
this occurs after three to five years at Curtis; it may be as few as
two or as many as twelve years.
All keyboard, conducting, and composition students are
lent grand pianos for use throughout their studies at Curtis.
Curtis currently owns ninety Steinways.
1
CURTISS DISPROPORTIONATE INFLUENCE
ON MUSICAL LIFE SINCE ITS FOUNDING
IN 1924 CAN BE TRACED TO ITS UNIQUE
APPROACH TO EDUCATION AND TRAINING.
2
A violist of international reputation, Curtis Institute of Music
President Roberto Daz follows in the footsteps of renowned
artist/directors Gary Graffman, Efrem Zimbalist, Rudolf Serkin,
and Josef Hofmann. As a member of the Curtis viola faculty
since 2000 and as principal viola of the Philadelphia Orchestra
from 1996 to 2006, Mr. Daz has already had a significant impact
on American musical life and continues to do so in his dual roles
as performer and educator.
Some of Mr. Dazs recent performances include the New World
Symphony with Michael Tilson Thomas, Fort Worth Symphony
with Miguel Harth-Bedoya, Orquesta Sinfnica del Principado
de Asturias with Krzysztof Penderecki, Kansas City Symphony
with Michael Stern, and Orquesta Sinfnica Nacional (Mexico
City) with Carlos Miguel Prieto.
During the 200708 season, he was a member of the inaugural
Curtis On Tour ensemble, playing alongside a quartet of Curtis
students and cellist Margo Tatgenhorst Drakos (99) in Maine,
California, Florida, and Pennsylvania.
The previous season Mr. Daz performed Krzysztof Pendereckis
Concerto for Viola and Orchestra in Carnegie Hall with the
Curtis Symphony Orchestra under Christoph Eschenbach.
In 200809 Mr. Daz performed with Curtis On Tour in Europe,
including Berlin, Copenhagen, and Ischia, Italy.
Mr. Daz has collaborated with conductors such as Roberto
Abbado, Riccardo Chailly, Charles Dutoit, Rafael Frhbeck de
Burgos, Richard Hickox, Christopher Hogwood, Peter Oundjian,
Hugh Wolff, and David Zinman. In addition to Krzysztof
Penderecki, he has worked with important twentieth- and
twenty-first-century composers, including Edison Denisov and
Roberto Sierra.
In 2006 Naxos released a recording by Mr. Daz of viola
transcriptions by William Primrose, which was nominated for a
Grammy Award. Mr. Primrose served on the Curtis faculty from
1942 to 1951 and owned the 1595 Amati viola on which Mr.
Daz performs. Mr. Dazs other releases include a live recording
of Jacob Druckmans Viola Concerto with the Philadelphia
Orchestra conducted by Wolfgang Sawallisch (New World
Records, 2001) and works by Henri Vieuxtemps for viola and
piano (Naxos, 2004).
An active chamber musician, Mr. Daz has performed with artists
such as the Emerson String Quartet, Emanuel Ax, Yefim Bronfman,
Mr. Eschenbach, Yo-Yo Ma, Mr. Sawallisch, and Isaac Stern. His
festival appearances include Marlboro, Mostly Mozart at Lincoln
Center, Spoleto, Kuhmo, and Verbier, among many others. As
a member of the Daz Trio, with violinist Andrs Crdenes and
cellist Andrs Daz, he has performed throughout the United
States, Canada, Europe, Mexico, and Chile. The Daz Trio is an
ensemble-in-residence at the Brevard Music Festival and toured
China in the summer of 2006.
Mr. Daz was principal viola of the National Symphony under
Mstislav Rostropovich, a member of the Boston Symphony
under Seiji Ozawa, and a member of the Minnesota Orchestra
under Sir Neville Marriner. While in the Philadelphia Orchestra,
he served as a board member for three years, including two years
on the executive committee.
He has received numerous awards, including prizes at the Naum-
burg and Munich international viola competitions, as well as the
Philadelphia Orchestras 2006 C. Hartman Kuhn Award, given
annually to the member of the Philadelphia Orchestra who has
shown ability and enterprise of such character as to enhance the
standards and the reputation of the Philadelphia Orchestra.
Mr. Daz holds the James and Betty Matarese Chair in Viola
Studies at Curtis. He has served on the faculty at the Peabody
Institute and Rice University and has taught master classes at
conservatories around the United States and abroad.
ROBERTO DAZ, President
MISSION AND
OBJECTIVES
The mission of the Curtis Institute of Music is to educate and
train exceptionally gifted young musicians for careers as performing
artists on the highest professional level.
In order to achieve its mission, Curtis continually strives to meet
its principal objectives:
enlist the highest quality faculty in all areas of instruction.
admit exceptionally gifted students, accepted for study
exclusively on the basis of merit.
create and administer the most effective programs for training
professional artists, including the highest caliber instruction
in musical studies and liberal arts.
provide and maintain the best possible physical facilities in
support of the above objectives.
offer support services attending to the physical and
emotional health care needs as well as the curricular and
noncurricular interests of students.
improve the infrastructure to assure the success of all goals
and objectives.
Success in meeting these objectives requires unwavering commit-
ment to the schools core values, which affirm that Curtis:
admits students based solely on artistic promise
provides highly personalized education and superior training
fosters learning by doing
provides a broad educational program
embodies quality and integrity above all
Curtiss mission, objectives, and core values guide the school
toward a future built on its historic strengths as a unique
educational institution.
PROGRAMS AND
SCHOLARSHIPS
ACADEMIC PROGRAMS
The Curtis Institute of Music offers the following programs: the
Diploma, the Bachelor of Music, the Master of Music in Opera,
and the Professional Studies Certificate in Opera. Curtis provides
complete and diversified musical training. Students study with
distinguished artist-teachers in private lessons, repertoire classes,
and chamber music coachings. These performance experiences
are augmented by courses in the Musical Studies, Career Studies,
and Liberal Arts departments, as well as uncommonly frequent
performance opportunities. Students who have completed Curtiss
liberal arts requirements may enroll at no cost at the University
of Pennsylvania for additional courses not available at Curtis,
under the reciprocal agreement between the two schools.
Complete information on the Curtis curriculum begins on page 22.
MERIT-BASED FULL-TUITION SCHOLARSHIPS
Since 1928 Curtis has maintained an all-scholarship policy,
and it continues to provide merit-based full-tuition scholarships
to all students regardless of their financial situation.
Information on need-based financial assistance for living expenses can be
found on page 18.
3
CURTIS
FACULTY
PERFORMANCE FACULTY
BASSOON
Daniel Matsukawa
CELLO
Carter Brey
David Soyer
The Orlando Cole Chair in Cello Studies
Peter Wiley
CLARINET
Donald Montanaro
COMPOSITION
Richard Danielpour
Jennifer Higdon
The Rock Chair in Composition
David Ludwig
THE HELEN F. WHITAKER FUND
CONDUCTING PROGRAM
Otto-Werner Mueller
Head of Department, The Rita E.
and Gustave M. Hauser Chair
in Conducting Studies
DOUBLE BASS
Edgar Meyer
Harold Hall Robinson
The A. Margaret Bok Chair
in Double Bass Studies
FLUTE
Jeffrey Khaner
HARP
Elizabeth Hainen
Judy Loman
The Maryjane Mayhew Barton Chair
in Harp Studies
HARPSICHORD
Lionel Party
HORN
Jennifer Montone
OBOE
Richard Woodhams
ORGAN
Alan Morrison
The Haas Charitable Trust Chair
in Organ Studies
PIANO
Leon Fleisher
Claude Frank
Gary Graffman
Seymour Lipkin
Meng-Chieh Liu
Robert McDonald
The Penelope P. Watkins Chair
in Piano Studies
Eleanor Sokoloff
Ignat Solzhenitsyn
TIMPANI AND PERCUSSION
Christopher Deviney, Coordinator
Don Liuzzi
Rolando Morales-Matos
Scott Robinson
Robert van Sice
TROMBONE
Nitzan Haroz
Blair Bollinger, bass trombone
TRUMPET
David Bilger
Frank Kaderabek
TUBA
Carol Jantsch
Paul Krzywicki
VIOLA
Misha Amory
Joseph de Pasquale
Roberto Daz
The James and Betty Matarese Chair
in Viola Studies
Michael Tree
VIOLIN
Shmuel Ashkenasi
Victor Danchenko
Pamela Frank
Ida Kavafian
Aaron Rosand
The Dorothy Richard Starling Chair
in Violin Studies
Yumi Ninomiya Scott
Joseph Silverstein
The Aaron Rosand Chair in Violin Studies
Arnold Steinhardt
VOCAL STUDIES
(VOICE AND OPERA PROGRAMS)
Mikael Eliasen
The Hirsig Family Head-of-Department
Chair in Vocal Studies, Artistic Director
of the Curtis Opera Theatre
Danielle Orlando
Principal Opera Coach
Corradina Caporello
Italian Diction
Charles Conwell
Stage Combat and Fencing
Anna Fr
Vocal Studies Pianist
Lisa Keller
Opera and Voice Coach
Marlena Kleinman Malas
Vocal Teacher
Denise Mass
French Repertoire Coach
Ghenady Meirson
Russian Repertoire Coach
Susan Nowicki
Joan Patenaude-Yarnell
Vocal Teacher
Chas Rader-Shieber
Resident Stage Director
Harvey Sachs
History Faculty
Ulrike Shapiro
German Diction
Donald St. Pierre
Bonnie Wagner
Vocal Studies Pianist
4
CHAMBER MUSIC:
STRINGS AND MIXED ENSEMBLES
Pamela Frank
Meng-Chieh Liu
Steven Tenenbom, Coordinator
Major Faculty Members
CHAMBER MUSIC: WOODWINDS
Jeffrey Khaner
Daniel Matsukawa
Donald Montanaro
Ricardo Morales
CHAMBER MUSIC: BRASS
Jeffrey Curnow
Major Faculty Members
ENSEMBLE AND REPERTOIRE STUDIES:
ORCHESTRA
Otto-Werner Mueller
Head of Conducting Department,
The Rita and Gustave Hauser Chair
in Conducting Studies
David Hayes, Staff Conductor
Sarah Hatsuko Hicks, Staff Conductor
ENSEMBLE AND REPERTOIRE STUDIES:
ORCHESTRAL REPERTOIRE
Norman Carol, violin
Joseph de Pasquale, viola
William Stokking, cello
Harold Hall Robinson, double bass
The A. Margaret Bok Chair
in Double Bass Studies
Richard Woodhams, woodwinds
Paul Krzywicki, brass
Don Liuzzi, timpani and percussion
ELEMENTS OF CONDUCTING
Paul Bryan
SUPPLEMENTARY PIANO
Annie Petit
Keiko Sato
Marion Zarzeczna
RESIDENT PIANIST
Hugh Sung
STAFF PIANIST
Jungeun Kim
ALEXANDER TECHNIQUE
Celeste Kelly
MUSICAL STUDIES FACULTY
David Ludwig, Acting Chair
Alfred Blatter
Jonathan Coopersmith
Robert Cuckson
Matthew Glandorf
Roger Grant
Philip J. Kass
Curator of String Instruments
Ford Mylius Lallerstedt
Mei-Mei Meng
Harvey Sachs
Keiko Sato
Peter J. Schoenbach
Eric Sessler
Sheridan Seyfried
Noam Sivan
Eric Wen
LIBERAL ARTS FACULTY
Jeanne M. McGinn, Chair
Alfred Blatter
Norman Ellman
Peter Gaffney
Gordana-Dana Grozdani c
Mary-Jean B. Hayden
Merl F. Kimmel
Michael Krausz
Vincent McCarthy
Carla Puppin
Peter J. Schoenbach
Barbara Smith
CAREER STUDIES FACULTY
Matthew Glandorf
Mary Kinder Loiselle
Daniel McDougall
Alan Morrison
EMERITUS FACULTY
Orlando Cole, cello
Bernard Garfield, bassoon
Joan Hutton Landis, liberal arts
Ned Rorem, composition
Karen Tuttle, viola
John Weaver, organ
Biographical information on faculty
members begins on page 38.
5
ARTISTS
BRASS
Sylvia Alimena, horn
Joseph Alessi, trombone
Angela Cordell, horn
Eli Epstein, horn
Laurie Frink, trumpet
Randy Gardner, horn
Chris Gekker, trumpet
Martin Hackleman, horn
Billy R. Hunter Jr., trumpet
Jeffery Kirschen, horn
Julie Landsman, horn
Denson Paul Pollard, trombone
Shelley Showers, horn
Peter Sullivan, trombone
Ted Thayer, horn
Matthew Vaughn, trombone
CELLO
Gary Hoffman
Hai-Ye Ni
Arto Noras
CHAMBER MUSIC
Ivan Chan
Jacqueline Ross, baroque ensemble
COMPOSITION
William Bolcom, piano
Lowell Liebermann
Krzysztof Penderecki, also chamber music
Matthias Pintscher
DOUBLE BASS
Ranaan Meyer
HARP
Isabelle Perrin
Peter Q Wiley, harp maintenance
ORCHESTRA
Christoph Eschenbach
Rafael Frhbeck de Burgos
Hilary Hahn
Juanjo Mena
Jos-Luis Novo
Peter Oundjian
Ari Pelto
Corrado Rovaris
Andrs Schiff
Benjamin Shwartz
Michael Stern
Michael Tilson Thomas
ORGAN
Diane Meredith Belcher
Frederic Blanc
Vincent Dubois
PIANO
Eric Barnhill
Jonathan Biss
Jeremy Denk
Richard Goode
Anton Kuerti
Lowell Liebermann
Garrick Ohlsson
Lambert Orkis
VIOLA
Roger Chase
Jeffrey Irvine
Gilad Karni
Kim Kashkashian
VIOLIN
Leonidas Kavakos
Mark OConnor, also composition
Christian Tetzlaff
VOCAL STUDIES
Mark Barton, lighting design
Oana Botez-Ban, costume design
Ned Canty, staging
Jon Carter, hair and makeup design
Lenore Doxsee, lighting design
Matthew Epstein
Judy Gailen, scenic design
Emma Griffin, staging
Andrew Lieberman, scenic design
Maiko Matsushima, costume design
Daniel Meeker, lighting design
Chas Rader-Shieber, staging
Clint Ramos, costume design
Matthew Saunders, scenic design
K. Elizabeth Stevens, staging
Michael Lane Trautman, movement
Jessica Trejos, costume design
Peter West, lighting design
Mira Zakai
David Zinn, scenic design
WOODWINDS
Richard Hawley, clarinet
Stphane Lvesque, bassoon
Katherine Needleman, oboe
Mark Nuccio, clarinet
Donald Peck, flute
Marina Piccinini, flute
Michael Rusinek, clarinet
LECTURERS
Joke Bradt, Ph.D., Arts and Quality of Life
Research Center, Temple University
John Carvalho, Ph.D., Villanova University
Susan Dadian, Chamber Music America
Miles B. Davis, Chamber Orchestra of
Philadelphia and Santa Fe Opera Orchestra
Zachary DePue, Time for Three
Peter Dobrin, The Philadelphia Inquirer
Margo Drakos, InstantEncore.com
Molly Emerman, The Philadelphia
Orchestra School Partnership Program
Janice Galassi, American Federation
of Musicians
Mary Wheelock Javian, The Philadelphia
Orchestra School Partnership Program
Nick Kendall, Time for Three
Yumi Kendall, The Philadelphia Orchestra
Virginia Lam, Office of Creative and
Performing Arts, School District
of Philadelphia
Ranaan Meyer, Time for Three
Bill Nerenberg, Peabody Institute of the
Johns Hopkins University
Steve Parker, The Philadelphia Orchestra
School Partnership Program
Eileen Perez-Kelsall, Community
Relations Consultant
Virginia Sikes, Esq., Montgomery,
McCracken, Walker & Rhoads
April Williamson, Greater Philadelphia
Cultural Alliance
Edward Yim, IMG Artists
6
VISITING ARTISTS
AND LECTURERS, 200809
FACILITIES AND
INSTRUMENTS
FACILITIES AND STUDENT LIFE
The Curtis Institute of Music is located in Center City Philadelphia
on Rittenhouse Square, a historic residential area with a full
range of amenities nearby. Most students live alone or with
roommates in nearby high-rise or brownstone apartment buildings,
as there are no dormitories at Curtis.
Life for students, while rigorous and demanding, is informal,
relaxed, and remarkably noncompetitive in a field known for
intense rivalry. The traditional Wednesday-afternoon Teas attract
students, faculty, and staff, and lessons at that hour are often
interrupted for refreshments and conversation.
Curtis occupies four stately mansions that retain their wood-paneled
walls, ornate moldings, high ceilings, decorative ironwork, and
Oriental rugs but have been adapted to serve the conservatorys
needswithout sacrificing their nineteenth-century charm.
The main building comprises the Drexel and Sibley mansions,
which were connected long ago. They are used primarily for classes,
practice, performance, and receptions. The Gary and Naomi
Graffman Common Room brings grandeur of the past into todays
comfortable world, as students gather there. Downstairs, the Stu-
dent Lounge provides a place to eat, relax, use the Internet, and
play table tennis. A computer studio is equipped with Macintosh
systems, and the main building features wireless Internet access.
In 1928 a 240-seat auditorium was added to the Drexel mansion.
Field Concert Hall, with splendid acoustics and facilities for
video- and audio-recording, is used for student recitals, alumni
and faculty concerts, organ lessons and practice, master classes,
school assemblies, orchestra rehearsals, and recording sessions.
The hall is easily accessible, with an elevator lift at street level.
Directly above Field Concert Hall is the Curtis Opera Studio,
a black-box theater that seats approximately 125. This intimate
and flexible performance space, which also has recording capa-
bilities, is used most often by the Vocal Studies department for
opera performances, dance and movement classes, rehearsals,
and master classes.
The third building, the Milton L. Rock Resource Center, houses
the John de Lancie Library and the Orchestra Library.
The fourth, adjacent to the Resource Center, houses classrooms,
studios, and administrative offices.
In addition Curtiss development office, which runs an annual
giving campaign of nearly $3 million and raises funds for endowment
and special projects, is located two blocks away at 1520 Locust Street.
ROCK RESOURCE CENTER
Composed of the John de Lancie Library, the Orchestra Library,
the Orchestral Instrument Collection, and the Curtis Archives,
the Rock Resource Center aims to provide Curtis students, faculty,
and staff with the best possible collection of printed music, books,
periodicals, recordings, and electronic resources needed to fulfill the
Institutes mission. The Curtis Archives endeavors to preserve and
make accessible the Institutes past for the greater Curtis community.
The John de Lancie Library in the Milton L. Rock Resource Center
contains more than fifty-seven thousand volumes of music scores
and books, including over one hundred scholarly sets of composers
complete works, authoritative editions of the standard repertoire,
and more than thirty-three thousand recordings. The Rock Online
Catalognamed in recognition of the generosity of Dr. Rock,
a former chairman of the Curtis Board of Trusteesprovides
access to all holdings. The library also maintains a full range of
audiovisual equipment, card-operated photocopiers, laptops for
reserve use, and open wireless Internet access for use by students.
The Orchestra Library of the Curtis Institute of Music is equal
to those of the major symphony orchestras of the world and
contains over one thousand sets of parts. The riches of the library
also include many gifts of music, manuscripts, and memorabilia
from faculty, alumni, and friends. Important collections include
Lynnwood Farnam, Josef Hofmann, William Kincaid, Sylvan
Levin, Arthur Bennett Lipkin, Max Rudolf, Carlos Salzedo, Calvin
Simmons, Anton Torello, and Efrem Zimbalist.
The library serves Curtis students, faculty, staff, and local alumni;
outside research access is limited to special collections and
archival material and must be applied for in writing.
Students must provide their own music for major lessons and
for secondary piano classes. Music for ensemble and orchestral
classes is supplied by the library.
INSTRUMENT LOANS
The Curtis Institute of Music lends Steinway grand pianos to
piano, organ, harpsichord, composition, or conducting majors for
the duration of their enrollment. Students make a security deposit
and pay the cost of moving the piano to and from their apartments.
Curtis pays for the first tuning, and the students cover the costs
of repairs and tunings thereafter. String and wind majors may
borrow an instrument from Curtiss collection with a $100 security
deposit. Students must cover any costs resulting from negligence
or willful damage.
7
8
PERFORMANCE
OPPORTUNITIES
STUDENT RECITAL SERIES
The Curtis Institute of Music requires numerous and varied
performances of its students both at school and in external venues.
Almost every Monday, Wednesday, and Friday night during the
school year, students perform solo and chamber works on Curtiss
Student Recital Series in Field Concert Hall. During second
semester, recitals are added at other times.
Student recitals are open to the public free of charge and are
recorded by Curtis for educational use and possible broadcast.
Highlights are featured on public radio stations WHYY-FM in
Philadelphia and WITF-FM in Harrisburg. Select recitals are
broadcast on Y Arts, a digital cable television channel produced
by WHYY-TV.
CURTIS SYMPHONY ORCHESTRA
The Curtis Symphony Orchestra performs on an annual
subscription series that typically includes three concerts under
the direction of eminent conductors in nearby Verizon Hall
at the Kimmel Center, home of the Philadelphia Orchestra.
The orchestra has appeared at the Kennedy Center and Carnegie
Hall, as well as in major European cities. While in town,
Philadelphia Orchestra guest conductorssuch as Charles
Dutoit, Alan Gilbert, Roger Norrington, Simon Rattle, and
Michael Tilson Thomasoften lead the Curtis Symphony
Orchestra in readings of major repertoire. This professional
training, under the direction of Otto-Werner Mueller and David
Hayes, has enabled Curtis alumni to assume prominent positions
in major orchestras across the United States, Canada, and
abroad. Orchestra concerts are supported by the Jack Wolgin
Orchestral Concerts endowment fund.
CURTIS CHAMBER ORCHESTRA
Repertoire for smaller ensembles is explored by the Curtis Chamber
Orchestra, which in recent years has performed in Philadelphia
and New York City. In 2004 the Curtis Chamber Orchestra
toured in Japan.
CURTIS OPERA THEATRE
In nearby venues such as the Prince Music Theater, the Curtis
Opera Theatre fully stages operas each year with professional
directors and designers, creating fresh interpretations of standard
repertoire and contemporary works. It often gives concert per-
formances with the Curtis Symphony Orchestra and aproduction
in the intimate Curtis Opera Studio, too, and singers appear on
the Student Recital Series. Curtiss longtime, informal association
with the Opera Company of Philadelphia recently developed
into an annual production in the Perelman Theater at the Kimmel
Center, combining OCP musical direction and marketing with
Curtis performers and designers. The entire program, under Artistic
Director Mikael Eliasen, gives students the type of experience
that has enabled recent graduates to join the sixty-plus alumni
who have performed with the Metropolitan Opera, as well as to
perform with major opera companies worldwide.
20/21: THE CURTIS CONTEMPORARY
MUSIC ENSEMBLE
Each semester 20/21: The Curtis Contemporary Music Ensemble
studies, rehearses, and performs music ranging from important
twentieth-century works to contemporary composers music not
yet borne into the repertoire. Open to all students, the ensemble
is flexible in size and scope to include works for solo performers,
chamber groups, and larger forces with conductor. Faculty and
alumni perform with 20/21 as guest artists.
CURTIS CHAMBER CHORUS
The Curtis Chamber Chorus provides instrumental students an
opportunity to learn the basics of vocal production, ensemble
singing, blend, and tuning. The chorus meets once a week for
one-and-a-half hours, and participation is required for one year
of all pianists, organists, harpsichordists, composers, and conductors,
although all students are welcome to participate.
CURTIS ON TOUR
A performance initiative, Curtis On Tour offers students the
opportunity to rehearse and perform chamber music alongside
Curtis faculty and alumni under the auspices of major presenters.
Curtis On Tour performs an annual United States tour during
the school year, a European tour each summer, and numerous
recitals throughout the year. There are also community engagement
activities with some performances. Curtis On Tour enhances
participants educational and professional experience, creates
visibility, and fosters connections to Curtis.
CAREER
DEVELOPMENT
CAREER DEVELOPMENT SERVICES
Curtis Career Development Services provides resources and
training to help students prepare for a successful and satisfying
career in music. To develop the professional skills essential for
todays musician, the office assists students in creating and
maintaining a professional portfolio, provides individual career-
coaching, and coordinates project-based learning experiences.
Four Career Studies coursesThe Twenty-First-Century Musician,
Foundations of Engagement, Conductors Forum, and Sacred
Music Seminar for organistsoffer basic instruction and
experience in a variety of career-development areas. Special
career forums and seminars offer in-depth exposure to techniques
and resources, as well as insights from Curtis alumni and other
successful performing and creative artists.
CURTIS COMMUNITY ENGAGEMENT PROGRAM
The Curtis Community Engagement Program was created with a
twofold mission: to take classical music to young people and others
in our diverse community who may not otherwise have access to it,
and to provide training and practical experience to Curtis students
in presenting interactive educational programs to children and
members of the public who have little or no experience with
classical music.
Founded on the belief that musicians must actively advocate for
their art, the program prepares Curtis students for this aspect
of their future professional lives.
Curtis offers opportunities for its students to perform in the
community through the Albert M. Greenfield Concerts, which
provide interactive educational presentations for students in area
schools, hospitals, senior centers, and community venues. In
addition there is the opportunity to participate in the PECO
Family Concerts in Field Concert Hall and to coach young
musicians in master classes and small-group settings. Curtis
students who participate in the community engagement program
receive special training prior to their presentations and are
compensated for their performances.
CULTURAL OFFERINGS
Philadelphia, the sixth-largest municipality in the United States
and a major cultural and artistic center, is home to the Philadelphia
Orchestra, Pennsylvania Ballet, Opera Company of Philadelphia,
Philadelphia Chamber Music Society, Chamber Orchestra of
Philadelphia, Astral Artists, Philadelphia Museum of Art, and
a number of regional theaters. Most of these organizations offer
student rates on their tickets, and free tickets are occasionally
made available to Curtis students.
In addition Philadelphia is an hour and a half from New York
City and two hours from Washington, D.C., by train.
Curtis subscribes to seats for Saturday-night Philadelphia
Orchestra concerts; tickets are available to students on a first-
come-first-served basis. Curtis students may also attend certain
rehearsals of the Philadelphia Orchestra, and tickets to Opera
Company of Philadelphia productions are available to vocal
studies students.
ADDITIONAL OPPORTUNITIES
Curtis offers students in several departments opportunities for
professional performance experience to augment their curriculum,
up to a maximum of twenty hours per week during the academic
year. Students can join the Curtis Lab Orchestra and rehearse
weekly under the direction of Curtis conducting majors. They
may also perform with the Symphony in C student intern program
and music programs at schools, churches, and synagogues, among
other opportunities.
Students in good standing who have the permission of the Institute
may perform in local ensembles outside of Curtis. All international
students must obtain authorization from the dean and the director
of student services before participating in outside performances
or internships. Curtis students may substitute with the Philadelphia
Orchestra or play with the Chamber Orchestra of Philadelphia,
the Pennsylvania Ballet Orchestra, and various regional orchestras.
Students also perform regularly on series at the Philadelphia
Museum of Art, the Kimmel Center, Longwood Gardens, and
other institutions. Singers are often soloists for churches and
other organizations. Curtis has an ongoing relationship with the
Opera Company of Philadelphia and Kimmel Center Presents.
9
10
HOW TO APPLY
AND AUDITION
Admissions decisions are based solely on merit. Students
are accepted for study at Curtis exclusively on the basis
of their artistic talent and promise.
APPLICATION INFORMATION
FOR ADMISSION IN FALL 2010
Application and supporting documents must be postmarked
by Friday, December 11, 2009.
APPLICATION FEE
$150, payable in U.S. dollars ($350 if application is postmarked
after the December 11 deadline)
SCREENING FEE
Vocal Studies applicants only: $50, payable in U.S. dollars
APPLICATION FORM
A complete application form can be downloaded from Curtiss
website (www.curtis.edu).
Applicants must complete the entire form, submitting in detail
all requested information along with the specified supporting
documents (see below). No audition will be granted unless the
applicants file is complete.
SUPPORTING DOCUMENTS
The following material must be submitted with the
completed application form and fee:
The teachers consent form, signed by the present private
teacher
Two confidential recommendation forms filled out by
musicians, excluding relatives, who are qualified to judge
the applicants personal and musical talents
The music school consent form, signed by the head of the
college-level music school or department in which the applicant
is currently enrolled. This requirement does not apply to
preparatory- or high-school students.
The most current official transcript of high school and (if
applicable) college. Transcripts must be translated into English.
One or two programs from concerts in which the applicant
has participated (photocopied programs are acceptable)
Prerequisites and standardized test results (see page 11)
STANDARDIZED TEST DEADLINES
All students seeking acceptance into a degree program must take
the necessary tests in time to submit the results by June 1, 2010.
The SAT I and TOEFL are given by the College Entrance
Examinations Board (see www.collegeboard.com or www.toefl.org).
The Curtis CEEB code is 2100. Students seeking further infor-
mation about these tests should speak to their secondary-school
college counselor or, in the case of international students, the
educational attach of the American Embassy in their country
of residence.
Upon acceptance into Curtis, non-native English speakers must
take the TOEFL for placement purposes and have the score sent
to Curtis.
ADDITIONAL APPLICATION INFORMATION
Applicants will be notified of their admission and financial aid
status by April 1, 2010. Applicants who are offered admission
must decide by May 1, 2010.
Applicants who wish to visit Curtis before applying must write or
telephone ahead for an appointment; call the Admissions Office
at 215-893-5262 or e-mail admissions@curtis.edu. Please note
that visiting the school does not in any way take the place of,
or affect, the application or audition processes.
Accepted candidates are automatically placed into nondegree
programs until all official test scores are received.
Candidates who wish to reapply must complete new application
forms and submit new supporting documents. All application
materials become the property of the Curtis Institute of Music.
However, concert programs and original compositions will be
returned if they are accompanied by a self-addressed envelope
of the appropriate size with the correct postage.
Application materials must be mailed or hand-delivered; faxed
materials cannot be accepted.
Application materials from foreign countries must be sent by
first-class AIR MAIL only.
Please direct all application materials to:
Admissions Office
Curtis Institute of Music
1726 Locust Street
Philadelphia, PA 19103
admissions@curtis.edu
AUDITION INFORMATION
AUDITION REQUIREMENTS
Every applicant to the Curtis Institute of Music must audition in
person. Video- and/or audiotape recordings will not be
considered in place of a live audition at Curtis except as noted
on page 15 for vocal studies. Applicants to the Composition
Department will have original compositions examined by that
department; finalists will have an interview in Philadelphia.
Applicants who wish to be double majors must audition separately
for each major department and must be admitted by each faculty.
2010 AUDITIONS
In February and March 2010 Curtis will offer auditions for those
departments that anticipate openings in the fall of 2010. Since
openings occur only as current students graduate, impending
openings cannot be determined by the faculty with certainty
before January 2010. Should there be no vacancy in the depart-
ment to which you have applied, Curtis will notify you in writing
and refund your application fee.
AUDITION SCHEDULE
Auditions are scheduled on specific dates for each department at
the convenience of the faculty. Curtis is unable to honor requests
for changes in the scheduled audition dates. The filing of an
11
PREREQUISITES AND STANDARDIZED TEST RESULTS
BACHELOR OF MUSIC
Prerequisite High school diploma (or equivalentThe GED will be accepted by Curtis only as a supplement
to exceptional academic achievement.)
Native speakers of English Scholastic Aptitude Test (SAT I)
Pre-2005 SAT IVerbal: minimum 500
Post-2005 SAT ICritical Reasoning: minimum 500
Post-2005 SAT IWriting: to be evaluated for placement
Non-native speakers of English Scholastic Aptitude Test (SAT I)
Pre-2005 SAT I: Verbalminimum 500
Post-2005 SAT I: Critical Reasoningminimum 500
Post-2005 SAT I: Writingto be evaluated for placement
Test of English as a Foreign Language (TOEFL)
Written: minimum 550
Computer-based test: 213
Post-2005 Internet TOEFL iBT: 7980
MASTER OF MUSIC
Prerequisite Bachelor of Music degree or equivalent
Native speakers of English Standardized tests are not required.
Non-native speakers of English Test of English as a Foreign Language (TOEFL)
DIPLOMA
PROFESSIONAL STUDIES CERTIFICATE IN OPERA
Native speakers of English Standardized tests are not required.
Non-native speakers of English Test of English as a Foreign Language (TOEFL)
PRE-COLLEGE-AGED APPLICANTS Audition only; standardized tests are not required for application.
12
application does not oblige the Curtis Institute of Music to grant
an audition.
Applicants should add chris.hodges@curtis.edu to their approved
senders list to ensure receipt of Curtis admissions e-mails. In
early January, applicants will be notified by e-mail that their
applications have been received. By late January, those who
are granted an audition will receive an e-mail announcing their
audition date. The audition calendar is posted on the Curtis
website (www.curtis.edu) in January.
All auditions are held at the Curtis Institute of Music, 1726
Locust Street, Philadelphia. The applicant should be aware
that the auditions may be videotaped and recorded (for panel
review only).
AUDITION ACCOMPANIST
Curtis will provide an accompanist for auditions in flute, opera,
viola, violin, cello, and voice. All other auditions are played
without piano. The applicant must supply Curtiss accompanist
with the appropriate piano scores at the time of audition; it is up
to the discretion of the audition committee whether the audition
will be heard if no music is provided. Photocopied music is not
acceptable in place of a score. No preaudition rehearsal with
Curtiss accompanist is permitted.
AUDITION PROCEDURES
Applicants may warm up for thirty minutes in an assigned practice
room before their auditions. If an applicant is late for the
scheduled audition, the audition committee will decide whether
or not to hear the audition. The committee is not obliged to hear
all the music that an applicant may have prepared nor to give
an audition evaluation.
AUDITION FEE
A nonrefundable audition fee of $150 is payable once the applicant
is notified of the audition date; this fee must be paid before the
applicant is permitted to audition. The $150 audition fee is in
addition to the $150 application fee.
AUDITION REPERTOIRE
The audition repertoire requirements of Curtiss major depart-
ments are detailed on the following pages.
Some departments permit latitude in the selection of works to be
presented, while others require specific repertoire. All applicants
must comply with the requirements set forth by the department
to which they have applied. No substitutions or exceptions to the
stated audition requirements will be permitted. In addition to
the stated requirements, applicants may be asked to show their
sight-reading ability. A knowledge of piano and music theory
is desirable.
While the choice of composition is important, audition perform-
ance carries the greater weight. The final admission decision
rests upon the evidence of talent shown rather than upon the
degree of proficiency already attained. Admission is limited to
those whose inherent musical gift shows promise of development
to a point of exceptional professional quality.
NOTE: In major departments with more than one instructor,
student placement is determined by the consensus of the faculty
of that department.
AUDITION
REPERTOIRE
REQUIREMENTS
COMPOSITION
Applicants will submit no more than three compositions.
Submissions of orchestral compositions are encouraged but
are not required. A personal interview in Philadelphia may be
required for candidates considered as finalists.
Manuscripts, to be sent by registered mail, must be postmarked
between October 1 and December 11, 2009. Applicants must
send copies of their work, not originals. Submission of tapes or CDs
is encouraged but is not required. If you wish to have materials
returned, include a postpaid envelope with the manuscripts.
CONDUCTING: THE HELEN F. WHITAKER FUND
CONDUCTING PROGRAM
Applicants should possess a strong foundation in basic musician-
ship, including an excellent ear. Applicants will be asked to read
a Bach chorale at the keyboard from a score employing three
C-clefs (soprano, alto, and tenor) and bass clef. They will demon-
strate familiarity with the orchestral literature including, but not
limited to, the classical symphonic repertory. Applicants will be
asked to demonstrate score-reading ability in a variety of repertoire.
Applicants should be proficient on at least one instrument and
display the communicative and physical aptitude for a career on
the podium.
KEYBOARD INSTRUMENTS
PIANO
Applicants will play from memory:
1) a complete work of J. S. Bach
2) any Mozart sonata (except K. 545) or any Beethoven sonata
except Op. 49) complete
3) one slow and one fast selection from the works of Chopin
for solo piano (no works of Chopin for piano and orchestra will
be acceptable)
4) a major solo work (at least ten minutes long) of the applicants
choosing
No substitutions for the above repertoire will be allowed.
ORGAN
1) a prelude and fugue by J. S. Bach
2) an allegro movement from a Bach trio sonata or comparable
chorale-prelude
3) two movements from the romantic or contemporary literature,
one of which should be a slow movement
Applicants will also be asked to sightread. A modern composition
will be sent to each auditionee one month prior to auditions and
will be performed (optional: from memory) at the audition.
HARPSICHORD
1) two Scarlatti sonatas
2) two contrasting movements from a suite by J. S. Bach
3) a work of their own choice from the French clavein school
or the English virginalists
ORCHESTRAL INSTRUMENTS
STRINGS
In addition to fulfilling the specific requirements below, all string
applicants must be prepared to play all major and minor scales
and arpeggios in fluent tempo.
VIOLIN
1) a complete concerto by Mozart
2) a complete sonata or partita for violin alone by J. S. Bach
3) a caprice by Paganini
4) another complete standard concerto for violin
VIOLA
Applicants will play:
1) a complete J. S. Bach suite
2) a complete concerto by Walton or Bartk, or Der Schwanendreher
by Hindemith
3) one movement of an unaccompanied work by Hindemith
or Reger
4) one of the Brahms sonatas or Schuberts Arpeggione sonata,
complete
Everything except the Brahms or Schubert is to be played from
memory
CELLO
1) a complete J. S. Bach suite
2) any one of the following concertos:
Saint-Sans No. 1
Boccherini in B-flat
Haydn in C or D
13
Dvork
Lalo
Elgar
Shostakovich No. 1
Walton
Schumann
Tchaikovsky, Rococo Variations
3) an tude from Popper, Op. 73, or an tude by Piatti
4) one of the sonatas by Beethoven or Brahms, complete
Everything except the Beethoven or Brahms is to be played from
memory.
DOUBLE BASS
1) a three-octave B-flat major and B-flat melodic minor scale
with arpeggios
2) a movement from one of the six cello suites by J. S. Bach
(transcriptions permitted) or a solo work of the applicants choice
3) the first two movements (with appropriate cadenzas included)
of a major bass concerto or equivalent works that show the
applicants abilities
In addition two prepared excerpts from the standard orchestral
literature will be required (music may be used for this portion).
HARP
Applicants will play
1) one Baroque piece
2) one Romantic piece from the major harp repertoire
3) one Impressionistic piece or twentieth-century piece from
the major harp repertoire
All works should be prepared in their entirety and memorized.
Applicants will be accepted for audition depending on the level
of their audition program.
WOODWINDS
In addition to fulfilling the requirements of individual woodwind
majors listed below, all applicants should possess a good ear and
a sense of rhythm and tone. They will demonstrate familiarity
with all major and minor scales and arpeggios. Applicants will
also be expected to demonstrate sight-reading ability with material
chosen by the instructor.
FLUTE
Applicants will play three complete prepared pieces (all movements)
in contrasting tempo and style, and two orchestral excerpts.
Applicants should perform from memory if possible.
OBOE
1) one movement of a concerto or sonata
2) a fast tude by Ferling
3) the third movement of the Mozart oboe quartet
4) a slow aria of J. S. Bach
Applicants must also be able to read an orchestral excerpt,
and they may be given a written examination concerning their
general knowledge of music. In honor of the seventh director
of the Curtis Institute of Music, each year one new or current
oboe student will be named the John de Lancie Scholar.
CLARINET
1) the Mozart clarinet concerto
2) two contrasting pieces from the Rose Thirty-two tudes
3) a prepared piece of the applicants choice
BASSOON
1) the first two movements of any one of the following concertos:
Mozart, Concerto in B-flat major, K. 191
Weber, Concerto in F major, Op. 75
Hummel, Bassoon Concerto in F major
2) all major and minor scales and arpeggios, three octaves
where possible
3) an tude of the applicants choice (music may be used for this
portion
4) at least two orchestral excerpts of contrasting style (music may
be used for this portion)
BRASS
In addition to fulfilling the specific requirements below, applicants
should possess physical aptitude for the chosen instrument, a
good ear, a sense of rhythm, and the ability to read at sight.
TRUMPET
1) tudes from Bousquet and Charlier or equivalent
2) one tude of the applicants choice in melodic style
3) Haydns trumpet concerto or equivalent
4) orchestral excerpts
Applicants must display at least rudimentary knowledge of
transposition.
14
HORN
Applicants will read an orchestral excerpt and demonstrate
familiarity with all major and minor scales and arpeggios.
In addition applicants will play:
1) one movement of a concerto or sonata
2) one tude by Kopprasch and one by Gallay
3) the following orchestral excerpts:
the last movement of Brahmss Symphony No. 1
the second-horn part from the trio of the third movement
of Beethovens Symphony No. 3
the second movement of Tchaikovskys Symphony No. 5
R. Strauss, Till Eulenspiegel
Ravel, Pavane
the short call from Wagners Siegfrieds Rheinfahrt
the first movement of Beethovens Symphony No. 7
the third movement of Brahmss Symphony No. 3.
TROMBONE
Auditions will be held for tenor trombone and/or bass trombone,
depending on the opening. Applicants will play:
1) one complete concerto, sonata, or other substantial solo work
2) one technical tude by Kopprasch, Tyrell, or Blazhevich
3) at least two orchestral excerpts of contrasting style
Applicants may be asked to play all major and minor scales and
to read at sight in alto, tenor, and bass clefs.
TUBA
1) two contrasting tudes of Vasiliev, Blazhevich, Rochut,
Kopprasch, or the like
2) orchestral excerpts to include Berlioz, Prokofiev, and Mahler
3) the first movement of the Vaughan Williams tuba concerto
4) the first movement of the Arnold brass quintet
CC tuba and F or E-flat tuba strongly advised.
TIMPANI AND PERCUSSION
Applicants should demonstrate a knowledge of the fundamental
techniques of percussion and timpani. They will be examined
on timpani pitch recognition and technical skills such as rolls.
They should be prepared to perform one study on timpani, one
two-mallet work on marimba or xylophone, one four-mallet
work on marimba, and two studies on snare drumclassical and
rudimental. Applicants will also be expected to demonstrate their
ability to sight-read. Applicants must possess a good ear and be
able to sing and recognize all intervals.
VOCAL STUDIES
Voice: Bachelor of Music and Diploma Programs
All applicants in voice are required to submit a screening CD or
DVD (please no audio- or videotapes) and the $50 screening fee
in order to be considered for an invitation to audition in person.
Name, age, and screening repertoire should appear on the CD
or DVD and on the cover; the recording must be sent with the
application, postmarked no later than December 11, 2009.
Repertoire selections for the screening should include accompa-
niment and should show contrast in musical styles and tempos.
Please make certain the recording is of good quality, as the
granting of a live audition will depend upon this.
Applicants will be notified of decisions regarding live
auditions by mid-February. Vocalists who audition live will be
asked to perform up to four selections from memory, showing the
character and quality of voice and musicianship. One selection
must be in English (not a translation). Three selections must
be chosen from the standard oratorio repertoire, German lieder,
classic Italian songs, or French and English songs of any period.
An aria from an opera or oratorio is welcome but not required.
Though an accompanist is provided, voice applicants may supply
their own accompanist if they prefer. A short test of musical
theory and sight singing may be asked of the applicants in the
final round of auditions.
Opera: Master of Music and
Professional Studies Certificate Programs
All applicants in opera are required to submit a screening CD or
DVD (please no audio- or videotapes) and the $50 screening fee
in order to be considered for an invitation to audition in person.
Name, age, and screening repertoire should appear on the CD
or DVD and on the cover; the recording must be sent with the
application, postmarked no later than December 11, 2009.
Repertoire selections for screening should include accompaniment
and should show contrast in musical styles and tempos. Please
make certain the recording is of good quality, as the granting of
a live audition will depend upon this.
Applicants will be notified of decisions regarding live auditions
by mid-February. Vocalists who audition live will be asked to
perform from memory up to five contrasting arias from the standard
operatic repertoire. Though an accompanist is provided, opera
applicants may supply their own accompanist if they prefer.
A short test of musical theory and sight singing may be asked
of the applicants in the final round of auditions.
15
16
STUDENT FEES
AND EXPENSES
STUDENT FEES
ANNUAL FEES
Comprehensive fee
1
(includes all text books)
Bachelor of Music program$1,300
All other programs of study$1,200
Health services fee
2
$900
Health insurance
3
$2,450
Internet/e-mail fee
4
$90
ONE-TIME FEES AND DEPOSITS
Library deposit $100
Piano deposit (if applicable) $200
Instrument deposit (other than piano) $100
Graduation fee
5
$125
1
Payable by new students upon admission and by returning students at
registration. A late fee of $100 will be charged if not paid by registration.
2
Payable prior to or at registration, this fee pays for primary physical and
emotional health care needs (see Physical and Emotional Health Care below).
3
See Health Insurance below.
4
Payable by new students upon admission and by returning students at
registration.
5
Payable at the beginning of the spring term for students expecting to
graduate at the end of that term; the fee covers the costs of cap-and-gown
rental and related expenses.
PHYSICAL AND EMOTIONAL HEALTH CARE
The health services fee (above) provides Curtis students with
access to the University of Pennsylvania Student Health Service
for primary physical health care. Initial emotional and psychological
counseling is provided by a private psychologist.
HEALTH INSURANCE
Curtis requires all students to have adequate health care insurance
for twelve months each year. The Institute offers a comprehensive
student health insurance policy designed especially for Curtis
students at an estimated cost of $2,450. All Curtis students are
automatically charged for this plan. Students may request exemption
from the Curtis plan and its cost if they feel that a parental or
private health insurance plan provides adequate protection while
they are attending Curtis. To seek an exemption, students must
present prior to registration: (a) proof of coverage for the twelve
months beginning September 1 and (b) a copy of their plans
Summary Plan Description (SPD) or Schedule of Benefits that
details the actual coverage. These materials will be reviewed and
students will be notified if their private plan provides comparable
coverage. If the private plan is found to be adequate, exemption
will be granted and the student and parents will each be required
to sign a release form acknowledging their sole responsibility for
any uninsured medical expenses. If, after review, the private plan
is found to be inadequate, the student will be advised to enroll in
the Curtis plan. If the student still chooses to be exempt from the
Curtis plan, the student and parents will be required to sign the
release form.
OTHER EXPENSES
LIVING ACCOMMODATIONS
As Curtis does not provide dormitory or food-service facilities,
students need to make their own housing arrangements. Apartments
in various price ranges are available near Curtis. Upon acceptance,
students will be given materials to assist them in their search for
suitable housing.
Students under sixteen years of age are required to have a
parent or adult guardian living with them. The school encourages
all students under eighteen to live with a parent, guardian,
or older student. There are a limited number of two-bedroom
apartments (double occupancy) close to Curtis for which
first-year students have priority. Please contact the assistant
director of student financial assistance at 215-717-3188 or
veronica.mcauley@curtis.edu for information.
PIANO MOVING AND TUNING
Students majoring in piano, organ, harpsichord, composition, or
conducting who are lent a Curtis piano must pay a $200 security
deposit, the cost of moving the piano from the Institute to their
apartment, and the cost of returning the piano to Curtis. The
moving expense varies depending on the distance between the
apartment, and Curtis, plus the degree of difficulty of moving
the piano into the apartment. The range of moving expense is
approximately $150 to $500 each way. Curtis will pay for the
first piano tuning, but students must cover costs of any additional
tuning and repairs.
HIGH-SCHOOL TUITION (PRE-COLLEGIATE STUDENTS ONLY)
Students pursuing elementary- or high-school academic work
at an accredited public or private school must make their own
arrangements for the payment of tuition and fees for that school.
Expenses vary considerably. Financial aid is available at most
private schools. Limited funding based on need may be available
from Curtis. Information on Financial Assistance Policies, including
Curtiss merit-based full-tuition scholarships, begins on page 18.
ESTIMATED STUDENT BUDGET FOR 200910
BASIC LIVING EXPENSES
1
PER MONTH PER 9-MONTH SCHOOL YEAR
Rent (one-bedroom apartment) $950 $8,550
Electric, gas, and water $125 $1,125
Telephone $120 $1,080
Food $350 $3,150
Clothing $60 $540
Instrument maintenance $125 $1,125
Instructional supplies $50 $450
Laundry $30 $270
Personal recreation $125 $1,125
Miscellaneous $55 $495
Subtotal $1,990 $17,910
ANNUAL STUDENT FEES
1
Comprehensive fee (includes textbooks) $1,300
($1,300: Bachelor of Music program; $1,200: all other programs of study)
Health services fee $900
Health insurance, if required
2
$2,450
Internet/e-mail fee $90
Subtotal $4,740
TOTAL ESTIMATED 9-MONTH COST (SEPTEMBER 1, 2009MAY 31, 2010)
3
$22,650
1
These costs do not include library deposit, apartment security deposit, apartment furnishing, piano or instrument deposit, piano moving expenses (if applicable),
etc. See page 16 for details.
2
See page 16 for details.
3
Students are responsible for their own summer expenses.
17
18
STUDENT
FINANCIAL
ASSISTANCE
Policies and Procedures
MERIT-BASED FULL-TUITION SCHOLARSHIPS
Since Curtis accepts students only on the basis of talent, all students
are awarded merit-based full-tuition scholarships. These scholar-
ships are renewed each year during enrollment at Curtis.
NEED-BASED FINANCIAL ASSISTANCE
FOR LIVING EXPENSES
Supplemental financial assistance is awarded at the Curtis Institute
of Music exclusively on the basis of financial need and is in
addition to the merit-based full-tuition scholarship. Before turning
to Curtis for supplemental assistance, students are expected to
utilize funds from non-Curtis sources, including grants, loans,
and scholarships available through private, public, and other
sources whenever possible.
CURTIS SUPPLEMENTAL FINANCIAL ASSISTANCE POLICY
Any student who demonstrates financial need will be awarded
adequate assistance to attend school. No student will have to
leave Curtis solely because of financial need. Financial assistance
for living expenses is based solely on need.
Students who demonstrate need for assistance with living
expenses will first be awarded loans and on-campus employment.
If there is remaining need, Curtis may award a supplemental grant.
Students are required to notify the Office of Student Financial
Assistance of changes in the familys financial situation.
Continued eligibility for Curtis-funded financial assistance
requires that the student demonstrate academic and artistic
progress according to the standards stated under Scholastic
Standing on page 35. The dean will interpret this policy for
students not enrolled in the Bachelor of Music program and/or
for students with special circumstances.
Federal requirements stipulate that a student receiving U.S.
Government financial assistance in the form of loans and/or
grants must maintain a minimum cumulative grade point average
(GPA) of 2.00 and must make progress toward completion of his
or her degree. A full-time undergraduate student must complete
a minimum of twenty-four credit hours per academic year and
a full-time graduate student must complete a minimum of eighteen
credit hours per academic year in order to advance a grade level.
Any student whose course completion or GPA falls below the
minimums will be on probation during the subsequent semester
for purposes of federal funding. Students will be informed in
writing if a probation period applies. The annual minimums
described above must be achieved by the conclusion of the subse-
quent term in order for the student to again be eligible for federal
funding for the next term.
Additional definitions and policies related to U.S. Department
of Education Title IV funding are available in the Office of
Student Financial Assistance. Please call the director of student
financial assistance at 215-717-3143 or send an e-mail to
financialassistance@curtis.edu for further information.
The following chart is used to determine the appropriate
grade level for federal loan eligibility:
CREDITS GRADE LEVEL
024 First year
2548 Second year
4972 Third year
73+ Fourth year
Graduate student Full-time status = 9 credits per term
FINANCIAL ASSISTANCE PROCEDURES
Applicants for admission may download the Curtis Application
for Supplemental Financial Assistance and detailed instructions
from the Curtis website (www.curtis.edu), or may request that
a packet be mailed to them by contacting the Office of Student
Financial Assistance; call 215-717-3188 or e-mail
financialassistance@curtis.edu. The following are general
application procedures.
Deadline: Prospective students must submit the Curtis
Application for Supplemental Financial Assistance and supporting
documents no later than March 1, 2010.
U.S. CITIZENS AND PERMANENT RESIDENTS OF THE U.S.
Complete and file the U.S. Department of Educations Free
Application for Federal Student Aid (FAFSA). The FAFSA
Title IV School Code for the Curtis Institute of Music
is 003251. Precollege sudents should not file the FAFSA.
Students selected for verification will be required to complete
a U.S. Department of Education Verification Worksheet and
submit it with support documentation to the Office of Student
Financial Assistance.
Submit copies of previous year IRS income tax returns for
both student and parents to the Curtis Office of Student Financial
Assistance.
Submit a copy of either a Social Security Card or Alien
Registration Card, whichever is applicable.
INTERNATIONAL APPLICANTS
Submit tax forms from the students home country for the most
recent tax year available for both the student and parents.
Submit official letters from the parents employers stating
total wages earned from January through December of the
previous year.
Submit the most recent bank and financial statements for
accounts and investments held by both the student and parents.
These would include checking and savings accounts, trust funds,
money market funds, certificates of deposit, stocks, bonds, and
any other securities holdings.
If the student has a financial sponsor, submit a letter from
the sponsor stating the total estimated support to be provided for
the school year for which the student is making application.
All of the above documents must be sent in English translation
and in U.S. dollars.
All information submitted to the Office of Student Financial
Assistance is evaluated in accordance with federal regulations.
Applications, supporting documents, and other information are held
in the Office of Student Financial Assistance in strict confidence.
RENEWAL REQUIREMENTS
Curtis financial assistance is awarded for the nine-month period
from September through May. Students are responsible for
their own summer expenses. Students are required to submit
applications and supporting documents each year in order to
establish eligibility for supplemental financial assistance. Award
amounts may vary according to financial need and the availability
of funds. The application deadline is May 1.
19
20
STUDENT
FINANCIAL
ASSISTANCE
Sources
OFF-CAMPUS RESOURCES
Parents and students are urged to contact public and private
foundations, service clubs, churches, etc., that may be sources of
outside scholarships or other financial assistance. Information is
available from high-school guidance counselors, library reference
desks, and the Internet.
U.S. GOVERNMENT FINANCIAL ASSISTANCE
Curtis students who are United States citizens or permanent
residents of the United States may be eligible to receive U.S.
Department of Education Title IV/Higher Education Assistance
(HEA) funding. Students must complete and file the Free Appli-
cation for Federal Student Aid (FAFSA) to establish eligibility.
Limited financial assistance in the form of Pell grants, Academic
Competitiveness grants (ACG), Stafford loans, and/or PLUS
loans will be awarded to students on the basis of documented
financial need which cannot be met by student or family resources.
The Office of Student Financial Assistance is responsible for
administering and certifying student eligibility for these aid
programs. The programs are as follows:
FEDERAL FAMILY EDUCATION LOAN PROGRAM
(STAFFORD AND PLUS LOANS)
Stafford and PLUS are government-sponsored low-interest loans
to assist students and their parents in meeting educational expenses.
The Stafford and PLUS loans are administered and certified
through the Office of Student Financial Assistance in conjunction
with individual lending institutions and state agencies approved
by the federal government.
Stafford loans may be certified as interest-subsidized or
unsubsidized, based on federal eligibility requirements. First-year
undergraduates may borrow a maximum of $5,500 per academic
year; second-year students $6,500; and third-year-or-above
undergraduate students $7,500 per year, through the fifth year
of enrollment. Graduate students are permitted to borrow
a maximum of $20,500 per academic year.
Eligibility for a Parent Loan for Undergraduate Students
(PLUS) is established by filing the FAFSA and qualifying on the
basis of financial need. Parents who qualify may borrow funds
up to the cost of attendance less other financial assistance.
Students and parents can obtain these loans from any lender.
Curtis does not have a preferred lender list.
PELL GRANT AND ACADEMIC COMPETITIVENESS GRANT
Pell grants are undergraduate, need-based entitlement grants
administered and certified through the Office of Student Financial
Assistance, based on a standard federal needs-analysis formula.
Students must file the FAFSA to establish eligibility. First- and
second-year Pell recipients will be considered for ACG as specified
by federal regulations.
VETERANS BENEFITS
Contact your local Veterans Administration Office for information
on grant and loan programs for veterans. For further information
and certification, contact Veronica McAuley, 215-717-3188, in
the Financial Aid Office.
ALTERNATIVE LOAN PROGRAMS
International and other students who are not eligible for loan
programs through the U.S. Department of Education Federal
Family Education Loan Program (FFELP) may instead apply
for a low-interest private loan. The Office of Student Financial
Assistance can help students and families with securing alternative
loan funding, if necessary.
STATE RESOURCES
Many states offer financial assistance to their residents. Contact the
appropriate agency in your state for information and applications.
INTERNATIONAL RESOURCES
Many governments outside the United States provide financial
assistance to their citizens who are studying abroad. International
students should contact the ministry of higher education in their
home country for information and applications.
21
AWARD SEQUENCE FOR SUPPLEMENTAL
FINANCIAL ASSISTANCE
LOANS
Stafford or alternative, as described on page 20.
ON-CAMPUS EMPLOYMENT
Students who require supplemental financial assistance for
living expenses are expected to work and earn as much of the
assistance as possible, artistic and academic schedules permitting.
Accordingly, on-campus employment is the second level of
funding awarded in a financial-assistance package. The amount
of on-campus employment in a Curtis award package relates
directly to the instrument and year of study and reflects the
judgment that the hours of expected work are appropriate.
LAB ORCHESTRA AND/OR OPERA ORCHESTRA
The financial-assistance package might include an award
labeled Lab Orchestra, although the assignment may be the
lab orchestra and/or the opera orchestra. Note: Some students
asked to play in the lab or opera orchestras may not have been
awarded this aid in a financial-assistance package. These students
will be paid on a per-performance basis.
SUPPLEMENTAL GRANTS
Supplemental grants are offered if there is remaining need after
the awarding of loans, on-campus employment, and/or lab
orchestra. Grant recipients must demonstrate satisfactory artistic
and academic progress. Students offered a supplemental grant in
addition to a loan are required to take the loan in order to retain
grant funding. Students offered a supplemental grant in addition
to on-campus employment are generally required to work a
minimum number of hours each week in order to retain grant
funding.
For further information on any matter regarding financial assistance,
please call the Office of Student Financial Assistance at 215-717-3188
or 215-717-3143 or e-mail financialassistance@curtis.edu.
22
THE CURTIS
CURRICULUM
GENERAL STATEMENT
All students, other than those enrolled in the Master of Music
and Professional Studies Certificate programs, must be enrolled
in the Diploma or Bachelor of Music programs. Any change
from one program to another by post-secondary-school diploma
students must be made no later than the end of the second year
at Curtis. Diploma students wishing to apply for entrance to the
Bachelors degree program must complete the Program Transfer
Form and submit it to the Registrars Office.
The Diploma program for post-secondary-school students is
for two to four years. The Bachelor of Music program takes three
to five years. The Professional Studies Certificate and Master
of Music programs may be completed in two to three years.
DIPLOMA PROGRAM
The diploma is given upon completion of a minimum of
seventy-four semester hours (s.h.), as outlined below. A minimum
two-year residency is required.
TRANSFER PROCESS FROM DIPLOMA
TO BACHELOR OF MUSIC
Diploma students who wish to transfer to the bachelors program
must provide all required application documents (see page 10)
by September 1 for a first-semester transfer or December 1 for
a second-semester transfer. Diploma students may take no more
than two one-semester liberal arts courses prior to an official
transfer to the bachelors program.
The GED will be accepted by Curtis as a supplement to evidence
of exceptional academic achievement as part of the application
for the bachelors program only when prior permission has been
obtained from the dean, the registrar, the director of student
services, and the chair of the liberal arts department. A permission
form is available in the Registrars Office.
BACHELOR OF MUSIC PROGRAM
The Bachelor of Music degree is given upon completion of
a minimum of 136 semester hours (s.h.), as outlined below.
Students must fulfill a minimum three-year residency, pass all
required courses, and have a cumulative grade point average
of at least 2.0 in musical studies and liberal arts courses.
GENERAL REQUIREMENTS
COURSE DIPLOMA CREDITS BACHELORS CREDITS
PERFORMANCE Major lesson 24 s.h. 32 s.h.
Elements of Conducting 3 s.h.
Additional departmental requirements (listed below) 12 s.h. 16 s.h.
SUBTOTAL 36 S.H. 51 S.H.
MUSICAL STUDIES Fundamentals 3 s.h. 3 s.h.
Harmony I, II 7 s.h. 7 s.h.
Harmony III 4 s.h.
Counterpoint I, II 5 s.h. 5 s.h.
Form 2 s.h. 2 s.h.
Counterpoint IIl 2 s.h.
Analysis 4 s.h.
Solfge I, II 8 s.h. 8 s.h.
Solfge III 4 s.h.
Music History I, II 10 s.h. 10 s.h.
Music History Seminars 4 s.h.
(Some majors require additional performance and musical studies courses:
See Additional Departmental Requirements on pages 2325.)
23
COURSE DIPLOMA CREDITS BACHELORS CREDITS
LIBERAL ARTS History of Western Civilization -- 6 s.h.
Language and Literature -- 6 s.h.
Literature -- 6 s.h.
Electives -- 12 s.h.
(Some majors require additional liberal arts courses: See Additional Departmental Requirements listed below.)
CAREER STUDIES Foundations of Engagement 2 s.h. 2 s.h.
The Twenty-First-Century Musician 1 s.h. 1 s.h.
ADDITIONAL DEPARTMENTAL REQUIREMENTS
COMPOSITION MAJORS DIPLOMA CREDITS BACHELORS CREDITS
PERFORMANCE Chamber Chorus 2 s.h. 2 s.h.
Composition Seminar 12 s.h. 16 s.h.
Supplementary Piano 6 s.h. 8 s.h.
Graduation Recital
1
Required Required
MUSICAL STUDIES Applied Orchestration I, II 6 s.h. 6 s.h.
Counterpoint III 2 s.h.
Score-Reading 2 s.h. 2 s.h.
1
BACHELORS CANDIDATES: a Student Recital Series concert at least forty-five minutes long of their own music, the majority
written while a Curtis student; recommended to occur in the fall of the students graduating year
DIPLOMA CANDIDATES: a concert at least one hour long of their own music, the majority written while a Curtis student; may
take place in an alternate venue with the approval of the students major teacher and the dean; recommended to occur in the fall
of the students graduating year
PRIVATE INSTRUCTION FOR COMPOSITION MAJORS
Undergraduate composition majors (bachelors candidates) are expected to study with all composition faculty over the course of
their four years at Curtis. Typically students work with their intake teacher for the first two years. During the third and fourth years,
they are expected to study with other composition faculty members for a minimum of one semester apiece. Students are welcome to
take additional semesters with the other faculty members (based on teacher availability), or they may return to their initial instructor.
Students consult with their intake teacher to determine when best to take a rotation semester; it is recommended that at least one
be taken by the end of the third year.
Diploma candidates (students with a bachelors degree, equivalent, or higher) are expected to study a minimum of one semester with
another instructor of their choice, based on availability, and should consult with their intake teacher to determine the best semester
to do so.
Diploma candidates also are expected to take one course per semester and two per school yearone music and one nonmusicat
Curtis or at the University of Pennsylvania under the reciprocal agreement.
24
CONDUCTING MAJORS DIPLOMA CREDITS BACHELORS CREDITS
Lab Orchestra 6 s.h. 8 s.h.
Score Analysis 6 s.h. 8 s.h.
MUSICAL STUDIES Applied Orchestration I, II 6 s.h. 6 s.h.
Score-Reading 2 s.h. 2 s.h.
CAREER STUDIES Conductors Forum 6 s.h. 8 s.h.
KEYBOARD MAJORS DIPLOMA CREDITS BACHELORS CREDITS
Chamber Music 6 s.h. (P, H) 8 s.h.
Piano Repertoire Seminar (P) 6 s.h. 8 s.h.
Supplementary Piano (O, H) 6 s.h. 8 s.h.
Graduation Recital (P) Required Required
Elements of Conducting 3 s.h.
Organ Class (O) 6 s.h. 8 s.h.
Early Music Performance (H) 6 s.h. 8 s.h.
MUSICAL STUDIES Keyboard Studies I, II 4 s.h. 4 s.h.
Keyboard Studies III 2 s.h.
CAREER STUDIES Sacred Music Seminar (O) 4 s.h. 4 s.h.
P = Piano-major requirement
O = Organ-major requirement
H = Harpsichord-major requirement
25
ORCHESTRAL INSTRUMENT MAJORS DIPLOMA CREDITS BACHELORS CREDITS
PERFORMANCE Orchestra (age sixteen and older) 18 s.h. 24 s.h.
Orchestral Repertoire Class/Sectionals 6 s.h. 8 s.h.
(string, woodwind, brass, or percussion
2
)
Performance, at least once a semester, Required Required
of solo or chamber music on a regularly
scheduled student recital (T)
Graduation recital (Vn., Va., Clo., T
3
) Required Required
T = Timpani and Percussionmajor requirement
Va. = Viola-major requirement
Clo. = Cello-major requirement
Vn. = Violin-major requirement
2
Timpani and Percussion majors: Both brass and percussion Orchestral Repertoire Classes are required.
3
Timpani and Percussion majors graduation recital: A full seventy-five-minute recital including representative solo and chamber
music, including chamber works with nonpercussion instruments is required.
VOICE MAJORS COURSE DIPLOMA CREDITS BACHELORS CREDITS
PERFORMANCE Acting Seminar 6 s.h. 8 s.h.
English, French, German, and Italian 12 s.h. 16 s.h.
diction classes and coachings
Voice Performance Seminar 6 s.h. 8 s.h.
Voice Repertoire Coaching 9 s.h. 12 s.h.
MUSICAL STUDIES History of Singing 12 s.h. 16 s.h.
MASTER OF MUSIC PROGRAM IN OPERA
The Master of Music degree in opera requires a minimum of
thirty-two graduate credits (g.c.). The program normally takes
two years to complete, but a student may stay an optional third
year at the discretion of the head of the Vocal Studies Department
and the Curtis president. Each student receives at least two vocal
coaching sessions per week. A Bachelor of Music degree or
equivalent is required for degree candidacy. In the last semester,
the Graduate Studies Review Committee will evaluate the
progress and course of study of each student.
Incoming students will be counseled by the department faculty,
who will suggest ways of remedying any weakness in theoretical,
aural, or language skills. Voice teacher selection will be made
by the student with the approval of the head of the Vocal Studies
Department and the president. Emphasis in the opera program
is on performing and developing performance skills. Each
school year the Curtis Opera Theatre generally performs three
productions with the Curtis Symphony or Chamber Orchestra.
26
GENERAL REQUIREMENTS YEAR ONE YEAR TWO
Voice Lesson 2 g.c. 2 g.c.
Opera Staging 6 g.c. 6 g.c.
Voice Repertoire Coaching 3 g.c. 3 g.c.
Opera History Seminar 1 g.c. 1 g.c.
Opera Performance Seminar 1 g.c. 1 g.c.
Alexander Technique 2 g.c. 2 g.c.
Diction Coaching 1 g.c. 1 g.c.
TOTAL 16 G.C. 16 G.C.
ADDITIONAL REQUIREMENTS AND RECOMMENDATIONS
Students must develop conversational facility in two foreign
languages.
Students must take or audit at least one course in literature,
drama, art history, or modern language at Curtis or at the
University of Pennsylvania under the reciprocal agreement.
PROFESSIONAL STUDIES CERTIFICATE IN OPERA
This two-year, nondegree program parallels the Master of Music
course of study in opera. No undergraduate degree is required
to enter the program and no degree is awarded upon completion.
An individual curriculum will be designed by the head of the
Vocal Studies Department together with the student to meet the
singers specific needs in language, musical skills, and coaching.
ELEMENTARY AND SECONDARY
SCHOOL STUDENTS
The Curtis Institute of Music does not offer a preparatory music
or academic program. It is believed that gifted young musicians
should study with leading teachers from the beginning of their
conservatory days. Accordingly, Curtis sets no minimum age for
the admission of exceptional students to most of its programs.
Even the youngest, elementary school-aged students receive
musical training from the same teachers at the same intensive
levels as do their older colleagues (the only difference being that
the younger students may receive extra lessons).
Until they earn a high-school diploma or equivalent and take
the SAT I and, if necessary, the TOEFL, students younger than
college age are considered candidates for the Diploma. These
students pursue their musical studies at Curtis, and they pursue
their college-preparatory academic studies at an accredited
public or private high school of their own choosing. Several such
schools are within walking distance of Curtis. Students must
make their own arrangements for the payment of tuition and
other fees. Financial aid is available at most private schools.
Limited funding may be available from Curtis based on need.
For further information about elementary- and secondary-school
options, please contact the director of student services at
215-717-3143 or studentservices@curtis.edu.
Students under sixteen years old are required to have a parent
or adult guardian living with them. The school encourages all
students under eighteen to live with a parent, guardian, or older
student. In consultation with the dean and the faculty, academically
advanced younger students may on occasion be permitted to enroll
in academic courses for which they demonstrate superior aptitude.
ACTIVITIES REQUIRED OF PRE-COLLEGE-AGED STUDENTS
PERFORMANCE Major Lesson
Chamber Music
(required for pianists and orchestral
instrument majors age fourteen and older)
Orchestra (required for orchestral instrument
majors age sixteen and older)
Supplementary Piano
(not required for piano majors)
MUSICAL STUDIES Preparatory Musical Studies
OUTSIDE ACADEMIC SCHOOLING
Pre-college-aged students must be enrolled in an accredited
elementary- or secondary-school program or other approved
program. (The registrar must be informed of student enrollment
in non-Curtis academic programs.)
Students must maintain satisfactory grades (which Curtis defines
as 2.0 or better) in their school programs, and they must provide
Curtis with evidence of satisfactory progress each marking period
or semester.
27
COURSE
DESCRIPTIONS
KEY TO COURSE LIST
Odd-numbered courses generally meet in the fall and even-
numbered courses meet in the spring.
The designations s.h. (semester hours) and g.c. (graduate
credits) indicate credit-hours given per term for undergraduate
and graduate courses, respectively.
Yearlong, two-semester courses are designated by hyphenated
course numbers. Students must successfully complete both
semesters of required yearlong courses to satisfy the graduation
requirement.
The symbol * indicates a course that is not offered every year.
PERFORMANCE COURSES
LESSONS AND COACHINGS
Major Lessons Fall and Spring; various s.h. or g.c./term
One lesson/equivalent per week with the students major instructor.
Younger students may receive two lessons per week. Voice and
instrumental majors receive four s.h./term credit; piano, compo-
sition and conducting majors receive six s.h./term credit. Opera
students receive one g.c./term credit.
Composition Seminar CMP 001002; 1 s.h./term
Weekly seminar class for composers, involving analysis, presentation,
and discussion of contemporary music.
Early Music Performance HRC 001002; 1 s.h./term
Examination of sixteenth- and seventeenth-century performance
practice through lectures, demonstrations, and coachings.
Chamber Music CHM 101402; 1 s.h./term
Regular coaching of student string, brass, woodwind, and mixed
ensembles by Curtiss chamber music faculty. Trios, quartets, and
larger ensembles are formed by students or assigned by the faculty.
Required of all piano and orchestral instrument majors with
specific repertoire requirements for each semester.
Score Analysis CND 113114; 1 s.h./term
Detailed study of the structure of orchestral scores for conducting
majors.
ORCHESTRAL REPERTOIRE STUDIES
Brass BRS 001002; 1 s.h./term
Percussion PRC 001002; 1 s.h./term
Strings STG 001002; 1 s.h./term
Woodwinds WWD 001002; 1 s.h./term
Weekly sectional study and rehearsal of orchestral literature,
required of all string, woodwind, brass, and percussion orchestra
members.
Orchestra ORC 001002; 3 s.h./term
Participation in the Curtis Symphony Orchestra, as well as the
Curtis Chamber Orchestra. Required of all orchestral instrument
majors sixteen years of age and older.
Organ Class ORG 001002; 1 s.h./term
Weekly performance class, required of all organ majors. All
repertoire to be performed from memory.
20/21: The Curtis Contemporary Music Ensemble
ORC 211212; 1 s.h./term
Participation in 20/21, an ensemble devoted to the performance
of chamber music from the twentieth and twenty-first centuries.
Rehearsals weekly and as needed. Chamber music credit given
based on participation and opportunity to perform or at the
discretion of the dean.
Piano Repertoire Seminar PNO 221222; 1 s.h./term
Weekly performance class, required of all piano majors.
Lab Orchestra ORC 311312; 1 s.h./term
Practice in conducting ensembles from the symphony orchestra,
required of all conducting majors.
VOCAL STUDIES
(With the permission of the managing director of the Vocal
Studies Department, students in other departments may participate
in some of these courses.)
Diction DCT 001002; 0.5 s.h./term
Work in all the major singing languages: Italian, French, German,
and English. In this course, all aspects of language (diction,
grammar, and interpretation of text) are regarded as important
tools of the singers craft.
Diction Coaching DCT 101102; 1 s.h./term
DCT 401402; 0.5 g.c./term
DCT 411412; 0.5 g.c./term
The application of diction fundamentals to prepare for vocal
performances.
Voice Repertoire Coaching VRP 101102; 1.5 s.h./term
VRP 401402; 1.5 g.c./term
Vocal and musical preparation with opera and voice coaches for
operatic and recital performances.
28
Alexander Technique VRP 111112; 0.5 s.h./term
OPR 501.1502.1; 1 g.c./term
An introduction to gentle, novel, guided movement sequences
that focus awareness on the subtle patterns of movement,
breathing, and alignment. The course aims to enhance flexibility,
intelligence, and grace in movement. Credit may also be granted
for yoga classes.
History of Singing: The Recorded Legacy
MHS 211212; 2 s.h./term
A study of the history of vocal performance, using recordings
from the past and present.
Acting Seminar VRP 205206; 1 s.h./term
An undergraduate course in the method of developing the
emotional and physical life of a character through examination
of the text. Using improvisation and other methods, the course
cultivates the skill of acting while singing.
Voice Performance Seminar VRP 301302; 1 s.h./term
Weekly undergraduate repertoire class for voice majors.
Opera History Seminar MHS 505506; 0.5 g.c./term
A study of the growth of the operatic form from the Camerata
of 1597 to the mid-twentieth century. Emphasis is on major works
of the standard operatic literature from Italy, France, and Germany.
Opera Staging OPR 571572; 3 g.c./term
OPR 671672; 3 g.c./term
Rehearsals for major productions.
Opera Performance Seminar VRP 501502; 0.5 g.c./term
Weekly graduate repertoire class for opera majors, in which
singers can perform for each other and try out new material
in a constructive environment.
SUPPLEMENTARY PERFORMANCE
Supplementary Harpsichord HRC 005006; 2 s.h./term
One lesson per week with a member of the harpsichord faculty.
Supplementary Piano PNO 001002; 0.5 s.h./term
One lesson per week with a member of the supplementary piano
faculty. Required for two years of all undergraduates who are
not exempted from the supplementary piano requirement by
examination.
Supplementary Voice VOI 001002; 0.5 s.h./term
One lesson per week with a member of the voice faculty or a
graduate student. Open as a performance elective to all students.
Viola for Violinists VLA 101102; 1 s.h./term
One lesson per week with a member of the viola faculty. Open as
a performance elective to violin majors.
Elements of Conducting CND 451452; 3 s.h./term
Introduction to the technique of leading larger ensembles,
basic beat patterns, techniques of expression, and baton and
score-reading skills. One semester required of all Bachelor of
Music students.
MUSICAL STUDIES COURSES
GENERAL STATEMENT OF PURPOSE
The musical studies program is designed to give students practical,
artistic working knowledge of the techniques of Western music.
The course sequence progressively enables students to understand
linear and vertical relationships in music and their inspired
synthesis in composition. Required courses are supplemented
by specialized courses in keyboard studies, orchestration, and
score-reading. Solfge provides aural reinforcement of musical
techniques taught in the musical studies program. Music history
traces the evolution of those techniques.
Entering students are placed by examination. Placement decisions
may be subject to review. Tutoring is available. Students of
exceptional ability may receive specialized instruction and
advanced classes are offered.
COURSE LEVELS IN MUSICAL STUDIES
Complete musical studies graduation requirements are specified
on pages 2226. In fulfilling those requirements, the following
groups of courses are designed to be taken concurrently. Initial
placement levels are determined by examination, and credit is
given for required courses exempted by examination.
(The symbol * indicates a musical studies course that is not
offered every year.)
MUSICAL STUDIES
LEVEL COURSE HOURS PER WEEK
0 Fundamentals 3
1 Harmony I 3
Counterpoint I 2
Solfge I 2
Music History I 3
2 Harmony II 2
Counterpoint II 1
Form 1
Solfge II 2
Music History II 2
3 Harmony III 2
Analysis 2
Solfge III 2
Music History Seminar 2
29
TECHNIQUES OF MUSIC
Preparatory Musical Studies THY 001002; 1 hr./wk.
A noncredit course designed specifically for younger students,
providing intensive drill in the fundamentals of music, including
key signatures, scales, intervals, and triads.
Fundamental Musical Studies THY 011; 3 s.h./term
A one-term course in the basics of music theory (i.e., scales, key
signatures, intervals, and chords), preparing students for the
Curtis musical studies program.
Solfge for Singers SFG 101102; 2 s.h./term
Designed to address the specific needs of some singers, the content
of this course is to be arranged with the instructor.
HARMONY
Harmony I HRM 102; 3 s.h./term
The basic progressions of tonal harmony, studying the functions
of triads on all diatonic scale degrees.
Harmony II HRM 201202; 2 s.h./term
Modulation to the dominant in major and to the mediant in
minor, sequential progressions, melodic and rhythmic figuration,
and chromaticism through modal mixture.
Harmony III HRM 301302; 2 s.h./term
Diatonic modulation to all keys, the Phrygian II, augmented sixth
chords, and advanced chromaticism.
COUNTERPOINT
Counterpoint I CPT 101; 2 s.h./term
CPT 102; 1 s.h./term
The writing of cantus firmus and two-part species counterpoint
in the major and minor modes.
Counterpoint II CPT 201202; 1 s.h./term
Three-part species counterpoint and introduction to combined
species in three voices.
Counterpoint III CPT 301302; 1 s.h./term
Further study of combined species, double (i.e., invertible)
counterpoint, and fugue.
SOLFGE
Solfge I SFG 111132; 2 s.h./term
Sight-singing in five clefs, singing and recognition of intervals
and triads, two-part contrapuntal dictation, rhythmic dictation,
and score-reading.
Solfge II SFG 241262; 2 s.h./term
Advanced sight-singing in seven clefs, chromaticism, three-part
contrapuntal dictation, simple figured-bass dictation, and reading
Bach chorales in open score.
Solfge III SFG 371392; 2 s.h./term
More complex figured-bass dictation with chromaticism, atonal
dictation and sight-singing, and advanced score-reading.
FORM AND ANALYSIS
Form THY 201202; 1 s.h./term
Beginning with the study of phrase structure, a survey of the
principal musical forms of the baroque, classical, and romantic
eras, with particular emphasis on the evolution of sonata form.
Analysis THY 301302; 2 s.h./term
The analysis of tonal music through the study of its voice-
leading structure. This course will examine works from different
genres, including binary and song forms, as well as complete
sonata movements.
Twentieth-Century Analysis THY 401; 2 s.h./term
A survey of analytical techniques based on original methods of
composition and separately produced perspectives. A wide range
of works will be studied, from early pieces of free atonality and
impressionism to music written in the past twenty years.
KEYBOARD
Keyboard Studies I KBD 101102; 1 s.h./term
Contrapuntal and harmonic progressions in all keys, fundamentals
of figured bass, keyboard settings of folk and chorale melodies,
and basic score-reading.
Keyboard Studies II KBD 201202; 1 s.h./term
Figured bass chorales, introduction to continuo, techniques of
orchestral score-reading, Bachs Art of the Fugue in open score,
and sight-reading for two and four hands.
Keyboard Studies III KBD 301302; 1 s.h./term
Advanced continuo, advanced orchestral score-reading, and
advanced sight-reading for two and four hands.
Keyboard Improvisation KBD 305*; 1 s.h./term
An exploration of the techniques for creating formal tonal structures
on both given and free materials. The first semester will focus on
harmonization and ornamentation of chorale melodies, including
chorale prelude, variations, and ground bass. Free-form structure
will be explored in the second semester, as well as including some
two- and three-part form.
Chamber Chorus KBD 355356; 1 s.h./term
The basics of voice production and ensemble singing, taught in
a practical setting. The repertoire for this course is a broad
overview of sacred and secular choral music. Two semesters are
required for Diploma and Bachelor of Music students majoring
in composition, conducting, harpsichord, organ, or piano.
30
MUSIC HISTORY
Music History I MHS 101102; 3 s.h./term
The history of Western music from its origins in ancient Greece
to the beginning of the twentieth century. This course aims to
provide a general survey of the major composers, as well as the
development of tonality to its dissolution at the beginning of the
twentieth century.
Music History II MHS 201202; 2 s.h./term
An examination of the trends and ideas that shaped music from
the beginning of the twentieth century to the present. Students
will explore this development through a chronological study of
the composers, as well as through the creation of their own works
employing the different compositional techniques of the era.
Music History Seminars MHS 301302; 2 s.h./term
Bachelor of Music candidates are required to take at least two
seminars. Offerings vary from year to year. Sample topics include:
Bartk and Stravinsky, J. S. Bach, film composers, madness in
opera, creativity, Medieval seminar, the Second Viennese School,
performance practice, and music of Latin America.
SPECIALIZED SUPPLEMENTARY COURSES
Supplementary Composition CMP 001002; 1 s.h./term
Fundamentals of music composition focusing on students own
composed music. Students with experience as composers are
welcome, though no experience is necessary for instruction.
This course also includes form, analysis, and modern techniques;
readings of student works; and possible performance opportunities.
The Violin: Its History, Preservation, and Use MHS 311312*; 1 s.h.
A study of the history and development of the violin focusing on
the major violinmakers from Italy, France, Germany, and England.
Composers Letters MUL 305*; 3 s.h.
An investigation into the lives of composers through their
correspondence. Studies will include the history of letter-
writing and will focus on the letters of Mozart, Brahms, Clara
Schumann, Beethoven, and Tchaikovsky. This course can
be taken as either a musical studies or liberal arts elective.
Applied Orchestration I THY 321*; 2 s.h.
A study of orchestral instruments (their ranges, capabilities, and
use within small, like-instrument ensembles) within historical,
traditional, and contemporary contexts. Special attention is paid
to score preparation and parts extraction.
Applied Orchestration II THY 322*; 2 s.h.
A study of effective writing for instruments and voices in large
ensembles. This course also explores traditional scoring practices
and contemporary techniques, including multiphonics and
electronic sound modification.
Analysis of Orchestration CND 421422; 1 s.h./term
Basic principles of orchestral instruments (general techniques,
ranges, limitations, etc.) and the study of their effective use in
small and large combinations, examined in both historical and
contemporary contexts.
Score-Reading KBD 411412; 1 s.h./term
Reading at the keyboard of selected movements, representing
important styles and composers from 1750 to 1950, chosen from
orchestral, chamber, choral, and operatic repertoire.
Music, Magic, and Mysticism MHS 406*; 2 s.h./term
An exploration of common existential themessuch as creation
myths, death and resurrection, heroes and legends, love and sex,
and symbolismand their connections to the arts. Music includes
Gregorian chant, Haydn, Wagner, African drumming and chanting,
Icelandic Eddic poetry, the troubadours, Schoenberg, and Prt.
Independent Study THY 461462; various s.h./term
Individual instruction in selected topics of musical studies
or analysis.
LIBERAL ARTS COURSES
GENERAL STATEMENT OF PURPOSE
The goal of the liberal arts program at Curtis is to educate
musicians as broadly and deeply as possible. Great musicians
should be more than technically proficient; they should be greatly
literate and widely informed as well. Specific objectives are the
practice of rigorous and independent thinking; the pursuit of
clear expression, both oral and written; the encouragement of
creativity; and the mastering of learning itself. Students will
study major works of literature, art, and philosophy and explore
the historical contexts in which those works and ideas originated.
(The symbol * indicates a liberal arts course that is not offered
every year.)
AESTHETICS/PHILOSOPHY
Aesthetics: The Nature and Experience of Art and Music
HUM 310*; 3 s.h.
Discussions of questions such as: What sorts of things are works
of music, art, and literature? Can criticism in the arts be objective?
Do such cultural entities answer to more than one admissible
interpretation? Readings are drawn from contemporary philo-
sophical works.
ART HISTORY
Nineteenth-Century Art ART 201*; 3 s.h./term
A study of the major movements of the nineteenth century,
including artists such as David, Delacroix, Courbet, Manet,
Monet, Czanne, Seurat, and van Gogh. The way in which the
emerging field of art criticism shapes the perception of works of
31
art is considered, as well as historical and cultural contexts.
Classwork includes museum trips.
Twentieth-Century Art ART 203*; 3 s.h.
A survey of major artists and movements of the twentieth
century. The course explores how history, politics, and culture
shape the making and meaning of art.
Italian Renaissance Art ART 231*; 3 s.h./term
A study of the emergence and development of one-point
perspective and transformations in sculpture and architecture in
the fifteenth and sixteenth centuries. This course considers the
major art centers of Florence, Rome, and Venice and artists such
as Donatello, da Vinci, Raphael, Michelangelo, and Titian.
Seventeenth-Century European Art ART 309310*; 3 s.h./term
A study of the major artists in Italy, France, Flanders, Spain, and
Holland. Works of art are examined within their religious, historical,
and social contexts. Classwork includes museum trips.
ENGLISH AS A SECOND LANGUAGE
English: Intermediate to Advanced ENG 001002; 3 hr./week
A noncredit course that concentrates on improving reading,
writing, and conversational skills, and increasing vocabulary.
English Conversation ENG 003004; 1 hr./week
A noncredit conversation course, focusing on cultural differences
and building a vocabulary for everyday life. This course can
be taken with or separately from ENG 001002. Placement
determined by interview.
ENGLISH LANGUAGE AND LITERATURE
Language and Literature ENG 101102; 3 s.h./term
A course in writing, reading, and critical thinking, required of
all students in the Bachelor of Music program. Students are
introduced to a wide range of genres and periods of English
and American literature.
Shakespeare LIT 111; 3 s.h.
An in-depth exploration of six of the plays of Shakespeare.
The course includes a study of Shakespeares life and times.
Shakespeare and Others LIT 112*; 3 s.h.
A comparison of Shakespearean texts to those of other authors
and librettists who have drawn on his work. The coursework
includes attendance at a performance of a Shakespeare play
or an opera based on his work, if possible.
Irish Literature LIT 117*; 3 s.h.
An in-depth study of the poetry, prose, and drama of Ireland.
Readings include Yeats, Joyce, Beckett, Ni Dhomnail, Boland,
OFaolain, and Heaney. Several guest speakers are invited.
Modernism LIT 135; 3 s.h.
An exploration of authors at the turn of the century, with an aim
to understand how modernism corresponds to changing views
on mass production and mass movements, the machine, the body,
and the human mind. In addition to works by Joyce, Eliot, Gide,
and Stein, the course will consider examples of modernist art
and music, as well as the emergence of radio and cinema.
Postmodernism LIT 136; 3 s.h.
An examination of factors that contributed to the radical turn
to postmodern literature around the time of World War II. The
postmodern narrative will be studied with respect to language
and its representation of the world and the status of the narrator,
as well as this new attitudes political and social consequences.
The Literature of War LIT 157158*; 3 s.h./term
A study of the fiction, poetry, and memoirs produced in the time
of war. Both World Wars and the Vietnam War will be of particular
interest in this course. Guest speakers are invited.
American Literature LIT 235*; 3 s.h.
A study of nineteenth-century American prose and poetry,
concentrating on Hawthorne, Melville, Dickinson, and James.
Fiction Workshop LIT 301*; 3 s.h.
The writing of weekly stories in a variety of voices and forms
supplemented by reading and discussion of short fiction by such
authors as Dinesen, Fitzgerald, Malamud, Conrad, Barthelme,
Oates, Munro, and Carver. Guest authors speak to the class.
Limited to ten students.
Modern Drama LIT 303304*; 3 s.h./term
A look at the changes wrought dramatists and depicted on the
stage during modern times, reading works by Chekhov, Ibsen,
Beckett, ONeill, and Friel.
Drama Workshop LIT 306*; 3 s.h.
A study of the history and elements of theatrical expression
through improvisation and acting. The course also includes play-
writing and performance.
Poetry Workshop LIT 307*; 3 s.h.
A course in writing poetry and reading selections from the finest
poetry of the contemporary era.
Fin de Sicle: Vienna and Beyond LIT 321*; 3 s.h.
An exploration of the literary and cultural life in Vienna around
1900, as well as the developments in the German-speaking literature
in other urban centers in Central Europe at the beginning of the
twentieth century. Readings include dramas, librettos, stories, poems,
and essays by Hugo von Hofmannsthal, Arthur Schnitzler, Sigmund
Freud, Stephan George, Georg Kaiser, Franz Kafka, and others.
32
Russian Literature in Translation LIT 323*; 3 s.h.
The rise of Russian prose and the novel in the nineteenth
century during the struggle against serfdom and the transition to
an urban industrial society and revolution. The course explores
the texts representations of the quest for freedom and social
and moral justice. Texts include works by Pushkin, Lermontov,
Turgenev, Dostoyevsky, Tolstoy, Chekhov, and Akhmatova.
Nineteenth-Century Novel in Russia and France LIT 325*; 3 s.h.
The development of the short story and novelistic forms, as well
as important links between Russian and French literary traditions
during the nineteenth century. Readings include novels, short
stories, and plays by Chekhov, Gogol, Turgenev, Tolstoy,
Chateaubriand, Balzac, Sand, Flaubert, and Zola.
The Rise of the Novel: British Literature of Empire LIT 329*; 3 s.h.
A look at the development of the British novel, starting in the
late eighteenth century. The course will focus on connections
between the project of imperial expansion and the production
of national identity through literary narratives. Readings include
Behn, Defoe, Swift, Shelley, Bront, and Conrad.
Postcolonial Perspectives: The Empire Writes Back LIT 330*; 3 s.h.
A study of novels from former British colonies that respond
to the British literary tradition. Readings include authors from
Africa, South Asia, and the Caribbean.
Kierkegaard, Mozart, and Desire LIT 331*; 3 s.h.
A survey of philosophical, theological, and psychoanalytical
literature on the theme of desire/desire for the Other: human
objects of desire and the Divine Object of desire, conscious and
unconscious desire, the mechanisms of desire, and desire as an
index of the soul/psyche. Works included are by Kierkegaard,
Plato, and Lacan.
American Moderns:
Hard-boiled Fiction and Film Noir LIT 335*; 3 s.h.
The characteristics of early hard-boiled fiction and film noir,
including new attitudes in the twentieth century toward knowledge,
power, identity, and desire, as well as new technologies and
regulations that influenced the production of print media and
film. Readings include works by Dashiell Hammett, W. R. Burnett,
Raymond Carver, Chester Himes, Dorothy Hughes, Patricia
Highsmith, Walter Mosley, and Paco Ignacio Taibo. Screenings
may include such films as Detour, The Big Sleep, The Lady in the
Lake, The Man Who Wasnt There, Brick, and The Big Lebowski.
HISTORY
Western Civilization I HST 101102; 3 s.h./term
A study of the evolution of the West from remote antiquity to the
end of the Middle Ages. Required of all students in the Bachelor
of Music program.
Western Civilization II HST 109110*; 3 s.h./term
An elective course that presents a continuation of Western
Civilization I from the Italian Renaissance to the present. Europe
will be emphasized but not to the exclusion of Western Civilization
transplanted to areas like America, Africa, and Australia due to
colonialism.
History of the United States HST 121122*; 3 s.h./term
A yearlong course in American history from pre-Columbian
times to the present.
American History since the Reconstruction HST 123124*; 3 s.h./term
A yearlong course on American history from 1877 forward, offering
an in-depth focus on the last 125 years.
America and the World since 1945 HST 201202*; 3 s.h./term
An examination of America, as well as world history, since the
end of World War II.
The Civil War Era HST 321*; 3 s.h./term
A semester course on the American Civil War, including the
prelude to the Civil War in the 1850s, the Reconstruction period,
and an emphasis on the war years themselves, 1861 to 1865.
The World War II Era HST 322*; 3 s.h./term
A semester course on mankinds greatest war and tragedy, covering
the prelude to the war and the war years.
HUMANITIES
Introduction to Psychology HUM 110*; 3 s.h.
A survey of major concepts and applications of psychology in the
worlds of science, human behavior, medicine, counseling, the arts,
and everyday life. Students will learn how to read and critically
evaluate many sources of information about psychology and gain
a greater understanding of traditional and contemporary research,
theory, and practice. Special attention will be given to the application
of psychology to the performing artist and the creative process.
MODERN LANGUAGES
French Conversation I and II FRE 101102; 3 s.h./term
A practical approach to learning French, stressing oral communi-
cation, the understanding of spoken French, and basic fluency in
everyday situations.
German Conversation I and II GER 101102; 3 s.h./term
Introduction to sounds, vocabulary, and structure of the language.
Listening, comprehension, speaking, reading, and writing are
developed simultaneously.
Italian I and II ITL 101102*; 3 s.h./term
Lessons in how to understand, speak, read, and write the Italian
language. Includes discussions of Italian culture.
33
French Conversation III and IV FRE 201202*; 3 s.h./term
A thorough grammar review with a standard textbook, grammat-
ically based conversation drills, reading, and vocabulary building.
The course also includes a brief survey of French literature,
primarily poetry, plus one or two twentieth-century French novels.
German Tutorial GER 201202; 3 s.h./term
A review of German conversation and grammar. Prerequisite
GER 101102 or equivalent. The course emphasizes vocabulary
and idiom, as well as active mastery of grammatical forms.
Italian III and IV ITL 201202*; 3 s.h./term
A course in expanding vocabulary by reading and listening to
stories, viewing films and videos, and discussing topical issues.
Placement by interview with the instructor.
SCIENCE
Acoustics SCI 102*; 3 s.h.
An introduction to the physics of sound: auditory perception,
acoustical properties of musical instruments, architectural design,
tuning and temperaments, and sound production. The emphasis
is on teaching students to understand the acoustics of their own
instruments.
Computer Applications for Musicians SCI 301302; 3 s.h.
Preparation in the use of Finale to create scores and parts, an
introduction to the use of Sibelius, and instruction in preparing
PowerPoint presentations. In the process, keyboarding and word-
processing skills are reviewed and reinforced.
Web Design and Visual Culture SCI 308*; 3 s.h.
Practice for working skills and computer literacy (Dreamweaver,
Flash, Photoshop, Illustrator), paired with a theoretical under-
standing and brief history of visual culture in the twentieth and
twenty-first centuries. In addition to the creation of personal
web spaces in both MySpace and Facebook, the course includes
a semester-long project in which each student creates a personal
Web page (for self-promotion or blogging) with graphic and
animated elements, logo, and copy. The course includes readings
by Marshall McLuhan, Walter Benjamin, and Roland Barthes.
Sound Technology for Musicians SCI 316; 3 s.h./term
A look at the evolution of sound recording, from before Edison
to the present; the impact of microphone selection on sound
recording; the role of room acoustics on sound recording; and
digital audio editing, among other topics. Each student will have
a digital audio project for the term.
CAREER STUDIES COURSES
Foundations of Engagement CRS 201202; 1 s.h./term
An introduction to basic skills for engaging audiences and being
a complete professional on and off stage, including public speak-
ing, communications, leadership, collaboration, and personal
responsibility. The yearlong course features classroom learning,
supervised experience in the field, and special projects. Required
of all second-year Diploma and Bachelor of Music students
over eighteen.
Sacred Music Seminar ORG 221222*; 1 s.h./term
ORG 231232*; 1 s.h./term
A practical course in developing the skills of a successful church
or synagogue musician. One year is devoted to improvisation and
service playing; the other covers choral techniques and worship
planning. Required of all organ students.
Conductors Forum CND 301302; 1 s.h./term
A yearlong course that helps conducting majors develop various
career and personal skills needed to become a successful
conductor, including leadership, career management, orchestra
administration and management, artistic planning and
programming, and verbal communication. The course includes
opportunities to meet various guest conductors, speakers, and
artists in an informal classroom setting.
The Twenty-First-Century Musician CRS 363; 1 s.h./term
An exploration of how the classical music industry works and
how students can tailor their skills to create their own varied,
rewarding, and sustainable professional paths. Topics include
obtaining a job, orchestral life, freelancing, grant-writing, and
managing money, time, and stress. Required of Bachelor of
Music and Diploma students in one of their last two years.
34
ACADEMIC
POLICIES AND
REGULATIONS
ACADEMIC ADVISING
An academic advisor will be assigned to all new students enrolled
in the Bachelor of Music degree program. The advisors, who are
members of the liberal arts faculty, will be available throughout
the year to serve as mentors and to offer academic support to
students. The director of student services serves as advisor to all
younger students and coordinates external academic classes.
ACADEMIC CALENDAR
All accepted students are enrolled for an entire academic year
consisting of the nine-month period from September to May.
(See the Academic Calendar on page 36.) Curtis does not offer
programs or other courses of study during June, July, or August.
ACADEMIC HONESTY
Excellence is as important in the classroom as it is on the stage
or in the studio. The Curtis Institute of Music requires academic
honesty and expects personal integrity and responsibility in
all areas of conduct. (See the Current Students area on the
Curtis website, www.curtis.edu, for the complete Academic
Honesty Policy.)
ATTENDANCE
Students are required to attend and be on time for all private
lessons, coachings, ensemble classes, academic classes, and opera
and orchestra rehearsals scheduled by Curtis.
In addition students must adhere to the attendance policies out-
lined by their individual instructors for each class. Late students
may be refused admittance, and credit for attendance when late
will be granted at the teachers discretion.
Students unable to attend a private lesson, coaching, or ensemble
class because of illness or other circumstance must telephone
the registrar (215-893-5257) by 9 a.m. that day. Curtis reserves
the right to request a doctor's excuse for extended illnesses or
after multiple absences. Unauthorized absences from ensemble
classes or orchestra rehearsals may result in denial of a Release
Request of any kind and a grade of F for the semester. Excessive
unexcused absences from any class may be cause for dismissal.
ATTIRE
All students should own concert attire (long black dress or full-
length skirt and top with sleeves for women; tuxedo or dark suit
and both long black tie and black bow tie for men).
At all times during their enrollment at Curtis, students are
expected to dress in attire appropriate to their positions as students
and performers.
CREDIT BY EXAMINATION
Students may meet requirements in musical studies and
supplementary performance subjects by examination. Credit
for Advanced Placement Examinations may be given in certain
liberal arts subjects. For additional information, consult the
dean (john.mangan@curtis.edu) or the chair of the Liberal Arts
Department (jeanne.mcginn@curtis.edu); to reach them by
telephone, call 215-893-5252.
Curtis will give credit for liberal arts and music history courses
taken at an accredited college, university, or music school earned
either before admission or during the period of enrollment. Curtis,
however, reserves the privilege of examining all candidates before
granting the transfer of credits. Any transfer courses taken at
another institution during the students period of enrollment
at Curtis must have a grade of C or better, as well as the prior
approval of the dean.
Transfer students may receive credit for up to twenty-seven
semester hours in liberal arts subjects. Students with a previous
undergraduate degree must take a minimum of fifteen semester
hours in liberal arts subjects at Curtis to receive a Bachelor of
Music degree from the Institute.
DROPPING AND ADDING COURSES
Courses may be added only during the first two weeks of each
semester.
Courses may be dropped during the first four weeks of the
semester without appearing on the students transcript. Students
who drop a course after the second week of classes may not add
one in its place.
Students who drop a course between the fifth and eighth week of
classes will receive a W/F (Withdraw/Fail). After eight weeks the
mark will be F. If there are extenuating circumstances, a student may
submit to the registrar a written petition to have the grade changed.
35
The petition will be reviewed by the appropriate staff members,
and, if approved, a W/P (Withdraw/Pass) for the course will
appear on the students transcript.
GRADE OF INCOMPLETE
No grade of Incomplete will be given unless approved by both
the dean and the instructor of the course. The student must make
the request in writing to the dean before the end of the semester
in which the course is being taken. For those courses in which a
grade of Incomplete is received, course work must be completed
within four weeks of the end of the semester and a grade submitted
to the registrar. Otherwise, a permanent grade of F for that
course will be recorded on the students transcript.
RELEASE OF TRANSCRIPTS
Students must make all requests for transcripts in writing to the
registrar. Official transcripts will be released directly to outside
agencies only after the registrar receives a written request from
the student.
Current students are entitled to three official transcripts each year
without charge. Additional transcripts will be sent for $5 each.
Alumni will be charged $5 for each transcript released. Written
requests must include a check made payable to the Curtis
Institute of Music.
The Curtis Institute of Music adheres to the Family Educational
Rights and Privacy Act of 1974.
SCHEDULING
Throughout the school year, students will have performances,
rehearsals, and other institutional obligations on weekday
evenings, as well as on Saturdays and Sundays. Examples include
orchestra rehearsals, lessons subject to the availability of teachers,
and opera rehearsals.
SCHOLASTIC STANDING
Students are on probation during the entire period of their
enrollment at Curtis. Students are expected to progress according
to the standards of the faculty and to adhere to the rules of the
Curtis Institute of Music.
Students in the Bachelor of Music program must maintain at
least a 2.0 grade point average in musical studies and liberal arts
subjects. International students must maintain at least a 2.0 grade
point average in all academic subjects.
GRADE GPA POINTS
A+ 4.0
A 4.0
A 3.7
B+ 3.3
B 3.0
B 2.7
C+ 2.3
C 2.0
C 1.7
D+ 1.3
D 1.0
F 0.0
Courses accepted as transfer credits and through exemption
exams count toward the total number of credits for graduation
but are not included in GPA calculations.
One semester-hour represents fifteen clock-hours of class time
for academic courses. In musical studies courses, students who
receive a D first semester and an F second semester must repeat
both semesters of the course.
In both musical studies and liberal arts courses, D is a temporary
first-semester grade. The D will be changed to an F if the student
fails second semester; D will be changed to a D should the
student receive a passing grade for second semester.
SECURITY POLICIES
All institutions of higher education in the state of Pennsylvania
are required by federal and state law to publish and distribute
annually a Security Information Report, which includes crime
statistics and security policies and procedures. Upon request,
the Curtis Institute of Music will provide a copy of this report
to any applicant for admission.
STUDENT INFORMATION RESOURCES
Additional rules and regulations of the Curtis Institute of Music
are outlined in the Current Students area of the Curtis website
(www.curtis.edu), which will be reviewed in detail at orientation,
and to which all students have access through the Internet Access
Center in the library, the computer studio, and the student
lounge. Students may be dropped at any time for failure to
adhere to the rules of Curtis as stated in the Current Students
area of the Curtis website.
GRADING KEY
A Excellent
B Good
C Average
D Passing
D Conditional:
First semester only
F Failure
AUD Audit
INC Incomplete
P Pass (indicates that no
grades were given in
the course, but that the
student has received
credit for attendance)
W/F Withdraw/Fail
W/P Withdraw/Pass
36
ACADEMIC CALENDAR, 200910
AUGUST 24 New international students arrive
AUGUST 26 AND 27 Registration for new international students
AUGUST 31 New students arrive for orientation
SEPTEMBER 1 Theory placement exam
SEPTEMBER 1 AND 2 Drop/Add for returning students, registration for new students
SEPTEMBER 3 Meeting Day (Convocation, Presidents Picnic)
SEPTEMBER 7 Labor Day holiday
SEPTEMBER 8 First semester begins
OCTOBER 1 Founder's Day (classes held)
NOVEMBER 2329 Thanksgiving vacation
NOVEMBER 30 Classes resume
DECEMBER 11 Holiday Party
DECEMBER 1418 Exam period, no applied music
DECEMBER 18 First semester ends
DECEMBER 19JANUARY 12 Winter vacation
JANUARY 13 Second semester begins
MARCH 22APRIL 4 Spring vacation
APRIL 5 Classes resume
MAY 1014 Exam week, no applied music
MAY 15 Commencement
37
CURTIS STUDENT
INFORMATION, 200809
GEOGRAPHICAL DISTRIBUTION OF STUDENTS
UNITED STATES
Alabama 1
California 12
Colorado 2
Connecticut 1
Delaware 1
District of Columbia 1
Florida 1
Georgia 3
Illinois 10
Indiana 1
Iowa 1
Kentucky 2
Louisiana 1
Maryland 3
Massachusetts 2
Michigan 3
Minnesota 2
Mississippi 1
Missouri 1
New Hampshire 1
New Jersey 3
New Mexico 1
New York 8
North Carolina 4
Ohio 2
Oregon 1
Pennsylvania 14
South Carolina 1
Tennessee 1
Texas 4
Vermont 3
Washington 4
Wisconsin 4
TOTAL 100
OTHER COUNTRIES
Australia 1
Canada 8
Czech Republic 3
France 1
Israel 3
Japan 1
Korea 17
Macau 2
Mexico 1
New Zealand 1
People's Republic of China 16
Republic of China (Taiwan) 6
Russia 1
Switzerland 1
TOTAL 62
COMPETITIONS AND AWARDS
WON BY CURTIS STUDENTS
FIRST PRIZE
2009 American Protg International Piano Competition
2008 ASCAP Foundation/Morton Gould Young Composer Awards
2009 Astral Artists Auditions
2009 Philadelphia Orchestra Albert M. Greenfield Student Competition
(junior and senior divisions)
Grand Bohemian Orlando International Piano Competition
Liederkranz Competition, art song division
Metropolitan Opera National Council Auditions, Philadelphia and Southern
Ohio District auditions and Middle Atlantic Regional Finals
Sullivan Award from the William Matheus Sullivan Musical Foundation
200809 Young Concert Artists International Auditions
SECOND PRIZE
Allentown Symphony Associations 13th Schadt String Competition
THIRD PRIZE
Wilhelm Stenhammar International Music Competition
(plus, the prize for the best Mozart performance)
Eighth Carl Nielsen International Violin Competition
(plus, the Young Peoples Jury Prize)
ADDITIONAL ACHIEVEMENT
Opera Index, Inc., Judges Prize and encouragement awards
38
FACULTY
BIOGRAPHIES
MISHA AMORY
VIOLA
Winner of the 1991 Naumburg Viola Award, Mr. Amory has performed
with orchestras in the United States and Europe, and he has given
recitals in New York, Los Angeles, Philadelphia, Boston, Houston, and
Washington, D.C. He has performed at the Marlboro Music Festival and
the Vancouver and Seattle chamber music festivals, as well as with the
Chamber Music Society of Lincoln Center and Boston Chamber Music
Society. He released a recording of the Hindemith sonatas on the Musical
Heritage Society label in 1993. Mr. Amory is a founding member of the
Brentano String Quartet, which won the inaugural Cleveland Quartet
Award and the 1995 Naumburg Chamber Music Award. He holds degrees
from Yale University and the Juilliard School, and his principal teachers
were Heidi Castelman, Caroline Levine, and Samuel Rhodes. Currently
on the faculty at Juilliard, Mr. Amory joined the faculty of the Curtis
Institute of Music in 2006.
SHMUEL ASHKENASI
VIOLIN
Born in Tel Aviv, Israel, Mr. Ashkenasi attended the Musical Academy of
Tel Aviv and gave his first public performance at the age of eight. After
studying with Ilona Feher, he came to the United States to study with
Efrem Zimbalist at the Curtis Institute of Music. He won the Merriweather
Post Competition, was a finalist in Belgiums Queen Elisabeth competition,
and received second prize in the International Tchaikovsky Competition
in Moscow. Mr. Ashkenasi has toured the former Soviet Union twice and
concertized extensively in Europe, Israel, the Far East, and the United
States, and he has collaborated with Rudolf Serkin, Thomas Hampson,
Murray Perahia, Peter Serkin, and Menahem Pressler. As first violin of
the famed Vermeer Quartet, he has gained a reputation as one of the
worlds outstanding chamber musicians. From 1969 until 2007, Mr.
Ashkenasi was professor of music and artist-in-residence at Northern
Illinois University, and, for the last several years, he taught at Roosevelt
University in Chicago. Mr. Ashkenasi joined the faculty of the Curtis
DAVID BILGER
TRUMPET
Mr. Bilger joined the Philadelphia Orchestra as principal trumpet in 1995;
prior to that, he held the same position with the Dallas Symphony. He
has performed in recital throughout the United States and Canada and
appeared as a soloist with the Philadelphia Orchestra; Dallas, Houston,
and Oakland symphonies; Chamber Orchestra of Philadelphia; Philharmonia
Virtuosi of New York; and Orchestra of St. Lukes. In 1998 he performed
the Tomasi Concerto with the Philadelphia Orchestra at Carnegie Hall
and on tour in North and South America. An active chamber musician,
Mr. Bilger can be heard on the Delos label in a recording of Bachs Second
Brandenburg Concerto with the Chamber Music Society of Lincoln Center.
He studied at the Juilliard School and the University of Illinois. Mr. Bilger
joined the faculty of the Curtis Institute of Music in 1997.
ALFRED BLATTER
COMPUTERS, ACOUSTICS, ORCHESTRATION, SOUND TECHNOLOGY
Dr. Blatter received his D.M.A. in composition-theory from the University
of Illinois, where he studied with Robert Kelly, Ben Johnston, and Kenneth
Gaburo. He is a hornist, published composer, and author of Instrumenta-
tion and Orchestration (second edition), published by Schirmer Books,
and Revisiting Music Theory: A Guide to the Practice, published by
Routledge. Dr. Blatter was the founding editor of Media Press and a
United States panelist to the Ghent conference on new musical notation.
His interests include computer and electronic music, pipe organ design,
psycho-acoustics, and musical theater. He is professor emeritus at
Drexel University, where he taught music theory and was head of the
department of performing arts for twenty-three years. Dr. Blatter joined
the faculty of the Curtis Institute of Music in 1989.
BLAIR BOLLINGER
BASS TROMBONE, ORCHESTRAL REPERTOIRE, CHAMBER MUSIC
Mr. Bollinger is the bass trombone of the Philadelphia Orchestra, which
he joined in 1986. He has made solo appearances with the Philadelphia
Orchestra, Atlanta Symphony, and National Symphony of Taiwan, as well
as at many international and domestic trombone conferences. Mr. Bollinger
has given recitals and master classes in Brazil, Chile, China, Holland, Israel,
Japan, Poland, Taiwan, and throughout the United States. His recordings
include a solo CD (Fancy Free), two discs with Four of a Kind trombone
quartet, and a disc with the Canadian Brass. Also active as a conductor,
Mr. Bollinger is the music director of the Bar Harbor Brass Week in Maine
and has guest-conducted Georgias Dekalb Symphony, the Orchestra
Society of Philadelphia, and several benefit concerts. A 1986 Curtis
graduate, he conducts the Curtis Brass and Percussion Ensemble, coaches
chamber music, and teaches lessons; he also serves on the faculty of
Temple Universitys Boyer College of Music and Dance. Mr. Bollinger
CARTER BREY
CELLO
Mr. Brey was appointed principal cello of the New York Philharmonic in
1996 and has performed numerous times as a soloist with the orchestra
under the batons of Kurt Masur, Andr Previn, Christian Thielemann,
Lorin Maazel, Zubin Mehta, Alan Gilbert, and Christoph Eschenbach.
Mr. Brey rose to international attention in 1981 as a prizewinner in the
Rostropovich International Cello Competition. He has also won the
Gregor Piatigorsky Memorial Prize, Avery Fisher Career Grant, Young
Concert Artists Michaels Award, and other honors, and he was the first
musician to win the Arts Council of Americas Performing Arts Prize. Mr.
Brey has performed as soloist with many of Americas major symphony
orchestras. As a chamber musician, he has made regular appearances
with the Tokyo and Emerson string quartets, Chamber Music Society
of Lincoln Center, Spoleto Festival in the United States and Italy, and
the Santa Fe and La Jolla chamber music festivals, among others. His
discography includes the complete works of Chopin for cello and piano
with Garrick Ohlsson (Arabesque) and The Latin American Album
(Helicon Records), featuring compositions from South America and
Mexico with Christopher ORiley. Mr. Brey studied with Laurence Lesser
and Stephen Kates at the Peabody Conservatory of Music and with
Aldo Parisot at Yale University. Mr. Brey joined the faculty of the Curtis
PAUL BRYAN
ELEMENTS OF CONDUCTING
Mr. Bryan is a graduate of the Curtis Institute of Music and Temple
University, where he studied trombone with Glenn Dodson and Eric
Carlson and conducting with David Hayes, Arthur Chodoroff, and Larry
Wagner. His current positions include: artistic coordinator and conductor
of Bravo Brassthe Philadelphia Youth Orchestra Brass Ensemble,
faculty member at Temple Universitys Esther Boyer College of Music,
music director of Symphony in Cs Summer Symphony Camp, conductor
of the Reading Summer Music Institute, and conductor of the Rodney
Mack Philadelphia Big Brass. Mr. Bryan has also conducted performances
with the Chamber Orchestra of Philadelphia wind and brass ensembles
and the Curtis Brass and Percussion Ensemble. In demand as a guest
conductor and clinician, Mr. Bryan has conducted numerous ensembles,
including Drexel Universitys Concert Band, 20/21: The Curtis Contemporary
Music Ensemble, and various regional honor ensembles in Pennsylvania
and New Jersey. He has served as director of bands at St. Josephs
Preparatory School in Philadelphia and as a conductor at the New York
Summer Music Festival in Oneonta, N.Y. Mr. Bryan, a staff member since
1993, joined the faculty of the Curtis Institute of Music in 2009.
CORRADINA CAPORELLO
ITALIAN DICTION
Dr. Caporello, born in Rome, received a B.A. from Columbia University,
an M.A. from Queens College, and an M.Ph. and Ph.D. from Columbia
University. She has taught Italian language and literature at Columbia
University, John Jay College, Queens College, Hofstra University, and
C. W. Post campus, Long Island University. She is the author of The
Boccaccian Novella: Creation and Waning of a Genre. Dr. Caporello,
a member of the Italian Honor Society, trained with Evelina Colorni.
She has coached Italian operas in the United States, Canada, Italy, Israel,
and China and has taught master classes in Taiwan, Japan, and Mexico,
as well as in the United States. She is a member of the board of directors
of the Licia Albanese-Puccini Foundation and has been a member of
the Juilliard School faculty since 1984. Dr. Caporello joined the faculty
of the Curtis Institute of Music in 1995.
NORMAN CAROL
ORCHESTRAL REPERTOIRE (VIOLIN)
A native of Philadelphia and a 1947 graduate of the Curtis Institute of
Music, where he studied with Efrem Zimbalist, Mr. Carol was concertmaster
of the Philadelphia Orchestra from 1966 until his retirement in 1994. His
professional career began at age seventeen, when he was invited to play
in the first violin section of the Boston Symphony Orchestra. Mr. Carol
has been a frequent soloist with the Philadelphia Orchestra and intro-
duced to Philadelphia audiences the violin concertos of Britten, Hindemith,
and Nielsen, and Bernsteins Serenade. With the composer conducting,
he performed the world premiere of Skrowaczewskis violin concerto.
He plays one of the worlds most prized violins: the ex-Albert Spalding
Guarnerius (del Ges), dating from 1743. Mr. Carol joined the faculty of
the Curtis Institute of Music in 1979.
CHARLES CONWELL
STAGE COMBAT AND STAGE FENCING
Charles Conwell is a professor of theater at the University of the Arts in
Philadelphia, where he has taught stage combat for twenty-three years.
He has directed fights for Opera Delaware, Opera Company of Philadelphia,
and the Metropolitan Opera in New York. He is a member of the Society
of American Fight Directors. Mr. Conwell joined the faculty of the Curtis
JONATHAN COOPERSMITH
HARMONY, COUNTERPOINT, MUSICAL STUDIES FOR SINGERS,
MUSIC HISTORY
A native of Princeton, N.J., Mr. Coopersmith is the artistic director of
Nashirah, the associate conductor of the Philadelphia Singers, and a
guest chorus director of the Philadelphia Orchestra. From 1998 to 2002,
he served as associate conductor of the Delaware County Youth Orchestra.
He has conducted the Philadelphia Orchestra Society, Westminster
Conservatory Orchestra, Wilmington Orchestra, University of Pennsylvania
Wind Ensemble, and Penns Landing Orchestra. He has also served as
music director for Philadelphias Opera on the Square, Rittenhouse Row
Festival, and Festival of the Arts. Mr. Coopersmith holds a masters degree
in orchestral conducting from the Mannes College of Music, where he
studied with David Hayes, and a bachelors degree from the University
of Pennsylvania, where he studied music theory and composition with
George Crumb, Jay Reise, and Richard Wernick. He also studied at the
Pierre Monteux School of Conducting with Michael Jinbo. Mr. Coopersmith
39
40
ROBERT CUCKSON
KEYBOARD STUDIES, COUNTERPOINT
Dr. Cuckson received his B.S. from the Mannes College of Music and
his D.M.A. from Yale University. He studied theory with Carl Schachter,
Ernst Oster, and Allen Forte and composition with Peter Pindar Stearns
and Yehudi Wyner. He also studied piano with Ilona Kabos, Jeaneane
Dowis, and Carlo Zecchi. From 1978 to 1987, he was dean of the Mannes
College of Music, and he is co-chair of the techniques-of-music department
and a member of the composition faculty there. His compositions include
three operas, four concertos, chamber music, and piano works. Dr. Cuckson
JEFFREY CURNOW
CHAMBER MUSIC (BRASS)
Mr. Curnow, associate principal trumpet of the Philadelphia Orchestra,
graduated with a Bachelor of Music degree from Temple University, where
he was a student of Seymour Rosenfeld. Soon after, he was appointed
principal trumpet of the New Haven Symphony Orchestra and joined
the New York Trumpet Ensemble. In 1987 Mr. Curnow left New Haven
to record and tour as a member of the internationally renowned Empire
Brass Quintet. In 1995 he was appointed principal trumpet of the Dallas
Symphony Orchestra. He is well established as an educator, clinician,
adjudicator, arranger, and producer and has taught at the universities
of Connecticut, Scranton, and Boston; Tanglewood Institute; and the
Royal Academy of Music in London. Mr. Curnow joined the faculty of
VICTOR DANCHENKO
VIOLIN
Mr. Danchenko has performed throughout the former U.S.S.R., Europe,
and North and South America, and he has recorded for the Melodya
label. Born in Moscow, he made his debut at age sixteen as soloist
with the State Orchestra of the U.S.S.R. and entered the Moscow State
Conservatory at seventeen as a student of violinist David Oistrakh. He
won numerous national and international prizes and awards, including
gold medals in the Soviet National Competition and in the World Youth
and Student Festival, a top prize in the Jacques Thibaud International
Competition in Paris, and the Ysae Gold Medal. He has given master
classes in the United States, Canada, South America, Europe, Israel, Japan,
and Korea and has served as a jury member of major international
competitions. Mr. Danchenko is a faculty member of the Peabody Institute
of the Johns Hopkins University, and in the summer he participates in
various festivals and summer schools in the United States and around
the world. Mr. Danchenko joined the faculty of the Curtis Institute of
Music in 1994.
RICHARD DANIELPOUR
COMPOSITION
Dr. Danielpour has been commissioned by many international music
institutions, festivals, and artists, including soloists Yo-Yo Ma, Jessye
Norman, Dawn Upshaw, Emanuel Ax, Frederica von Stade, Thomas
Hampson, and Gary Graffman; the Guarneri, Emerson, and American
string quartets and Kalichstein-Laredo-Robinson Trio; and institutions
such as the New York City and Pacific Northwest ballets, New York
Philharmonic, Philadelphia and Stuttgart Radio orchestras, Orchestre
National de France, Chamber Music Society of Lincoln Center, Santa Fe
Chamber Music Festival, and many more. With Nobel Laureate Toni
Morrison he created Margaret Garner, his first opera, which premiered
to sold-out houses in Detroit, Cincinnati, and Philadelphia in 2005
and had its New York premiere at New York City Opera in 2007. Dr.
Danielpour has received a Grammy Award, two Rockefeller Foundation
grants, Charles Ives Fellowship and Lifetime Achievement Award from
the American Academy of Arts and Letters, Guggenheim Fellowship,
Bearns Prize from Columbia University, and grants and residencies from
the Barlow Foundation, MacDowell Colony, Yaddo, Copland House, and
American Academy in Rome. In 2002 he was awarded a fellowship to
the American Academy in Berlin, and he was the third composerafter
Stravinsky and Coplandto be signed to an exclusive recording contract
by Sony Classical. On the Manhattan School of Musics composition faculty
since 1993, Dr. Danielpour joined the faculty of the Curtis Institute of
Music in 1997.
JOSEPH DE PASQUALE
VIOLA, ORCHESTRAL REPERTOIRE (VIOLA)
A 1942 Curtis graduate, Mr. de Pasquale studied with Louis Bailly, Max
Aronoff, and William Primrose; he also prizes his association with Jascha
Heifetz and Gregor Piatigorsky, with whom he recorded and performed
in Carnegie Hall. Mr. de Pasquale joined the Boston Symphony Orchestra
as principal viola in 1947. In Boston he premiered a concerto composed
for him by Walter Piston, and he gave the first Boston performances of
concertos by Walton and Milhaud. He joined the Philadelphia Orchestra
as principal viola in 1964, a position he held until his retirement in 1996.
He has appeared as a soloist frequently with the Philadelphia Orchestra
and has made numerous appearances as a soloist with other orchestras
in the United States and abroad, including the Hanover Symphony under
Aldo Ceccato and the Hamburg Symphony under Klaus Tennstedt.
Mr. de Pasquale has served on the faculties of the Peabody Institute
of the Johns Hopkins University, Indiana University School of Music,
New England Conservatory of Music, and Tanglewood Institute.
Albany Records released his CD Soaring Spirit in 2005. A member
of the de Pasquale String Quartet, Mr. de Pasquale joined the faculty
CHRISTOPHER DEVINEY
PERCUSSION
Mr. Deviney is principal percussion of the Philadelphia Orchestra.
Prior to assuming that title in 2003, he played section percussion in
the Houston Symphony. He has performed and recorded with the New
Orleans Symphony, Toronto Symphony Orchestra, New York Philharmonic,
and Philadelphia Orchestra. He has also performed at the Bard Music
Festival and was a featured soloist with the Brevard Symphony Orchestra
in Florida. In February 2007 he appeared as a soloist with the Philadelphia
Orchestra and Emanuel Ax in Bartks Concerto for Two Pianos and
Percussion. Mr. Deviney has performed at Tulane and Temple universities,
with the Network for New Music and Atmos Percussion Ensemble, and
on the Philadelphia Orchestra Chamber Series. In 2002 and 2007 he
was a featured clinic presenter at the Percussive Arts Society (PAS)
International Convention, and he has presented clinics for PAS Day of
Percussion events in Louisiana, Florida, and Pennsylvania. Mr. Deviney
received his Bachelor of Music from Florida State University under Gary
Werdesheim and his Master of Music from Temple University under Alan
Abel. Mr. Deviney joined the faculty of the Curtis Institute of Music in 2008.
ROBERTO DAZ
The James and Betty Matarese Chair in Viola Studies
PRESIDENT, VIOLA
See page 2.
MIKAEL ELIASEN
The Hirsig Family Head-of-Department Chair in Vocal Studies
ARTISTIC DIRECTOR OF THE CURTIS OPERA THEATRE, OPERA AND
VOICE COACH
Danish-born coach and accompanist Mr. Eliasen received his early
training in Copenhagen, Montreal, and Vienna. He has collaborated with
numerous singers in recital worldwide, including Robert Merrill, Tom
Krause, John Shirley-Quirk, Elly Ameling, Edith Mathis, Florence Quivar,
Mira Zakai, Sarah Walker, Joan Patenaude-Yarnell, and Curtis alumni
Theodor Uppman, Michael Schade, and Rinat Shaham. He has recorded
for Albany Records, CBC, Hilversum Radio, Polish State Radio, Kol
Israel, Irish Radio and Television, London Records, MHS, and Supraphon.
Mr. Eliasen has given master classes at Aix-en-Provence, the Shanghai
Conservatory, Tchaikovsky Conservatory (Moscow), Jerusalem Music
Center, and National Opera of Prague. He has a long association with
the young-artist programs at the Royal Danish Opera and the Opera
Studio of Amsterdam. In the United States, he works regularly at the
Lyric Opera of Chicago, LA Opera, Houston Grand Opera, Pittsburgh
Opera, Santa Fe Opera, and the Metropolitan Opera. Mr. Eliasen was music
director of the San Francisco Opera Center from 1994 to 1996 and artistic
director of the European Center for Opera and Vocal Art in Belgium from
1984 to 1994. For twenty years he has taught at Chautauquas Voice
Program during the summers. Mr. Eliasen joined the faculty of the Curtis
Institute of Music in 1986 and became the head of the department in 1988.
NORMAN ELLMAN
FRENCH
Mr. Ellman graduated magna cum laude with an A.B. degree in French
from Dartmouth College, where he was elected to Phi Beta Kappa.
He received an M.A. in Romance languages from the University of
Pennsylvania and completed all exams and coursework toward the
doctorate. He has studied at the Sorbonne in Paris and at the University
of Strasbourg and was appointed assistant diplm, conducting English-
conversation classes at the University of Lausanne, Switzerland. He has
taught French language and literature at Saint Josephs University and
at Rutgers University in Camden and has instructed all levels of French
at the Alliance Franaise in Philadelphia. Mr. Ellman was professor-in-
residence for semester-abroad programs in La Napoule, France and in
Strasbourg. In 2006 and 2007 Mr. Ellman taught French Literature in
English Translation at Rutgers University, a course that included a trip
to the Loire Valley, Versailles, and Paris. In addition to French, he speaks
German, Italian, and Spanish. Mr. Ellman joined the faculty of the Curtis
LEON FLEISHER
PIANO
A student of the great Artur Schnabel, Mr. Fleisher made his debut at
Carnegie Hall with Pierre Monteux and the New York Philharmonic at
age fifteen and quickly established himself as one of the world's premier
classical pianists. He performs and conducts with many national and
international orchestras, and during the 200809 season he appeared
in Baltimore, Boston, Chicago, Detroit, and San Francisco, ending the
year with a sold-out concert with Lorin Maazel and the New York
Philharmonic. Two Hands, a short documentary film by Nathaniel Kahn
about Mr. Fleishers battle with and triumph over right-hand focal
dystonia, was a 2007 Academy Award nominee, and he was also
featured in a one-hour documentary, Lessons of a Master, by Mark Kidel.
Mr. Fleisher was one of the distinguished recipients of the 2007 Kennedy
Center Honors, and he was awarded the rank of Commander in the
French government Order of Arts and Letters in 2005. In 2008 Sony
BMG Masterworks released The Essential Leon Fleisher, an anthology of
highlights from his greatest recordings. In 2009 the same label released
Mr. Fleishers first two-hand concerto recording in over forty years
Mozart Piano Concertos K. 414, 488, and 242 with his wife, Katherine
Jacobson Fleisher, and the Stuttgart Chamber Orchestra. Mr. Fleisher
41
42
CLAUDE FRANK
PIANO
Mr. Frank began piano studies in his native Germany and continued in
France and then the United States with Artur Schnabel and Karl Ulrich
Schnabel. He studied composition at Columbia University and conducting
with Serge Koussevitzky at Tanglewood. Since his debut with Leonard
Bernstein and the New York Philharmonic in 1959, he has performed
with most major symphony orchestras in the United States, Europe, and
South America, and he has toured on six continents. He has recorded all
thirty-two Beethoven piano sonatas for RCA, as well as Mozart concertos
and chamber music. His late wife is the pianist Lilian Kallir, and their
violinist daughter, Pamela, graduated from the Curtis Institute of Music
in 1989. Mr. Frank is on the faculty of the Yale School of Music, and he
PAMELA FRANK
VIOLIN, CHAMBER MUSIC (STRINGS)
Ms. Frank, a 1989 Curtis graduate, has performed regularly with todays
most distinguished soloists and ensembles, including such orchestras
as those of Philadelphia, Chicago, Cleveland, Boston, New York, San
Francisco, and Baltimore, as well as the Berlin, St. Petersburg, and Israel
philharmonics. As a recitalist, she has performed in the major cities of
the world. Her chamber music projects include performances with such
artists as Peter Serkin, Yo-Yo Ma, Emanuel Ax, and her father, Claude
Frank, and frequent appearances with the Academy of St. Martin-in-the-
Fields, Chamber Music Society of Lincoln Center, and Musicians from
Marlboro. With Claude Frank at the piano, she has recorded the complete
Beethoven sonata cycle for Music Masters Classics and an all-Schubert
disc. For Sony Classical Ms. Frank recorded the Chopin Piano Trio and
Schubert Trout Quintet with Mr. Ax and Mr. Ma. On Decca she has
recorded all of the Mozart violin concertos, the Dvor k concerto, and,
with Peter Serkin, the complete Brahms sonata cycle. In 1999 she was
awarded a coveted Avery Fisher Prize. Ms. Frank joined the faculty of
ANNA FR
VOCAL STUDIES PIANIST
Anna Fr has worked extensively throughout Italy, as well as the rest
of Europe, for the past fifteen years. She served as a coach and staff
pianist at the International Academy of Music in Milan. She has also held
music staff positions at the Institute for the International Education of
Students in Milan, working with American singers; Fraschini Theatre in
Pavia; Lyric and Concert Association in Milan; and Academy Tito Gobbi
in Pavia. Ms. Fr studied piano at Arrigo Boito Conservatory in Parma
and opera repertoire at the International Academy of Music in Milan,
and she holds degrees in modern languages and literature. In 2002
she served as the Italian coach for the Opera Company of Philadelphia
production of Don Giovanni. Ms. Fr joined the faculty of the Curtis
PETER GAFFNEY
LANGUAGE AND LITERATURE, MODERNISM, WEB DESIGN
Born in Seattle, Dr. Gaffney received his B.A. from Stanford University
and his M.A. and Ph.D. from the University of Pennsylvania in compara-
tive literature and literary theory. He has taught courses in American
literature, French and Italian language, and English composition at
University of Pennsylvania and the Universit de Paris X-Nanterre,
and he has worked as art director at Leo Burnett advertising agency
in Prague. His interests include avant-garde art and literature, psycho-
analysis, and experimental cinema, and he is editing a collection of
essays on philosopher Gilles Deleuze. Dr. Gaffney joined the faculty
MATTHEW GLANDORF
MUSIC HISTORY, COUNTERPOINT, PREPARATORY SOLFGE,
MADRIGALS, SACRED MUSIC SEMINAR
Mr. Glandorf has an active career as a conductor, composer, church
musician, and educator. He was raised in Germany, where he received
early instruction at the organ at the Bremen Cathedral with Wolfgang
Baumgratz. At age sixteen he entered the Curtis Institute of Music as a
student of John Weaver and Ford Lallerstedt. He pursued graduate studies
with McNeil Robinson at the Manhattan School of Music. In 2004 he was
appointed as artistic director of the Choral Arts Society of Philadelphia,
and in 2008 he became the artistic director of the Bach Festival of
Philadelphia. He has served as director of music for many Philadelphia
churches, including Old St. Josephs, Old Pine Street Presbyterian, and
Lutheran Church of the Holy Communion. As an organist he is noted for
his improvisation and has played recitals throughout the United States
and in England and Germany, including Rochester Cathedral, Ulm
Munster, the Cathedral of Bremen, the Wanamaker Grand Court organ,
and the new organ in Verizon Hall. He has made several recordings as
an organist and an accompanist. Mr. Glandorf has served on the faculties
of Swarthmore College and Westminster Choir College and joined the
faculty of the Curtis Institute of Music in 1995.
GARY GRAFFMAN
PIANO
Mr. Graffman has been a major figure in the music world since his debut with
Eugene Ormandy and the Philadelphia Orchestra at the age of eighteen.
For the next three decades he toured almost continuously, playing the
most demanding works in the piano literature. His numerous recordings
with the orchestras of New York, Philadelphia, Boston, Cleveland, and
Chicago under such conductors as Bernstein, Ormandy, Szell, and Mehta
include concertos by Tchaikovsky, Rachmaninoff, Prokofiev, Brahms, Chopin,
and Beethoven; they are still regarded as touchstones. In 1979, however,
an injury to his right hand limited Mr. Graffmans concertizing to the small
body of repertoire for left hand alone. Since then seven new works have
been commissioned for him, and he continues to have an active performing
career. Mr. Graffmans association with the Curtis Institute of Music began
in 1936, when he was accepted, at the age of seven, to study with Isabelle
Vengerova. He graduated in 1946. In 1980, following his performance-
reducing injury, he joined the Curtis piano faculty. From 1986 through
May 2006, he served as director of Curtis, as well as president from 1995.
ROGER GRANT
HARMONY, KEYBOARD HARMONY, SOLFGE
Roger Mathew Grant is a Ph.D. candidate in the theory of music at the
University of Pennsylvania. His dissertation concerns theories, ideologies,
and technologies of musical periodicity from 1600 through the present
day. He has published on the history of meter, music cognition, and the
philosophy of music theory in Eighteenth-Century Music and in Music
Theory Online. His review of the recent translation of Jean-Luc Nancys
Lcoute will appear in the Journal of the American Musicological
Society. In the fall of 2008 he received the Deans Dissertation Research
Award from the University of Pennsylvania, which allowed him to study
J. P. Kirnbergers personal library at the Staatsbibliothek zu Berlin. He
is also an active professional countertenor and especially enjoys singing
fifteenth-century polyphony from facsimile. Mr. Grant joined the faculty
GORDANA-DANA GROZDANI

C
GERMAN, LITERATURE
Dr. Grozdani cs undergraduate work was in philosophy, sociology, and
German language and literature at the University of Sarajevo, Bosnia-
Herzegovina and at the University of Zagreb, Croatia, where she also
completed her M.A. in linguistics and philology. She earned her doctorate
from the Germanic languages and literatures department at the
University of Pennsylvania. In her dissertation, Der Balkankrieg als
literarisches Phnomen. Auseinandersetzungen deutschsprachiger
Autoren, she explores the reactions of prominent German-speaking
contemporary authors to the wars in the former Yugoslavia. She has
studied in Kln, Germany, and has taught a wide range of introductory
and upper-level German language and literature courses. Dr. Grozdani c
ELIZABETH HAINEN
HARP
Ms. Hainen has won international acclaim performing as a recitalist
and concerto soloist throughout the United States, Europe, Asia, and
South America. Solo engagements have included the Anchorage,
Mexico State, and New World symphonies; Chicago Civic Orchestra;
Dance Theater of Harlem; Paris Opera Ballet; and Vienna Boys Choir,
in addition to numerous performances with the Philadelphia Orchestra.
She has appeared as a soloist at Carnegie Hall, the John F. Kennedy
Center, and Orchestra Hall in Chicago. An active chamber musician,
Ms. Hainen has performed at the Grand Tetons, Kingston, and Marlboro
festivals. She performed the closing recital for the 2005 Korean National
Harp Festival and the opening recital for the 2004 American Harp
Societys National Conference. Ms. Hainen can be heard on her debut
recording of nineteenth-century romantic solo works on the Naxos
label and on a series of recordings by Lyon & Healys Egan label. She is
the principal harp of the Philadelphia Orchestra and founding director
of the Lyra Society Fund, an organization to promote new works for
the harp and educate young harpists. Ms. Hainen teaches at the Boyer
College of Music and Dance at Temple University and joined the faculty
NITZAN HAROZ
TROMBONE
Mr. Haroz, who was born in Israel, joined the Philadelphia Orchestra as
principal trombone in 1995. He served as assistant principal trombone
of the New York Philharmonic and principal trombone of the Rishon-
Le Zion Symphony and Opera Orchestra. He was also first trombone
of the Israel Defense Forces Orchestra and performed with the
Jerusalem Symphony Orchestra. Mr. Haroz has appeared as a soloist
with the Philadelphia Orchestra, Israel Philharmonic Orchestra, Rishon-
Le Zion Symphony, and the Sofia Radio Symphony, among others,
and is an active chamber musician. He won first prize at the Franois
Shapira Competition and received America-Israel Cultural Foundation
Scholarships. He has commissioned and premiered several works for
trombone and harp and has given recitals and master classes in Israel,
the United States, Europe, and Asia. Mr. Haroz has also performed
with the New York, Philadelphia, and Israel brass ensembles and the
Rishon-Le Zion and Israel Defense Forces brass quintets. Mr. Haroz
is on the faculty of Temple University and joined the faculty of the
Curtis Institute of Music in 1998.
MARY-JEAN B. HAYDEN
ENGLISH AS A SECOND LANGUAGE
Ms. Hayden received her B.A. in English literature from Oberlin in 1955
and her M.S. from the University of Pennsylvania in 1987 in TESOL/
Intercultural Communication. A piano student of Moshe Paranov and
George Reeves, she taught solfge at the New School of Music from
1976 to 1986, as well as English as a Second Language from 1984 to
1986. A faculty member of Temple Music Prep from 1986, Ms. Hayden
joined the faculty of the Curtis Institute of Music in 1986 and served
as director of student services from 1990 to 2001, and international
student advisor from 1995 to 2001.
DAVID HAYES
STAFF CONDUCTOR
Trained as a violinist and violist, Mr. Hayes received his Bachelor of
Music in musicology from the University of Hartford and a Diploma in
conducting from the Curtis Institute of Music, where he studied with
Otto-Werner Mueller. He also studied with Charles Bruck at the Pierre
Monteux School. He is music director of the Philadelphia Singers, a member
of the conducting staff of the Philadelphia Orchestra, and director of
43
44
orchestral and conducting studies at the Mannes College of Music. Mr.
Hayes has conducted several operas in Belgium and the Czech Republic.
At Curtis he has led Adamss Death of Klinghoffer, Brittens Albert Herring
and The Rape of Lucretia, Bizet/Brooks La Tragdie de Carmen, Weills
Mahagonny and Happy End, Handels Alcina, Bellinis I Capuleti e i
Montecchi, Rossinis Il viaggio a Reims, Donizettis Lelisir damore,
Puccinis Gianni Schicchi and La rondine, and Stravinskys Les noces.
Guest-conducting engagements include concerts with the Philadelphia
Orchestra, the Chamber Orchestra of Philadelphia, Richmond Symphony
Orchestra, Los Angeles Master Chorale, the Washington Chorus, Louisiana
Philharmonic, and the Verbier Festival. Mr. Hayes joined the faculty of
SARAH HATSUKO HICKS
STAFF CONDUCTOR
Ms. Hicks is associate conductor of the Minnesota Orchestra, where she
is also conductor of the innovative new series Inside the Classics. She has
been appointed associate conductor for the North Carolina Symphony.
She has served as associate conductor of the Richmond Symphony,
resident conductor of the Florida Philharmonic, and assistant conductor
of both the Reading Symphony and the Verbier Festival in Switzerland.
Guest-conducting appearances include the Atlanta, San Francisco,
Detroit, Milwaukee, National, and Columbus symphony orchestras; the
Los Angeles Philharmonic; and the Prime Philharmonic Orchestra (South
Korea). Also a pianist and composer, Ms. Hicks received her Diploma in
conducting from the Curtis Institute of Music, and she is a magna cum
laude graduate of Harvard University with a B.A. in music composition.
More information is available at www.sarahhatsukohicks.com. Ms. Hicks
JENNIFER HIGDON
The Rock Chair in Composition
COMPOSITION
Born in Brooklyn, N.Y., but raised in the South, Dr. Higdon received a
Bachelor of Music from Bowling Green State University in Ohio, a Diploma
from the Curtis Institute of Music in 1988, and an M.A. and Ph.D. from
the University of Pennsylvania. In addition she has studied conducting
with Robert Spano and flute with Judith Bentley. She is the recipient of
a Guggenheim Fellowship, Pew Fellowship, and awards from the American
Academy of Arts and Letters. Her works are performed around the world,
with commissions coming from a variety of ensembles and individuals,
such as the Philadelphia and Minnesota orchestras; the Atlanta, Chicago,
Indianapolis, National, and Toronto symphony orchestras; St. Paul
Chamber Orchestra; Gary Graffman; Hilary Hahn; the Presidents Own
Marine Band; Tokyo String Quartet; Philadelphia Singers; Mendelssohn
Club; eighth blackbird; and San Francisco Opera. She has works on
dozens of recordings, including the Grammy-winning Higdon: Concerto
for Orchestra/City Scape. Dr. Higdon joined the faculty of the Curtis
CAROL JANTSCH
TUBA
Carol Jantsch was appointed principal tuba of the Philadelphia Orchestra
in 2006 as the first female tuba player in a major symphony orchestra.
She won this position while a senior at the University of Michigan, from
which she earned her Bachelor of Music. Ms. Jantsch also studied at the
prestigious boarding high-school Interlochen Arts Academy. Her numerous
awards and honors include first prize in four international solo tuba
competitions, an appearance on NPRs From the Top, and a solo
performance in Carnegie Halls Zankel Hall. She is in high demand as
a soloist and a master-class artist. She recently released her first solo
recording, Cascades, featuring a variety of works that stretch the virtuosic
capabilities of the tuba. For more information, visit www.caroljantsch.com.
Ms. Jantsch joined the faculty of the Curtis Institute of Music in 2008.
FRANK KADERABEK
TRUMPET
Mr. Kaderabek served as principal trumpet with the Philadelphia Orchestra
from 1975 until his retirement in 1995. His previous appointments included
principal of the Dallas and Detroit symphonies and assistant principal
of the Chicago Symphony. Mr. Kaderabek has appeared as a soloist with
the Philadelphia Orchestra, Detroit Symphony, Grant Park Symphony,
Chicago Chamber Orchestra, the Bach Festival in Cranbrook, and Penn-
sylvania Symphonia Orchestra. In 1982 he was the first American judge at
the International Trumpet Competition in Czechoslovakia. His recordings
include the solo CDs An American Trumpet in Prague and Virtuoso,
trumpet and cornet solos with the Allentown Band, conducted by
Ronald Demkee. The 1991 Annual New York Brass Conference honored
Mr. Kaderabek for his contribution to performance and teaching. He
serves on the executive board of the International Trumpet Guild, which
presented him with the Award of Merit in 2004. In June 2007 he soloed
at Carnegie Hall, receiving a standing ovation. Mr. Kaderabek teaches
at West Chester University and joined the faculty of the Curtis Institute
of Music in 1975.
PHILIP J. KASS
THE VIOLIN: ITS HISTORY, PRESERVATION, AND USE;
CURATOR OF STRING INSTRUMENTS
Philip J. Kass is a respected expert, appraiser, consultant, and writer
about fine classic stringed instruments and bows. From 1977 until 2002,
he was an associate of William Moennig & Son, Ltd. of Philadelphia,
where he handled many of the worlds great stringed instruments.
He has published numerous articles in such journals as the Strad, the
journal of the Violin Society of America, Smithsonian, and Strings, as
well as preparing numerous entries for both the previous and current
editions of the New Groves Encyclopedia of Music and Musicians and
Die Musik in Geschichte und Gegenwart. He was a contributing author
to The British Violin, published by the British Violin Makers Association
in 1999. Since 1981 he has been a frequent lecturer for the Violin Society
of America, the American Federation of Violin and Bow Makers, and
the British Violin Makers Association. A member of the Violin Society
of America since 1975, he has served on its board of directors since
1976, as vice president from 1985 to 1997, and as president from 1997
until early 1999. Mr. Kass joined the faculty of the Curtis Institute of
Music in 2006.
IDA KAVAFIAN
VIOLIN
Internationally acclaimed as a violist as well as violinist, Ms. Kavafian is
an artist-member of the Chamber Music Society of Lincoln Center and
former violinist of the Beaux Arts Trio. She performs as a soloist; in recital
with her sister, Ani; as a guest with ensembles such as the Guarneri,
Orion, and American string quartets; and as artistic director of music
for Angel Fire in New Mexico. She is also on the faculty of the Bard
College Conservatory of Music. Ms. Kavafian has premiered numerous
works, including concerti by Toru Takemitsu and Michael Daugherty; has
toured and recorded with jazz greats Chick Corea and Wynton Marsalis,
as well as fiddler/composer Mark OConnor; and had a solo feature on
CBS Sunday Morning. Cofounder of the group Tashi, Ms. Kavafian also
cofounded the piano quartet OPUS ONE. Born in Istanbul of Armenian
parentage, she is a graduate of the Juilliard School, where she studied
with Oscar Shumsky. She resides with her husband, violist Steven
Tenenbom, in Philadelphia and Connecticut, where they breed and train
prize-winning Hungarian vizsla show dogs. Ms. Kavafian joined the faculty
LISA KELLER
OPERA AND VOICE COACH
Ms. Keller was educated at Catholic University and the Brevard Music
Center summer program, receiving a degree in piano performance, summa
cum laude. She received her masters degree with the same distinction
from Duquesne University, where she studied with Metropolitan Opera
coach Warren Jones. Upon finishing her graduate work, Ms. Keller was
invited by Pittsburgh Opera general director Tito Capobianco to join the
company as principal rptiteur, as well as coach and accompanist for
its young artist program. She later served as pianist and vocal coach
for the Hartt School of Music, Connecticut Concert Opera, and West
Chester University School of Music. Ms. Keller has studied with Maurizio
Arena and served as vocal coach for the Ezio Pinza Council for American
Singers of Opera program in Oderzo, Italy. She serves on the music
faculties of the Opera Company of Philadelphia, Opera Colorado, New
Jersey Opera Theater, and Wexford Festival Opera, Opera Theatre of
Saint Louis, and Santa Fe Opera. Ms. Keller joined the faculty of the
JEFFREY KHANER
FLUTE, CHAMBER MUSIC (WOODWINDS)
In 1990 Mr. Khaner joined the Philadelphia Orchestra as principal flute,
a position he had held with the Cleveland Orchestra since 1982. Prior to
his Cleveland appointment, Mr. Khaner was principal flute of the Atlantic
Symphony in Halifax, Canada, and the Mostly Mozart Festival in New York,
and co-principal flute of the Pittsburgh Symphony. A native of Montreal,
Mr. Khaner studied with Julius Baker at the Juilliard School, where he
received a Bachelor of Music degree with honors in 1980. Mr. Khaner has
given recitals and master classes across North and South America, Europe,
and Asia, and he has appeared as a soloist with the Montreal Symphony,
Philadelphia Orchestra, Cleveland Orchestra, and many others in the
United States and abroad. Additional information is available at his
website: www.iflute.com. Mr. Khaner, who also teaches at the Juilliard
School, joined the faculty of the Curtis Institute of Music in 1985.
JUNGEUN KIM
STAFF PIANIST, ADMINISTRATIVE COORDINATOR OF CONCERTS
AND RECITALS
Ms. Kim began piano studies at age three and made her public debut at
age eight. After winning a Presidential Prize in the Korean National Music
Competition, she performed with the Korean National Philharmonic.
As a scholarship recipient, she earned her Bachelor and Master of
Music degrees from the Juilliard School. She has won numerous awards,
including the Young Musicians Foundation Competition and VOCE
Competition in Los Angeles. In addition Ms. Kim has performed as a
recitalist and guest artist with orchestras and ensembles in the United
States, Canada, South America, Europe, and the Far East, and she has
appeared on CBS, CBC, Voice of America, and NPR broadcasts. She has
been featured in the Philadelphia Orchestras chamber music series and
from 2002 to 2005 served as director of the Hartwick College Summer
Music Festival and Institute. In 2005 she founded the New York Summer
Music Festival, where she serves as the executive director. Ms. Kim
became a staff pianist at the Curtis Institute of Music in 1999 and
administrative coordinator of concerts and recitals in 2004.
MERL F. KIMMEL
HISTORY
Mr. Kimmel received his bachelors and masters degrees in history from
the Pennsylvania State University and holds a J.D. from Temple University
School of Law. Prior to teaching at Curtis, he taught at Hollidaysburg
Senior High School. Mr. Kimmel joined the faculty of the Curtis Institute
of Music in 1984.
45
46
MICHAEL KRAUSZ
AESTHETICS
Dr. Krausz is the Milton C. Nahm Professor of Philosophy at Bryn Mawr
College. Trained at the universities of Toronto (Ph.D.) and Oxford, he
has been a visiting professor at leading universities in the United States,
England, Germany, Israel, Egypt, and India. Dr. Krausz is the author of the
recently published Interpretation and Transformation: Explorations in Art
and the Self. He is also author of Rightness and Reasons: Interpretation
in Cultural Practices and Limits of Rightness, as well as co-author of
Varieties of Relativism. Dr. Krausz is a contributing editor of eleven
volumes, including The Interpretation of Music: Philosophical Essays.
A volume dedicated to his philosophical work, entitled Interpretation
and Its Objects: Studies in the Philosophy of Michael Krausz, was published
in 2003. As a visual artist, Dr. Krausz has had twenty-two solo exhibitions.
He is also a former violin student of Josef Gingold and has conducted
professional orchestras in Bulgaria. Since 2004 he has been the artistic
director and conductor of the Great Hall Chamber Orchestra at Bryn Mawr.
Dr. Krausz joined the faculty of the Curtis Institute of Music in 2002.
PAUL KRZYWICKI
TUBA, ORCHESTRAL REPERTOIRE (BRASS)
Mr. Krzywicki was a member of the Philadelphia Orchestra from 1972 until
his retirement in 2005. A native of Philadelphia, he attended St. Josephs
Preparatory School and began studies with Leo Romano, continuing later
with his Philadelphia Orchestra predecessor, Abe Torchinsky. He went
on to receive Bachelor and Master of Music degrees and a performers
certificate from Indiana University, where he studied with William J. Bell
and became his teaching assistant. Mr. Krzywicki received a Fromm
Foundation fellowship to Tanglewood in 1965 and the same year performed
Fantasy for Tuba and Strings by his brother, Jan, with the Philadelphia
Orchestra. He performed the premiere of Concerto for Tuba and Orchestra
by his brother and Concerto for Three Trombones and Tuba by Ray Premru,
which was commissioned by the Philadelphia Orchestra in 1985. Mr.
Krzywicki was a member of the U.S. Military Academy Band at West Point;
Portland Symphony; New York Brass Sextet; and Boston Ballet, Buffalo
Philharmonic, and Aspen Music Festival orchestras. He served on the
Fulbright Grant screening committee for three years. He also received the
C. Hartman Kuhn Award, presented by the Philadelphia Orchestra, in 1985.
Mr. Krzywicki joined the faculty of the Curtis Institute of Music in 1972.
FORD MYLIUS LALLERSTEDT
ORCHESTRAL SCORE-READING, ADVANCED SOLFGE,
CONTRAPUNTAL IMPROVISATION
A native of Atlanta, Dr. Lallerstedt began studying piano at age five. He
studied organ with Vernon de Tar at the Juilliard School, where, in 1973,
he won both prizes in organ performance and was awarded teaching
fellowships in piano and solfge. Dr. Lallerstedt received his Bachelor of
Music, Master of Music, and Doctor of Musical Arts degrees from Juilliard.
He studied musicology with Gustave Reese, conducting with Warren
Brown, and musical analysis with Jacob Druckman, Vincent Persichetti,
and Roger Sessions. He made his New York debut at Alice Tully Hall in
1979 and has performed in Europe and throughout the United States.
Dr. Lallerstedt founded the Wahnfried Chamber Orchestra, and he serves
as regular accompanist and recital partner for mezzo-soprano Brenda
Boozer. He has been on the faculties of the Juilliard School, State
University of New York at Purchase, Mannes College of Music (organ),
and Tanglewood Music Center (conducting studies). He is director of
music at St. Marks Episcopal Church in Mt. Kisco, N.Y. Dr. Lallerstedt
SEYMOUR LIPKIN
PIANO
Mr. Lipkin received his Bachelor of Music degree from the Curtis Institute
of Music in 1947, studying piano with Rudolf Serkin, Mieczyslaw
Horszowski, and David Saperton. In 1948 he won the Rachmaninoff
Competition, as a pianist, and has since played with all of the major
United States orchestras. He has earned particular acclaim for his
Beethoven cycles, which have encompassed not only the thirty-two
piano sonatas and five concertos, but the ten violin sonatas and five
cello sonatas as well. His recording of the piano sonatas was released
on the Newport Classic label in 2004. He recently performed a cycle of
the major works of Schubert, including the complete piano sonatas; his
recordings of these works were recently released on Newport Classic.
Mr. Lipkin studied conducting at Tanglewood with Serge Koussevitzky
and was apprentice conductor of the Cleveland Orchestra under George
Szell. He continued his conducting career at the New York City Opera,
New York Philharmonic (assistant conductor, under Bernstein), Joffrey
Ballet (music director), and Long Island Symphony (music director).
He is artistic director of the Kneisel Hall Chamber Music Festival in
Blue Hill, Me., and served as artistic director of the International Piano
Festival and William Kapell Competition at the University of Maryland.
A member of the Juilliard faculty since 1986, Mr. Lipkin joined the faculty
MENG-CHIEH LIU
PIANO, CHAMBER MUSIC (PIANO), RESIDENT PIANIST
A recipient of the 2002 Avery Fisher Career Grant, Mr. Liu first made
headlines in 1993 as a twenty-one-year-old student at the Curtis Institute
of Music, when he substituted for Andr Watts at the Academy of Music
in Philadelphia with three hours notice. The concert earned high
acclaim from critics and audience alike and was followed by a number
of widely praised performances, including a recital at the Kennedy
Center and a concert on the Philadelphia All-Star Series. A dedicated
chamber musician, as well as a solo artist, he has collaborated with
musicians in North America, Europe, and Asia, in addition to working
with artists in other disciplines, including Mikhail Baryshnikov and his
White Oak Dance Project. Mr. Liu received his Bachelor of Music degree
from the Curtis Institute of Music, where he studied with Jorge Bolet,
Eleanor Sokoloff, and Claude Frank. He received the 2002 Philadelphia
Musical Fund Society Career Advancement Award and first prizes in
the Stravinsky, Asia Pacific Piano, and Mieczyslaw Munz competitions.
Mr. Liu has been on the faculty of Roosevelt University since 2006 and
DON LIUZZI
TIMPANI AND PERCUSSION, ORCHESTRAL REPERTOIRE
(BRASS AND PERCUSSION)
A native of Weymouth, Mass., Mr. Liuzzi joined the Philadelphia Orchestra
as principal timpani in 1989. He was a percussionist with the Pittsburgh
Symphony, taught at Duquesne University, and was assistant conductor
of the Three Rivers Young Peoples Orchestra. He also performed
marimba and percussion solos on Mister Rogers Neighborhood on PBS.
Mr. Liuzzi has given master classes on four continents, including regular
coaching for the New World Symphony, National Orchestral Institute,
Pacific Music Festival, and Canton International Summer Music Academy
in China. He has been an active chamber-music performer with the
Network for New Music, recording for the Albany and CRI labels, and
has two new solo and chamber releases with the Equilibrium label. He
has performed as a timpani soloist with the Philadelphia Orchestra,
China Philharmonic, and Sapporo and Guangzhou symphony orchestras.
A Yamaha performing artist, Mr. Liuzzi performs on the newly designed
Yamaha Dresden-style timpani. He was coordinating producer for the
documentary film Music from the Inside Out. He is the founder and
conductor of 20/21: The Curtis Contemporary Music Ensemble. Mr.
Liuzzi, who earned his Bachelor of Music degree from the University
of Michigan and his Master of Music degree from Temple University,
MARY KINDER LOISELLE
FOUNDATIONS OF ENGAGEMENT, DIRECTOR OF COMMUNITY
ENGAGEMENT AND CAREER DEVELOPMENT SERVICES
Ms. Loiselle headed the public relations offices of three major orchestras
(Philadelphia, Minnesota, and Detroit) and has held public relations
positions at Lincoln Center for the Performing Arts, Inc.; CBS Masterworks
Records; and Shuman Associates, Inc. (N.Y.). She also was director of
education and community partnerships for the Philadelphia Orchestra.
Ms. Loiselle has taught at Drexel (business communication) and West
Chester (theory and ear training) universities and was a teaching fellow
at the Eastman School of Music (music theory). As a professional career
and life coach, she works with clients and groups and leads seminars
and retreats on a variety of subjects. She earned a B.S. in music education
at West Chester University, where she continued with a masters program
in music history. She did further graduate work at Temple University
and Ph.D. studies in music theory at the Eastman School of Music. She
received her coach training through Coach U and is a graduate of the
Pennsylvania Gestalt Center for Psychotherapy and Training. Ms. Loiselle
JUDY LOMAN
The Maryjane Mayhew Barton Chair in Harp Studies
HARP
Ms. Loman is a 1956 graduate of the Curtis Institute of Music, where she
studied with Carlos Salzedo. Principal harp of the Toronto Symphony
Orchestra from 1960 to 2001, she retired from that orchestra to devote
her time to teaching, concertizing, and publishing her numerous
transcriptions and arrangements. A frequent soloist with the Toronto
Symphony, she has also appeared as guest soloist with major orchestras
in North America and Europe. Ms. Loman has commissioned several
harp works from Canadas foremost composers and has introduced
these compositions worldwide through recordings and in solo recitals
throughout North America, Europe, Israel, and Japan. Her extensive
discography has proven valuable to harpists and composers as material
from which to study harp compositions of all generations. Ms. Lomans
students fill positions in major orchestras throughout North America and
Europe, and she has adjudicated at the International Harp Competition
in Israel and the U.S.A. International Harp Competition. Professor of
harp at the University of Toronto and faculty member at the Royal
Conservatory of Music in Toronto, Ms. Loman joined the faculty of the
DAVID LUDWIG
ACTING CHAIR OF MUSICAL STUDIES, COMPOSITION,
20/21: THE CURTIS CONTEMPORARY MUSIC ENSEMBLE ARTISTIC
DIRECTOR, MUSIC HISTORY
Dr. Ludwigs music has been performed internationally by leading
musicians of today in some of the worlds most prestigious venues. His
musicwhich has been called entrancingpromises to speak for the
sorrows of this generation (Philadelphia Inquirer). It has gained further
recognition for its expressive directness (New York Times). He has
received awards from Meet the Composer, the American Music Center,
American Composers Forum, and the Theodore Presser and Independence
foundations. He holds residencies with the Isabella Stewart Gardner
Museum, New York Summer Music Festival, the Atlantic Music Festival,
and the Vermont Symphony, where he is a Meet the Composer Music
Alive! resident composer. Other residencies have included the Yaddo
and MacDowell colonies and the Marlboro Music School. Dr. Ludwig
holds degrees from Oberlin Conservatory, Manhattan School of Music,
the Curtis Institute of Music, the Juilliard School, and the University of
Pennsylvania. Dr. Ludwig joined the faculty of the Curtis Institute of
Music in 2002.
47
48
MARLENA KLEINMAN MALAS
VOICE
An internationally renowned recitalist, Ms. Malas graduated from the
voice program of the Curtis Institute of Music in 1960. She has performed
with the Metropolitan Opera Studio and has been affiliated with opera
companies in New York City; Santa Fe; Boston; Miami; Washington, D.C.;
and Milwaukee. She has been a soloist with the New York Philharmonic
and the Philadelphia Orchestra and has appeared at the Marlboro,
Casals, and Ravinia festivals. Ms. Malas is chair of the voice department
at the Chautauqua Institution and a faculty member of the Juilliard and
Manhattan schools of music. She has given master classes in connection
with the Metropolitan Opera and at New National Theatre in Tokyo,
Pittsburgh Opera young artists program, Boston University, Blossom
Music Festival, San Francisco Opera Center, Santa Fe Opera, European
Center for Opera and Vocal Arts in Brussels, Israel Vocal Arts Institute
in Tel Aviv, and (with Joan Sutherland and Luigi Alva) Australian Opera
in Sydney. She is a consultant to the Canadian Opera Center; Fletcher
Opera Institute, where she has given master classes; and Washington
Opera Young Artist Program, where she is also a teacher. Ms. Malas
JOHN MANGAN, PH.D.
DEAN
Dr. Mangan has held administrative and teaching posts at Yale University
for the last seven years, most recently as assistant dean of the Graduate
School of Arts and Sciences and lecturer in the Department of History.
From 2002 to 2006 he worked in undergraduate academic and student
affairs at Yale as dean of Jonathan Edwards College, long regarded as
Yales music and arts residential college. Dr. Mangan holds a Ph.D. in
history and education from Columbia University. A classical guitarist
with extensive performing experience, he earned a Master of Music
degree from the Yale School of Music and a Bachelor of Music degree
from the University of North Carolina School of the Arts. In addition
to his major administrative and teaching positions at Yale, Dr. Mangan
worked in student affairs at Middlebury College as dean of Ross Commons.
As music critic for the daily New Haven Register for several years, he
wrote both classical music and theatre reviews; and he served as music
librarian and program annotator for the Norfolk Chamber Music Festival.
Dr. Mangan joins the staff of the Curtis Institute of Music in 2009.
DENISE MASS
FRENCH REPERTOIRE COACH
Ms. Mass has worked with some of the leading musical institutions in
the world, including the Metropolitan, Los Angeles, and Washington
National operas; Berlin and Wiener staatsopers; and Paris Thatre des
Champs lyses, as well as the New York Philharmonic and the Cleveland,
Boston, Philadelphia, and Montreal orchestras, under conductors such
as Colin Davis, James Levine, Pierre Boulez, Lorin Maazel, Bernard
Haitink, Daniel Barenboim, and Charles Dutoit. She has collaborated on
the preparation of many recordings for Sony, Deutsche Grammophon,
Decca, and Warner Classics. She works regularly with the young artists
programs in Los Angeles, Washington, and Montreal. Ms. Mass, who is
also on the faculty at Juilliard, joined the faculty of the Curtis Institute
of Music in 2006.
DANIEL MATSUKAWA
BASSOON, CHAMBER MUSIC (WOODWINDS)
Mr. Matsukawa is principal bassoon of the Philadelphia Orchestra. He
received his Bachelor of Music degree from the Curtis Institute of Music,
where he was a pupil of Bernard Garfield. He also studied at the Juilliard
School and precollege with Harold Goltzer and at the Manhattan School
of Music Preparatory Division with Alan Futterman. He has been a recip-
ient of numerous awards and prizes, including a solo concerto debut in
Carnegie Hall at age eighteen. Since then he has appeared as a soloist
with several orchestras, including the Philadelphia Orchestra; National,
Virginia, and Curtis symphony orchestras; New York String Orchestra
under Alexander Schneider; Auckland Philharmonia in New Zealand; and
Sapporo Symphony in Japan. He has participated in festivals including
Marlboro, Tanglewood, Aspen, Saito Kinen, and Pacific Music Festival in
Japan. Mr. Matsukawa was principal bassoon of the National Symphony
Orchestra in Washington, D.C., for three seasons. He has also served as
principal with the Saint Louis Symphony Orchestra, Virginia Symphony,
and Memphis Symphony Orchestra. Mr. Matsukawa joined the faculty
VINCENT MCCARTHY
HUMANITIES
Dr. McCarthy received his Ph.D. from Stanford University in religion and
philosophy and is professor of philosophy at Saint Josephs University,
where he has also served as dean of the College of Arts and Sciences and
provost. He studied at Union Theological Seminary, Fordham University
(A.B., Classics), Yale University, the University of Paris (Fellow of the
French Foreign Ministry), and the University of Copenhagen (Marshall
Fellow). He was a Fulbright Senior Scholar and Humboldt Fellow at
the University of Tuebingen, Germany, and was dean of a University
of Maryland Germany campus. He has been guest professor at Yale
University and the University of Pennsylvania. Dr. McCarthys specialties
include nineteenth-century philosophy, religious thought, and culture,
and he has published widely in these areas. He is the author of a study
of Kierkegaards psychology and of a study of the role of religion in
nineteenth-century German philosophy. Dr. McCarthy joined the faculty
ROBERT MCDONALD
The Penelope P. Watkins Chair in Piano Studies
PIANO
Mr. McDonald tours extensively as a soloist and chamber musician
throughout the United States, Europe, Asia, and South America. He has
appeared with major orchestras in the United States and was the recital
partner for many years to Isaac Stern and other distinguished instrumen-
talists. He has played with the Takcs, Vermeer, Juilliard, Brentano,
Borromeo, American, Shanghai, and St. Lawrence string quartets, as
well as Music from Marlboro. His discography includes recordings for
Sony Classical, Bridge, Vox, Musical Heritage Society, ASV, and CRI.
Mr. McDonalds prizes include the gold medal at the Busoni International
Piano Competition, the top prize at the William Kapell International
Competition, and the Deutsche Schallplatten Critics Award. With degrees
from Lawrence University, the Curtis Institute of Music, the Juilliard
School, and the Manhattan School of Music, he studied with Theodore
Rehl, Seymour Lipkin, Rudolf Serkin, Mieczyslaw Horszowski, Beveridge
Webster, and Gary Graffman. A member of the piano faculty at Juilliard
since 1999, Mr. McDonald joined the faculty of the Curtis Institute of
Music in 2007.
DANIEL MCDOUGALL
THE TWENTY-FIRST-CENTURY MUSICIAN
A native of California, Mr. McDougall entered the Curtis Institute of Music
as a double bass major, studying with Roger Scott. Since receiving his
Bachelor of Music degree in 1993, he has built a varied career that has
included performing chamber and orchestral music on double bass,
serving as an organist and choir director, and playing harpsichord
with the Curtis Chamber Orchestra during its 2004 tour of Japan. He
has participated in numerous international music festivals, including
Rencontres Musicales dEvian, Schleswig-Holstein Musik Festival, Music
by the Red Sea, and Festival dei Due Mondi. He is a member of the
Delaware Symphony, Northeastern Pennsylvania Philharmonic, and
Pennsylvania Ballet orchestra, among others. He joined the Curtis staff
in 1993; from 2001 to 2004, he served as director of student services
and international student advisor. Mr. McDougall joined the faculty of
JEANNE M. MCGINN
CHAIR OF LIBERAL ARTS DEPARTMENT, ENGLISH LITERATURE
Dr. McGinn received her B.A. from Bucknell University; her M.A. as a
Rotary International Fellow from University College Cork, Ireland; and
her Ph.D. from Bryn Mawr College. Her awards include the grand prize
in the University of Galway Poetry Competition, the Seymour Adelman
Prize in Poetry, and a Whiting Foundation Grant. Dr. McGinn has read
her award-winning poems at venues at home and abroad, and she has
published most recently in Cimarron Review. Composer Jennifer Higdon
set six of her poems in a work for violin, orchestra, and chorus; the
Philadelphia Orchestra premiered The Singing Rooms in January 2008,
and the Atlanta Symphony and the Minnesota Orchestra premiered the
work in 2009. Dr. McGinn has presented her scholarship at conferences
of the Modernist Studies Association, International Association of the
Study of Irish Literature, the Association for Canadian Studies in the
United States, Brazilian Studies Association, and Princess Grace Irish
Library in Monaco. Dr. McGinn was a member of the Curtis Institute of
Music faculty from 1994 to 1999 and was appointed chair of liberal arts
in 2001.
GHENADY MEIRSON
RUSSIAN REPERTOIRE COACH
Born in Odessa, Ukraine, Mr. Meirson graduated from the Santa Cecilia
Conservatory in Rome and the Curtis Institute of Music, where he studied
piano with Seymour Lipkin and Mieczyslaw Horszowski and accompanying
with Vladimir Sokoloff. In 1982 he wrote a singers handbook entitled
Do Sing in Russian and began to specialize in Russian vocal repertoire.
He has coached countless artists for opera, oratorio, recitals, and
recordings, and helped such organizations as the Philadelphia Orchestra,
Opera Company of Philadelphia, Philadelphia Singers, and Mendelssohn
Club Chorus. In 1996 Mr. Meirson founded PrivateLessons.com, a
membership-based network that connects the public with independent
music teachers across the United States and Canada. Also a faculty
member of the Academy of Vocal Arts, Mr. Meirson joined the faculty
MEI-MEI MENG
SOLFGE
Ms. Meng studied at the Juilliard School Preparatory Division and at the
Curtis Institute of Music from 1969 to 1971 before receiving her B.F.A.
from Purchase College (State University of New York), her postgraduate
diploma at the Mannes College of Music, and her masters degree from
Queens College (City University of New York). She studied piano with
Adele Marcus, Eleanor Sokoloff, Jeanette Haien, and Herbert Stessin, and
theory with Carl Schachter and Edward Aldwell. She has been a piano
soloist with numerous orchestras and winner of several competitions,
has taught at Hunter and Queens colleges, and is a faculty member at
the Mannes College of Music. Ms. Meng joined the faculty of the Curtis
EDGAR MEYER
DOUBLE BASS
Mr. Meyer began studying bass at age five with his father and continued
with Stuart Sankey. He is the winner of numerous awards, including a
2002 MacArthur Award, and is the first bassist to receive the Avery
Fisher Career Grant (1994) and the Avery Fisher Prize (2000). Equally
renowned as a performer and composer, Mr. Meyer premiered his
Concerto for Double Bass, Quintet for Bass and String Quartet, and
Double Concerto for Bass and Cello. He made his Boston Symphony
Orchestra debut, with Seiji Ozawa conducting, in his Double Concerto
49
50
with Yo-Yo Ma. He collaborated with Mr. Ma and Mark OConnor on
Appalachia Waltz and Appalachian Journey (Sony Classical, for which
he is an exclusive artist) and toured the United States, Europe, and Asia
with the trio. Mr. Meyers Violin Concerto, written for Hilary Hahn, was
premiered and recorded in 1999. He frequently performs and composes
for music festivals, including Santa Fe, Aspen, Tanglewood, Caramoor,
Chamber Music Northwest, and Marlboro. Mr. Meyer is an artist member
of the Chamber Music Society of Lincoln Center and a visiting professor
at the Royal Academy of Music. He joined the faculty of the Curtis
DONALD MONTANARO
CLARINET, CHAMBER MUSIC (WOODWINDS)
Mr. Montanaro is a graduate of the Curtis Institute of Music. He was a
member of the New Orleans Symphony before joining the Philadelphia
Orchestra as associate principal clarinet in 1957, a position he held until
2005. Mr. Montanaro has performed at the Marlboro and Casals festivals
and toured Europe and the Far East as a soloist and in chamber music
ensembles. He is a founder and the music director of the Philadelphia
Chamber Ensemble. Mr. Montanaro joined the faculty of the Curtis
JENNIFER MONTONE
HORN
Ms. Montone joined the Philadelphia Orchestra as principal horn in 2006.
She was the principal horn of the Saint Louis Symphony Orchestra from
2003 to 2006. Formerly associate principal of the Dallas Symphony
Orchestra, she was an adjunct professor at Southern Methodist University
and has been a faculty performer at the Aspen Music Festival and School
since 2005. She has performed concertos with the Saint Louis, Dallas,
and National symphony orchestras and Concerto Soloists of Philadelphia,
among others, and has performed chamber music with the Chamber
Music Society of Lincoln Center and the Orpheus Chamber Orchestra,
as well as at festivals in La Jolla, Santa Fe, Marlboro, and Spoleto, Italy.
Ms. Montones numerous honors and awards include a prestigious Avery
Fisher Career Grant (2006), Paxman Young Horn Player of the Year in
London (1996), and Presidential Scholar for musical achievement (1995).
She is a graduate of the Juilliard School, where she was a student of
Julie Landsman. A native of northern Virginia, she was a student of Edwin
Thayer in the National Symphony Orchestra Youth Fellowship Program
and a fellow in the Tanglewood Music Center Orchestra. Ms. Montone
RICARDO MORALES
CHAMBER MUSIC (WOODWINDS)
A native of San Juan, P.R., Mr. Morales began his studies at the Escuela
Libre de Msica, along with his five siblings, all of whom are now
distinguished musicians. He attended the University of Cincinnati
College-Conservatory of Music and Indiana University before launching
his professional career as principal clarinet of the Florida Orchestra. In
1993, at the age of twenty-one, he was appointed principal clarinet of
the Metropolitan Opera Orchestra and now holds that position with the
Philadelphia Orchestra. Mr. Morales has been a soloist with the Chicago
and Cincinnati symphonies and with the Met Orchestra under James
Levine in Carnegie Hall and on two European tours. He has also
collaborated in concert with the Juilliard Quartet and the Kalichstein-
Laredo-Robinson Trio. He has performed at the Kennedy Center and the
Metropolitan Museum of Art, with the Chamber Music Society of Lincoln
Center, and on NBCs Today. Mr. Morales serves on the faculties of the
Juilliard School and Temple Universitys Boyer College of Music and
Dance. He joined the faculty of the Curtis Institute of Music in 2008.
ROLANDO MORALES-MATOS
PERCUSSION
Born and raised in San Juan, P.R., Mr. Morales-Matos began his musical
studies at the prestigious performing-arts high school Escuela Libre de
Msica. He received his B.F.A. in music from Carnegie Mellon University,
his M.A. from Duquesne University, and a Certificate of Professional
Studies from Temple University. He is a percussionist and assistant
conductor with Disneys Lion King and performs and records regularly
in New York City with various Latin jazz groups and chamber orchestras.
He has recorded soundtracks for the films Failure to Launch and The Pink
Panther and appears playing on-screen in the Disney movie Enchanted.
Mr. Morales-Matos is a member of Ron Carter Foursight Jazz Quartet
and is an extra percussionist with the Pittsburgh Symphony Orchestra
and the Philadelphia Orchestra. His career has taken him all over the
world, from Spain to New Zealand, where he has held principal timpani
and percussion positions with state orchestras. He is the recipient of
the 2006 Drum Magazine world-beat-percussionist-of-the-year award.
Mr. Morales-Matos, who also teaches at the New School for Jazz and
Contemporary Music in New York City, joined the faculty of the Curtis
ALAN MORRISON
The Haas Charitable Trust Chair in Organ Studies
ORGAN, SACRED MUSIC SEMINAR
Mr. Morrison is one of the most sought-after American concert organists,
performing in Alice Tully, Jacoby, Verizon, Benaroya, and Spivey halls;
Meyerson Symphony Center; Jack Singer Concert Hall; the Crystal
Cathedral; National Cathedral in Washington, D.C.; and colleges, cathedrals,
and churches throughout North America, Europe, and Brazil. He has been
a featured artist for four national conventions of the American Guild of
Organists. He has won first prize in both the Mader (Calif.) and Poister
(N.Y.) National Organ Competitions, as well as the silver medal at the
1994 Calgary International Organ Festival. Mr. Morrisons numerous
recordings are regularly featured on radio stations worldwide, and his
television appearances include two episodes of Mister Rogers Neigh-
borhood as both organist and pianist. A graduate of Curtis (organ and
piano accompanying) and Juilliard (organ), he is college organist at
Ursinus College in Collegeville, Pa. Mr. Morrison, who also teaches at
Westminster Choir College of Rider University, joined the faculty of the
OTTO-WERNER MUELLER
The Rita E. and Gustave M. Hauser Chair in Conducting Studies
HEAD OF CONDUCTING DEPARTMENT
At age nineteen, Mr. Mueller was appointed director of the chamber
music department for Radio Stuttgart. He conducted opera and operetta
for the Heidelberg Theater and founded and conducted an orchestra for
families of United States military forces stationed there. After immigrating
to Canada in 1951, he worked extensively for the Canadian Broadcasting
Corporation. He taught and conducted at the Montreal Conservatory;
served as director of the Victoria Symphony and founder and dean of
the Victoria School of Music; served as guest professor at the Moscow
State Conservatory; and guest conducted the Moscow, St. Petersburg,
and Riga symphony orchestras. Mr. Mueller has conducted in every
major city in Canada and has had guest appearances with the Scottish
National Orchestra; Krakow Philharmonic; and National, Atlanta, Detroit,
Saint Louis, and other United States symphony orchestras. Mr. Mueller
is conductor emeritus at Juilliard and has taught at the Yale University
School of Music and the University of WisconsinMadison. He has
trained conductors of major orchestrasincluding the San Diego,
Pittsburgh, and Fort Worth symphonies and the Swedish National
Orchestraand associate or assistant conductors of the Philadelphia,
Cleveland, and Minnesota orchestras; Boston and St. Louis symphonies;
and Los Angeles and Munich philharmonics. His former Curtis students
include Alan Gilbert, music director of the New York Philharmonic;
Paavo Jrvi, music director of the Cincinnati Symphony Orchestra; and
Benjamin Shwartz, resident conductor of the San Francisco Symphony.
Mr. Mueller joined the faculty of the Curtis Institute of Music in 1986.
SUSAN NOWICKI
Ms. Nowicki has performed throughout the United States as a soloist
and in collaboration with prominent singers and instrumentalists, and
she regularly performs with members of the Philadelphia Orchestra. In
addition she has toured with Community Concerts under the auspices
of Columbia Artists Management, Inc. and has served on the music staffs
of the Philadelphia Singers, Opera Company of Philadelphia, and Opera
Festival of New Jersey. An active member of the Network for New
Music ensemble, she has recorded contemporary music for the Albany,
Capstone, De Haske, and North-South labels. Ms. Nowicki teaches
privately in Philadelphia and in Lawrenceville, N.J., and was a faculty
member of the Dorothy Taubman Institute of Piano from 1997 to 2002.
She is an instructor and clinician for the Well-Balanced Pianist programs
(http://wellbalancedpianist.com). Ms. Nowicki joined the faculty of the
DANIELLE ORLANDO
PRINCIPAL OPERA COACH
Ms. Orlando collaborated with Luciano Pavarotti as accompanist, judge,
and artistic coordinator for all of the Luciano Pavarotti International
Voice Competitions. She spent nine seasons working with Gian Carlo
Menotti for the Festival dei due Mondi in Spoleto, Italy, as the artistic
coordinator and coach for the operas, in addition to editing several
of his compositions and performing with the festival. Ms. Orlando has
served on the music staffs of many opera companies, festivals, and
young-artist programs, including the Metropolitan Opera; Washington
National Opera (where she collaborated with Plcido Domingo); Teatro
Coln in Buenos Aires; Michigan Opera Theatre; Opera Company of
Philadelphia (artistic administrator); Pittsburgh Opera; Wolf Trap Opera
Company; Festival dei Due Mondi in Charleston, S.C.; American Institute
of Music Studies in Graz, Austria; European Center for Opera and Vocal
Arts in Belgium; Merola Opera Program at San Francisco Opera; Portland
Opera Performing Institute; New Jersey Opera Theater; and Arizona
Opera. She is also a guest judge for the Metropolitan Opera National
Council Auditions. She recently added Oberlin in Italy and the Florence
Voice Seminar to her summer engagements and this season will perform
in the Savonlinna Opera Festival in Finland. Ms. Orlando, who is a master
vocal coach at the Academy of Vocal Arts, joined the faculty of the Curtis
LIONEL PARTY
HARPSICHORD
Born in Chile, Dr. Party studied piano with Elena Waiss and was a
scholarship student at the Musikhochschule in Munich. He received a
Fulbright Fellowship to study with Albert Fuller at the Juilliard School,
where he earned a doctorate. Winner of the 1972 International Bach
Competition in Leipzig, Dr. Party has toured the United States, Canada,
Europe, and South America as recitalist and concerto soloist, and he
has made numerous recordings and radio/television appearances in the
United States and Europe. Harpsichordist of the New York Philharmonic
since 1984, Dr. Party performed with Aston Magna from 1975 to 1992 and
was harpsichordist and organizer of the baroque music program at the
Grand Teton Music Festival between 1977 and 1996. He was a member
of the Aulos Ensemble and the Y Chamber Symphony in New York and
recently founded baroque ensemble La Mela di Newton, which gave
its world-premiere performance at Curtis in February 2007. Dr. Party,
who also teaches at the Juilliard School, joined the faculty of the Curtis
51
52
JOAN PATENAUDE-YARNELL
VOICE
Ms. Patenaude-Yarnell has sung with the major opera companies in North
America (New York City Opera, San Francisco Opera, Canadian Opera)
and with many leading conductors (Charles Mackerras, Seiji Ozawa,
Julius Rudel, Barry Tuckwell). Her roles included Violetta (La traviata);
Mim (La Bohme); Nedda (Pagliacci); Alice (Falstaff); Countess, Susanna,
and Cherubino (Le nozze di Figaro); La voix humaine; and Juliette
(Romeo et Juliette). She is heard on Vanguard Records, Musical Heritage
Society, and C.B.C. International. Ms. Patenaude-Yarnell is the artistic
director of Centro Studi Lirica (Novafeltria, Italy), and she presents a
master class on the principles of bel canto annually at conservatories
and colleges. As assistant editor of The Private Studio, she has been
published in The Journal of Singing. Ms. Patenaude-Yarnells students
perform with the major international opera houses (Metropolitan, Los
Angeles, and San Francisco operas; Lyric Opera of Chicago; the Royal
Opera House, Covent Garden; Glyndebourne Festival; Opra National
de Paris; Volksoper) and collaborate with todays major conductors and
directors (Riccardo Muti, Charles Mackerras, Jane Glover, Renata Scotto).
They are also first-prize winners of Metropolitan Opera National Council
Auditions, the International Hans Gabor Belvedere Singing Competition,
and George London, Richard Tucker Music, and Puccini foundation awards.
Ms. Patenaude-Yarnell became a member of the voice faculty at the
Manhattan School of Music in 1998 and joined the faculty of the Curtis
ANNIE PETIT
SUPPLEMENTARY PIANO
A native of France, Ms. Petit graduated from the Paris Conservatory at
age sixteen, where she won first prize in piano and in chamber music.
At age seventeen she won the interpretation prize at the International
Franz Liszt Competition in Budapest, which led to a solo career
throughout Europe. Ms. Petit came to the United States in 1966 to study
with Gyorgy Sebok at Indiana University. She was later artist-in-residence
at the University of Wisconsin-Parkside. She has made many recordings
on the Vox and Pantheon International labels and is pianist-in-residence
at Muhlenberg College in Pennsylvania. Ms. Petit joined the faculty of
CARLA PUPPIN
ART HISTORY
Dr. Puppin received her B.A. from Indiana University and her Ph.D. in art
history from Bryn Mawr College. Her specialization is nineteenth-century
French painting. She has taught at Franklin and Marshall College and
Beaver College (now Arcadia University). She is executive director of
the Queen Village Neighbors Association. Dr. Puppin joined the faculty
CHAS RADER-SHIEBER
RESIDENT STAGE DIRECTOR
Stage director Chas Rader-Shieber began 2008 with new productions
of Osvaldo Golijovs Ainadamar for the Curtis Opera Theatre and Martin
y Solers Una cosa rara for Opera Theatre of Saint Louis. In the spring
he directed Plcido Domingo in Handels Tamerlano for the Washington
National Opera. In recent seasons he has staged Handels Flavio and
Orlando for New York City Opera, Don Giovanni for Santa Fe Opera,
Giulio Cesare for the Pittsburgh Opera, and The Cunning Little Vixen
for Lyric Opera of Chicago and Houston Grand Opera. He has directed
Mozarts Idomeneo, Die Entfhrung aus dem Serail, Die Zauberflte,
Le nozze di Figaro, and Cos fan tutte, and Handels Giulio Cesare,
Semele, Ariodante, Imeneo, Alcina, Xerxes, and Partenope, as well as
works of Cavalli, Purcell, Gluck, and Rossini. Mr. Rader-Shiebers work
has been seen with the opera companies of Vancouver, Minnesota,
Santa Fe, Spoleto USA, and Philadelphia, among others. Upcoming
are new productions of Die Entfhrung aus dem Serail for Lyric Opera
of Chicago and San Francisco Opera, Mozarts Il re pastore for Opera
Theatre of Saint Louis, and Barbers Antony and Cleopatra for the Curtis
Opera Theatre and the Opera Company of Philadelphia, as well as a
revival of his acclaimed production of Tamerlano with Plcido Domingo
and Bejun Mehta for the Los Angeles Opera. Mr. Rader-Shieber, who has
been stage-directing for the Curtis Opera Theatre since 1991, joins the
faculty of the Curtis Institute of Music in 2009.
HAROLD HALL ROBINSON
The A. Margaret Bok Chair in Double Bass Studies
DOUBLE BASS, ORCHESTRAL REPERTOIRE (DOUBLE BASS)
Appointed principal bass of the Philadelphia Orchestra beginning with
the 199596 season, Mr. Robinson served for ten years as principal
bass of the National Symphony Orchestra and eight years as associate
principal of the Houston Symphony. Prior to that he was a member of
the Santa Fe Opera Orchestra. A prize-winner of the 1982 Isle of Man
Solo Competition, he has performed as a soloist with the Philadelphia,
National Symphony, and Houston Symphony orchestras; New York Phil-
harmonic; and American Chamber Orchestra, as well as other ensembles.
Mr. Robinson joined the faculty of the Curtis Institute of Music in 1995.
SCOTT ROBINSON
PERCUSSION
Mr. Robinson graduated from the Curtis Institute of Music in 1991, after
also attending Long Island University and the University of Missouri,
Kansas City. As a drum-set performer, he has been featured on CBS
Sunday Morning with Charles Kuralt and Good Morning America. In
addition to touring with Pat Martino, Toshiko Akiyoshi, and the Glenn
Miller Band, he has performed with Mark Egan, Chuck Loeb, Charles
Mingus, Louis Bellson, Max Roach, Freddie Hubbard, Slide Hampton,
and Marcus Roberts, among others. He can be heard on Pat Martinos
Remember: A Tribute to Wes Montgomery (Blue Note Records), which
he recorded in 2006 alongside jazz great John Patitucci on bass. He
has been published in Modern Drummer magazine and performed on a
Grammy-nominated album with Toshiko Akiyoshi. Mr. Robinson performs
and records in the Philadelphia/New York area and has served as drum-set
performer and extra percussionist with the Philadelphia Orchestra,
Delaware Symphony, Harrisburg Symphony, and on a PBS video special.
Mr. Robinson joined the faculty of the Curtis Institute of Music in 2001.
AARON ROSAND
The Dorothy Richard Starling Chair in Violin Studies
VIOLIN
Mr. Rosand, world-renowned violin virtuoso and pedagogue, carries on
the tradition of Leopold Auer and Eugne Ysae, having studied with
their disciples Efrem Zimbalist and Leon Sametini. Mr. Rosand, born of a
Russian mother and Polish father, gave his recital debut at age nine and
his orchestral debut with the Chicago Symphony Orchestra a year later.
He made his New York recital debut in 1948 and his New York Philhar-
monic debut with Leonard Bernstein in 1960. He has been solo artist
with major orchestras and conductors of the world and frequently
combines master classes with concert engagements. Mr. Rosand has
recorded extensively throughout his career and, to date, has over thirty
CDs and DVDs on various recording labels in the United States and
Europe. They are available at retailers and through his award-winning
website: www.aaronrosand.com. Mr. Rosand joined the faculty of the
KEIKO SATO
KEYBOARD HARMONY, SUPPLEMENTARY PIANO
Ms. Sato received her Bachelor of Music degree from the Curtis Institute
of Music in 1982, studying with Mieczyslaw Horszowski and Gary
Graffman. She has both a Master of Music and a Master of Musical Arts
degree from the Yale School of Music, where she studied with Seymour
Lipkin and Claude Frank. She has received various prizes in international
and national competitions. Ms. Sato has performed as soloist with
numerous orchestras and played recitals in Japan, where she was born,
and throughout the United States. From 1985 to 1987, she was instructor
of piano at Yale. Ms. Sato joined the faculty of the Curtis Institute of
Music in 1987.
HARVEY SACHS
MUSIC HISTORY SEMINAR, HISTORY OF SINGING, OPERA HISTORY
Mr. Sachss booksof which there are now more than fifty editions in
fifteen languagesinclude the standard biographies of Arturo Toscanini
and Arthur Rubinstein, as well as Virtuoso, Music in Fascist Italy,
Reflections on Toscanini, and, as co-author, Plcido Domingos My First
Forty Years and Sir Georg Soltis Memoirs. He edited and translated
The Letters of Arturo Toscanini, and his new book, The Ninth: Beethoven
and the Year 1824, will be published by Random House in 2010. He has
written hundreds of articles for the New Yorker, New York Times, Wall
Street Journal, TLS, and many other publications, as well as for the BBC,
PBS, CBC, Arte, RAI, and other networks. He has lectured at universities
and cultural institutions worldwide, has been a Guggenheim Fellow and
a Fellow of the New York Public Librarys Cullman Center for Scholars and
Writers, and holds an honorary doctorate from the Cleveland Institute
of Music. Mr. Sachs was artistic director of the prestigious Societ del
Quartetto di Milano (200406). He is editor of the online journal of
the OREL Foundation, which promotes music suppressed during the
Nazi-Fascist period, and his blog, Overflow, appears on ArtsJournal.com.
Mr. Sachs joined the faculty of the Curtis Institute of Music in 2009.
PETER J. SCHOENBACH
SPANISH, MUSIC HISTORY SEMINAR
Dr. Schoenbach served as Curtis dean and administrative coordinator
under Director Rudolf Serkin from 1973 to 1977. In that capacity he
headed the Liberal Arts Department and taught courses in literature.
A bassoonist, he studied with his father, former Curtis faculty and
Philadelphia Orchestra first bassoon, Sol Schoenbach. Dr. Schoenbach
has played with a number of ensembles, including the orchestras of
Buffalo, Chautauqua, and Detroit; toured with the English Chamber
Orchestra; played in numerous summer festivals, including Tanglewood,
Marlboro, and Bowdoin; and performed with the American Wind
Symphony Orchestra. He holds degrees from Swarthmore College, and
Columbia and Rutgers universities, and he is an expert on the languages,
literatures, and musics of the Hispanic world. His bibliography includes
articles on Brazilian and Portuguese music, as well as Mexican and
Brazilian theater, and reflects residencies in Lisbon, Barcelona, and
Rio de Janeiro. He has been a visiting professor in Aix-en Provence
and Tampa. A long-term administrator after Curtis, he served in similar
capacities at the New England Conservatory, Boston University, Wayne
State University, and his last institution, the State University of New York
College at Fredonia, from which he retired as professor of music in 2005.
Dr. Schoenbach joined the faculty of the Curtis Institute of Music in 2008.
YUMI NINOMIYA SCOTT
VIOLIN
Ms. Scott is a graduate of the Toho School of Music in her native country
of Japan, as well as the Curtis Institute of Music, where she studied with
Ivan Galamian. She has been a member of the Philadelphia Orchestra
since 1984, and was a member of the Chamber Symphony of Philadelphia,
Chamber Orchestra of Philadelphia, and Curtis String Quartet from 1969
to 1982. She has students in many of the major orchestras. Ms. Scott,
who is also on the faculty of Temple Universitys Boyer College of Music
and Dance, joined the faculty of the Curtis Institute of Music in 1970.
53
54
ERIC SESSLER
SOLFGE, COUNTERPOINT, HARMONY, KEYBOARD HARMONY,
SUPPLEMENTARY COMPOSITION
A 1993 Curtis composition graduate, Dr. Sessler received his Doctor of
Musical Arts and Master of Music degrees from the Juilliard School and
his Bachelor of Music degree from the Manhattan School of Music. His
works have been premiered throughout the United States, including the
Organ Concerto, performed by Alan Morrison and the Curtis Symphony
Orchestra, conducted by David Hayes, in Verizon Hall in 2007. Mr. Sessler
has received numerous awards, including a Philadelphia Music Project
grant, Charles E. Ives Scholarship, Theodore Presser Music Foundation
Award, and Meet the Composer grant. In addition to his work at Curtis,
he serves on the faculty of the Juilliard Schools precollege division and
has taught at Chestnut Hill College. Dr. Sessler joined the faculty of the
SHERIDAN SEYFRIED
KEYBOARD HARMONY
Mr. Seyfried, a composer, is a native of Philadelphia. He was educated at
the Curtis Institute of Music, where his major mentors included Edward
Aldwell, Richard Danielpour, James Grant, Jennifer Higdon, and Ned
Rorem. Upon graduating he received Curtiss Alfredo Casella Award in
Composition. Mr. Seyfrieds diverse body of work includes orchestral,
chamber, solo, and film music, and he has received performances
throughout the world in major venues, including Pragues Rudolfinum,
Viennas Radio Symphony Hall, and Salzburgs Mozarteum. His music has
been played by Ida Kavafian, Anne-Marie McDermott, Steve Tenenbom,
Peter Wiley, and the Minnesota Orchestra, among others. In 2001
Mr. Seyfried received an ASCAP Award for his string quartet, Pro and
Contra, and in 2002 he was named a Presidential Scholar in the Arts.
A 2006 Presser Music Award recipient, he has also been composer-in-
residence at the Music From Angel Fire festival in New Mexico and with
the Philadelphia Youth Orchestra. Mr. Seyfried is a pianist and frequently
performs his own music, most recently in recital at Washingtons
Kennedy Center with violinist Stephanie Jeong. He joined the faculty
ULRIKE SHAPIRO
GERMAN DICTION
Ms. Shapiro, a native of Celle, Germany, has coached numerous produc-
tions at the Opera Company of Philadelphia, in addition to serving
as assistant stage director on productions there and at Glimmerglass
Opera, Seattle Opera, and LOpera de Monte Carlo. She has taught German
Lieder at the Peabody Conservatory, where she received Bachelor and
Master of Music degrees, as well as a graduate performance diploma in
voice. Her teachers include Phyllis Bryn-Julson, Mark Markham, Thomas
Grubb, and Webb Wiggins. Ms. Shapiro joined the faculty of the Curtis
NOAM SIVAN
KEYBOARD IMPROVISATION
Combining composition, piano performance, live improvisation, and
conducting, Mr. Sivan has appeared throughout North America, Europe,
and his native Israel. He has composed over forty operatic, orchestral,
vocal, chamber, and solo works. These have been commissioned and
performed by Jerusalem Symphony Orchestra, Choreographic Institute
of the New York City Ballet, Mannes Opera, Canandaigua LakeMusic
Festival, Talamus Voices with members of the Israel Philharmonic, and
many others. His piano concerto repertoire ranges from Mozartwith
newly composed cadenzasto Viktor Ullmann, the Asian premiere of
which he performed with the Philippine Philharmonic Orchestra, as well
as Mr. Sivans own Piano Concerto, which he premiered in the double
role of soloist and conductor. Mr. Sivan is one of the young pioneers in
the revival of improvisation in classical music; his live piano improvisations
have been widely praised by musicians and critics alike. Born in 1978,
Mr. Sivan holds degrees from the Jerusalem Academy and Mannes College.
A faculty member at Mannes since 2004, where he founded the popular
Improvisation Workshop, Mr. Sivan joined the faculty of the Curtis
JOSEPH SILVERSTEIN
The Aaron Rosand Chair in Violin Studies
VIOLIN
A 1950 Curtis graduate, Mr. Silverstein began his musical studies with
his father, Bernard. He continued with Josef Gringold, and, at Curtis,
studied with Efrem Zimbalist and Veda Reynolds. He then held positions
with the orchestras of Houston, Philadelphia, and Denver before joining
the Boston Symphony Orchestra in 1955 as its youngest player. In 1959
he won third prize (silver medal) in the Queen Elisabeth Competition,
and in 1960 he won the Naumburg Award. In 1962 he was appointed
concertmaster of the Boston Symphony Orchestra, and he became
its assistant conductor in 1971. He served as music director of the Utah
Symphony for fifteen years and was named its conductor laureate in
1998. A member of the Chamber Music Society of Lincoln Center, Mr.
Silverstein performs frequently in New York and has appeared as a
soloist and conductor with more than one hundred orchestras in the
United States, Japan, Israel, and throughout Europe. He has served on
the faculties of Yale and Boston universities, New England Conservatory,
and Tanglewood Music Center, and he has recorded for such labels as
RCA, Deutsche Grammophon, Delos, CBS, Nonesuch, EMI, and Image.
Mr. Silverstein joined the faculty of the Curtis Institute of Music in 2000.
BARBARA N. SMITH
INTRODUCTION TO PSYCHOLOGY
Dr. Smith is a licensed and certified psychoanalyst in private practice in
Philadelphia. She is the former president of the Philadelphia School of
Psychoanalysis, and for many years she served on its board of directors
and was a member of the faculty. She is a senior training and supervising
analyst there. Dr. Smith is a cofounder of the Clinical Practice Enrichment
Series (CPES), which provides continuing education workshops for
mental health practitioners. She has been a guest lecturer at local
training institutes and presented workshops for CPES and mental health
agencies in the tri-state area. Dr. Smith joined the faculty of the Curtis
ELEANOR SOKOLOFF
PIANO
Mrs. Sokoloff began her studies with Ruth Edwards at the Cleveland
Institute of Music (Ernest Bloch, director) and was admitted to the
Curtis Institute of Music in 1931, studying piano with David Saperton,
chamber music with Dr. Louis Bailly, andalong with her late husband,
Vladimirthe two-piano repertoire with Vera Brodsky and Harold Triggs.
More than seventy-five of Mrs. Sokoloffs students have been chosen to
perform with the Philadelphia Orchestra. Mrs. Sokoloff joined the faculty
of the Curtis Institute of Music in 1936, and, in recognition of her lengthy
tenure, received the Curtis Alumni Award in 2001.
IGNAT SOLZHENITSYN
PIANO
Enjoying an active career as both pianist and conductor, Mr. Solzhenitsyn
has won critical acclaim throughout the world for his lyrical and poignant
interpretations. In recent seasons, his extensive touring schedule in the
United States and Europe has included concerto performances with
numerous major orchestrasincluding those of Boston, Chicago,
Philadelphia, St. Louis, Los Angeles, Montreal, London, Paris, and St.
Petersburgand collaborations with distinguished conductors such as
Blomstedt, Dutoit, Previn, Sawallisch, and Schwarz. Mr. Solzhenitsyn has
given many recitals in the United States and in major musical centers
of Europe and the Far East. Mr. Solzhenitsyn is music director of the
Chamber Orchestra of Philadelphia. A 1994 winner of an Avery Fisher
Career Grant, he has been featured on numerous radio and television
specials. Mr. Solzhenitsyn joined the faculty of the Curtis Institute of
Music in 2004.
DAVID SOYER
The Orlando Cole Chair in Cello Studies
CELLO
Mr. Soyer, who was born in Philadelphia, studied with Diran Alexanian,
Emanuel Feuermann, and Pablo Casals. He has concertized extensively
throughout the world and has made numerous recordings both as a
soloist and as cellist with the Guarneri String Quartet. He is a faculty
member of the Juilliard School and Manhattan School of Music, and he
has been the recipient of honorary doctorate degrees from the University
of Southern Florida and State University of New York at Binghamton.
Mr. Soyer joined the faculty of the Curtis Institute of Music in 1968.
ARNOLD STEINHARDT
VIOLIN
Born in Los Angeles, Mr. Steinhardt began his studies with Karl Moldrem,
Peter Meremblum, and Toscha Seidel and made his debut with the Los
Angeles Philharmonic at age fourteen. At the Curtis Institute of Music,
he studied with Ivan Galamian and later with Joseph Szigeti. In 1958 Mr.
Steinhardt won the Leventritt Award and appeared as soloist with major
United States orchestras, such as the Cleveland Orchestra, where he
was invited by George Szell to serve as assistant concertmaster (1959
to 1964). When the Guarneri String Quartet was founded in 1964, Mr.
Steinhardt became its first violin, a post he held through the groups
retirement in 2009. He continues to play numerous recitals and solo
performances with orchestras throughout the world. He has made
many recordings as a soloist and as a member of the Guarneri Quartet,
about which he has written the widely acclaimed book Indivisible by
Four. His latest book, Violin Dreams, appeared in 2006. He teaches
at the University of Maryland and will join the faculty of the Colburn
School of Music in 2009. Mr. Steinhardt joined the faculty of the Curtis
WILLIAM STOKKING
ORCHESTRAL REPERTOIRE (STRINGS/CELLO)
Principal cello of the Philadelphia Orchestra for thirty-two years, Mr.
Stokking retired in 2005. He has appeared as soloist with the orchestras
in Philadelphia; New York City; Washington, D.C.; and Baltimore. He was
a student of Gregor Piatigorsky at the Curtis Institute of Music, and of
Felix Salmond and Leonard Rose at the Juilliard School. At the outbreak
of the Korean War, he enlisted in the Navy and became solo cello with
the Navy Band and Orchestra in Washington, D.C. While in Washington,
he was in the masters/doctoral program at Catholic University. In addi-
tion to his position at the Philadelphia Orchestra, Mr. Stokking served as
principal cello of the Cleveland Orchestra and the Chamber Symphony
of Philadelphia and was a member of the Boston Symphony Orchestra.
He was also a faculty member at the Cleveland Institute of Music. Mr.
Stokking joined the faculty of the Curtis Institute of Music in 2000.
55
DONALD ST. PIERRE
Mr. St. Pierre was associated with the Skylight Opera Theatre as music
director from 1978 to 1990. He conducted more than fifty productions
there, from Monteverdis Il coronazione di Poppea to Stephen Olivers
Mario and the Magician (American premiere). He was keyboard player
of the Milwaukee Symphony Orchestra until 1978. In 1986 he served
as chorus master at the Vienna State Opera for Leonard Bernsteins
Quiet Place (recorded by DGG and conducted by the composer).
As a recital accompanist, Mr. St. Pierre has appeared at such venues
as New Yorks Lincoln Center, Londons Wigmore Hall and Almeida
Theatre, and Pariss Thtre du Chtelet, as well as at the Tanglewood,
Santa Fe Chamber Music, Bowdoin, Bard, and Grand Teton music
festivals. He is one of the contributing composers to the AIDS Quilt
Songbook, published by Boosey & Hawkes and recorded on the
Harmonia Mundi label. Mr. St. Pierre joined the faculty of the Curtis
HUGH SUNG
RESIDENT PIANIST
Mr. Sung began his piano studies with his mother and later studied with
Eleanor Sokoloff and Susan Starr. He made his debut with the Philadelphia
Orchestra at age eleven and two years later entered the Curtis Institute
of Music, where he studied with Jorge Bolet and Seymour Lipkin. He
has performed as a soloist with the Chamber Orchestra of Philadelphia.
As an ensemble musician, Mr. Sung has collaborated with many distin-
guished artists and ensembles, including the American String Quartet,
the Daz Trio, Julius Baker, Jeffrey Khaner, and Aaron Rosand, with whom
he has toured and recorded on the Vox and Biddulph labels. His work
can also be heard on the I Virtuosi, Avie, and CRI labels. He maintains an
active website, www.HughSung.com, which focuses on helping classical
musicians adopt technology to enhance their art and lifestyle. Mr. Sung
joined the faculty of the Curtis Institute of Music in 1993 as a staff pianist;
in 1996, he was named director of instrumental accompaniment, and in
1998, director of student recitals.
STEVEN TENENBOM
CHAMBER MUSIC (STRINGS), COORDINATOR
Mr. Tenenbom is the violist with the Orion String Quartet and OPUS ONE,
and he has appeared as a guest artist with the Guarneri and Emerson
string quartets, the Kalichstein-Laredo-Robinson and Beaux Arts trios,
the Chamber Music Society of Lincoln Center, and on the 92nd Street
Y Chamber Series. He has been a soloist with the Utah Symphony,
Rochester Philharmonic Orchestra, and Brandenburg Ensemble on tour
through the United States and Japan. He has toured and recorded with
Tashi, the Galimir String Quartet, and Musicians from Marlboro, in addition
to working with composer Lukas Foss and jazz artists Chick Corea and
Wynton Marsalis. He graduated from Curtis in 1979, having studied with
Michael Tree and Karen Tuttle. Mr. Tenenbom, who also serves on the
faculties of the Juilliard School, Mannes College of Music, and Bard
College Conservatory of Music, joined the faculty of the Curtis Institute
of Music in 1996.
MICHAEL TREE
VIOLA
Mr. Tree received his first violin instruction from his father. He later studied
with Efrem Zimbalist, Lea Luboshutz, and Veda Reynolds at the Curtis
Institute of Music. In 1954 Mr. Tree made his Carnegie Hall debut and has
since appeared as both violinist and violist with many major orchestras.
He has also participated in leading festivals, including Casals, Spoleto,
Marlboro, Israel, Santa Fe, Tanglewood, and Aspen. As a founding member
of the Guarneri String Quartet, Mr. Tree has performed on virtually every
concert series throughout the world and has been awarded the New York
City Seal of Recognition. He has recorded more than eighty chamber
music works for the Columbia, RCA, Philips, Arabesque, Nonesuch,
and Vanguard labels. In addition Mr. Tree is a member of the string trio
Divertimento and, as violinist, of the Fleisher, Jolley, Tree-O. He is on
the faculties of the University of Maryland, Manhattan School of Music,
Juilliard School, and Bard College Conservatory of Music. Mr. Tree joined
the faculty of the Curtis Institute of Music in 1968.
ROBERT VAN SICE
PERCUSSION
Robert van Sice is considered one of the worlds foremost performers
of contemporary music for marimba. In an effort to establish the instru-
ment as a serious artistic vehicle, he has premiered over one hundred
works throughout the world. In 1989 Mr. van Sice gave the first solo
marimba recital at the Concertgebouw in Amsterdam and has since
appeared in many of worlds major concert halls in London, Paris,
Vienna, Madrid, Milan, Stockholm, Oslo, Tokyo, Beijing, Seoul, Toronto,
Mexico City, New York, Chicago, and Los Angeles; many of these perform-
ances have been broadcasted by the BBC, Radio Sweden, Norwegian
Radio, WDR Radio, and Radio France. He frequently appears as a soloist
with Europes leading contemporary music ensembles, including the
London Sinfonietta, Ensemble Contrechamps, and LItinraire. From
1988 to 1997, he headed Europes first diploma program for solo
marimba at the Rotterdams Conservatorium, and he returned to the
United States to take up appointments at the Yale School of Music and
the Peabody Institute in 1997. He has given over four hundred master
classes in twenty-five countries, and his students have won prizes the
world over in both chamber music and solo competitions. Mr. van Sice
56
BONNIE WAGNER
VOCAL STUDIES PIANIST
Ms. Wagner enjoys a career as a freelance coach and accompanist in
Philadelphia. She is the pianist for the Philadelphia Orchestras Sound
All Around program, rehearsal accompanist for the Opera Company
of Philadelphia, and, beginning June 2009, on staff at the Chautauqua
Institution. She holds affiliations with West Chester University and the
Settlement Music School, where she has performed and taught. A native
of San Francisco, Ms. Wagner has performed as a chamber musician on
the Eastman in Geneva series, Brevard College Chamber Music Series,
Hill and Hollow Chamber Music Festival, and at the University of North
Carolina. In the summer of 2005, she produced Center City Chamber
Recitals, a small series in Philadelphia. Ms. Wagner has spent two summers
at the Tanglewood Music Center under the direction of James Levine. She
studied with Martin E. Katz at the University of Michigan and privately
with Helmut Deutsch in Munich, Germany. Ms. Wagner joined the faculty
ELIZABETH WALKER
HEAD LIBRARIAN
Ms. Walker received her B.A. from Hood College, her M.F.A. from Penn-
sylvania State University, and her M.L.S. from the University of Pittsburgh.
From 1974 to 1976, she served on the music department staff of the
Carnegie Library of Pittsburgh. As a contralto, she was on the voice
faculty of Seton Hill College and Chatham College in 1976 and 1977.
Ms. Walker was a member of the Philadelphia Singers from 1979 to
2002 and sang Gilbert and Sullivans alto character roles for fifteen
seasons with Philadelphias Savoy Company. She was awarded the best-
female-performer prize in 1994 and best-character-actress in 1995 and
1996 by the International Gilbert and Sullivan Festival in Buxton, England.
Ms. Walker joined the staff of the Curtis Institute of Music as assistant
librarian in 1977 and has been head librarian since 1980.
ERIC WEN
HARMONY, COUNTERPOINT, FORM AND ANALYSIS
Mr. Wen began his musical training as a violinist before attending
Columbia and Yale universities. He studied music theory and analysis
with Carl Schachter, and was awarded a research fellowship at Cambridge
University in England in 1986. Before returning to the United States,
Mr. Wen lived in London, where he served as editor of the Strad and the
Musical Times, as well as director and executive producer at Biddulph
Recordings. Mr. Wen specializes in the analysis of tonal music, and has
published numerous articles in the field of Schenkerian analysis. He has
also edited a number of violin publications, and serves as principal editor
of violin music for Carl Fischer Music Publishers. In addition to his academic
career, Mr. Wen is an independent record producer, working with such
artists as Aaron Rosand, Gil Shaham, Oscar Shumsky, Arnold Steinhardt,
Maxim Vengerov, as well as the Guarneri and Tokyo Quartets. Mr. Wen
PETER WILEY
CELLO
Mr. Wiley, a 1974 graduate of the Curtis Institute of Music, performs as
a soloist and recitalist; is a founding member of OPUS ONE, with pianist
Anne-Marie McDermott and Curtis faculty members Ida Kavafian and
Steven Tenenbom; and succeeded his teacher, David Soyer, as cellist of
the Guarneri String Quartet. With the Beaux Arts Trio from 1987 to 1998,
Mr. Wiley has played at leading festivals, including the Marlboro Music
Festival, for which he also tours and records. In 1986 he made his concerto
debut at Carnegie Hall with the New York String Orchestra conducted
by Alexander Schneider. As a recitalist he has appeared at the Metro-
politan Museum of Art and Lincoln Centers Alice Tully Hall. Mr. Wiley
entered the Curtis Institute of Music at age thirteen. At twenty he was
named principal cello of the Cincinnati Symphony, after one year with
the Pittsburgh Symphony. Mr. Wiley teaches at the University of Maryland
and Bard College Conservatory of Music and joined the faculty of the
RICHARD WOODHAMS
OBOE, ORCHESTRAL REPERTOIRE (WOODWINDS)
Mr. Woodhams, principal oboe of the Philadelphia Orchestra since 1977,
is a 1968 graduate of the Curtis Institute of Music, where he studied with
John de Lancie. Mr. Woodhams has appeared as a soloist throughout
the United States and Asia with the Philadelphia Orchestra, most
recently in 2005 with Christoph Eschenbach. In the past decade, he has
premiered chamber works by Thea Musgrave, Bernard Rands, Ned Rorem,
Ellen Taaffe Zwillich, Adam Wernick, and William Bolcom, and he has
collaborated with such artists as Andre Watts, Emanuel Ax, Itzhak Perlman,
and the Guarneri, Tokyo, and Shanghai string quartets. Mr. Woodhams
gives master classes frequently in the United States and abroad, and his
former students occupy positions in orchestras worldwide. From 1969
to 1977, he was principal oboe of the Saint Louis Symphony Orchestra,
and he has been a member of the faculty of the Aspen Music Festival
since 2000. Mr. Woodhams joined the faculty of the Curtis Institute of
Music in 1985.
MARION ZARZECZNA
SUPPLEMENTARY PIANO
Ms. Zarzeczna received her Bachelor of Music degree in 1954 from the
Curtis Institute of Music, where she studied with Mieczyslaw Horszowski.
She also studied with Pietro Scarpini, Isabelle SantAmbrogio, and
Jascha Zayde. Winner of numerous prizes, she has given piano recitals
and appeared as a soloist with orchestras in North America and Europe,
including the Polish National Radio Symphony Orchestra and Seventh
Army Orchestra in Germany. She was a member of the New Marlboro
Chamber Players, the trio-in-residence at Rider College, and a vocal
coach at the Temple University Musical Festival in Ambler, Pa. She
has been on the faculty of Westminster Conservatory since 1972. Ms.
Zarzeczna joined the faculty of the Curtis Institute of Music in 1962.
57
58
TRUSTEES AND OTHER
VOLUNTEER BOARDS, 200809
BOARD OF TRUSTEES
H. F. Gerry Lenfest, Chairman
Edward A. Montgomery Jr., Vice-Chairman
Scott M. Jenkins, Treasurer
Alan R. Hirsig, Secretary
Nina Albert
Frank S. Bayley
Victoria Bok
Blair Bollinger
Sheldon M. Bonovitz
Luther W. Brady, M.D.
Carolyn S. Burger
Joseph A. Camarda
Roberto Daz
Deborah M. Fretz
Bruce Jay Gould, M.D.
Bobby Ellen Kimbel, Ph.D.
Steven Laden
James R. Ledwith, Esquire
Bong S. Lee, M.D.
Lisa Liem
Sueyun P. Locks
Christina Weiss Lurie
Betty H. Matarese
John H. McFadden
Jeanne M. McGinn, Ph.D.
Frank J. Mechura
John J. Medveckis
Barbara Moskow, Alumni Trustee
Robert H. Mundheim
Shaun F. OMalley
John N. Park
Albert E. Piscopo
Robert Pollack
William H. Roberts, Esquire
Harold Hall Robinson
Robert H. Rock
Barbara Oaks Silver, Esquire,
Friends Trustee
Jay H. Tolson
Penelope P. Watkins
HONORARY TRUSTEES
A. Margaret Bok
Dr. Milton L. Rock
EMERITUS TRUSTEES
Peter A. Benoliel
Joseph M. Field
Frederic R. Haas
John A. Nyheim
Jack Wolgin
BOARD OF OVERSEERS
Frank S. Bayley, Chairman
Catherine French, Vice-Chairman
C. Richard Neu, Secretary
Cynthia Bayley
Christopher Beach
Peter A. Benoliel
Josephine B. Carpenter
Alma O. Cohen
George M. Elvin
Mary Lou Falcone
Marjorie M. Fisher, Ph.D.
Henry Fogel
Anthony Fogg
David V. Foster
Pamela Frank
George Hecksher
Robert A. Kipp
Joseph H. Kluger
June LeBell
Marguerite Lenfest
Jan M. Lodal
Charles MacKay
William J. Marrazzo
Thomas D. McCarthy
Joan M. Moran
Thomas W. Morris
Lowell J. Noteboom
Enid Curtis Bok Okun
The Honorable Herbert S. Okun
Mitzi Perdue
Gabrielle Kazze Rinaldi
Don Roth
Deborah Rutter
Alann Bedford Sampson
Marc A. Scorca
Raymond W. Smith
Ignat Solzhenitsyn
Stanley M. Spracker
Russell Willis Taylor
James Undercofler
Baroness Nina von Maltzahn
Helge H. Wehmeier
Thomas Wolf
Efrem Zimbalist III
EMERITUS OVERSEERS
A. Margaret Bok
Dr. Milton L. Rock
THE MARY LOUISE CURTIS BOK
FOUNDATION BOARD OF
DIRECTORS
James R. Ledwith, President
A. Margaret Bok, Vice President
Bayard R. Fiechter, Treasurer
Joseph M. Field, Secretary
Gary Graffman
Shaun F. OMalley
Milton L. Rock
J. G. Rubenstein
Samuel R. Shipley III
CURTIS STAFF
Roberto Daz, President
John Mangan, Ph.D., Dean
Elizabeth B. Warshawer, Executive Vice President,
Chief Financial Officer, Chief Operating Officer
Melinda Whiting, Vice President for Communications
Elizabeth A. Wright, Vice President for Development
ADMISSIONS
Christopher Hodges, Admissions Officer
BUSINESS OFFICE
Joseph Slater, Controller
Michelle Lawrence, Bookkeeper
COMMUNICATIONS
Walter Beck, Marketing Manager
Laura C. Kelley, Director of Publications
Susie Pierce, Ticket Office Manager
Jennifer Rycerz, Public Relations Manager
Cari Sundermeier, Communications Associate
COMMUNITY ENGAGEMENT AND CAREER DEVELOPMENT SERVICES
Mary Kinder Loiselle, Director of Community Engagement and
Career Development Services
CURTIS ON TOUR
Erica H. Jacobsohn, Manager
DEVELOPMENT
Charlotte H. Biddle, Director of Special Events
Anthony J. Brown, Director of the Annual Fund
Sarah Ellison, Campaign Research Associate
Leslie Jacobson Kaye, Director of Special Projects and
Resource Development
Anne ODonnell, Director of Alumni and Parent Relations
Bob Paul, Director of Corporate and Individual Relations
Elizabeth Racheva, Director of Campaign Resources
Lisa Shepperson, Development Associate for Alumni, Parents,
and Friends
Charles Sterne III, Director of Planned Giving and Major Gifts
TBA, Development Services Coordinator
TBA, Director of Foundation and Government Relations,
Director of Development Services
EXECUTIVE VICE PRESIDENTS OFFICE
Nan Alderson, Executive Assistant and Facilities and
Board Coordinator
Tamara Nuzzaci, Manager, Strategic Plan and Campaign Initiatives
HUMAN RESOURCES
Patricia Lombardo, Human Resources and Benefits Coordinator
INSTRUMENTAL ACCOMPANIMENT AND STUDENT RECITALS
Matthew Barker, Concert Office Administrator
Jungeun Kim, Administrative Coordinator for Recitals and Concerts
JOHN DE LANCIE LIBRARY, MILTON L. ROCK RESOURCE CENTER
Elizabeth Walker, Head Librarian
Darryl Hartshorne, Circulation Manager
Kenton Meyer, Assistant Librarian
Theo Smith, AV Desk Manager
Susannah Thurlow, Archivist
TBA, Catalog Librarian
MAINTENANCE
John Egan
Alexander Sidenko
MASTER CLASS COORDINATOR/SPECIAL PROJECTS
Elaine Katz
ORCHESTRA LIBRARY, MILTON L. ROCK RESOURCE CENTER
Brittni Devereaux, Assistant Orchestra Manager
David Murray, Orchestra Librarian and Assistant Orchestra Manager
TBA, Orchestra Manager
PIANO MAINTENANCE WORKSHOP
John Ellis, Piano Technician
PRESIDENTS OFFICE
Carol Hauptfuhrer, Executive Assistant
RECEPTIONIST
Barbara Harris
REGISTRAR
Paul Bryan
STUDENT SERVICES AND FINANCIAL ASSISTANCE
Richard Woodland, Director of Student Services and
Financial Assistance
Laurel Grady, Assistant Director of Student Services and
Financial Assistance
Veronica McAuley, Assistant Director of Student Financial Assistance
Daniel S. McDougall, International Student Advisor
VOCAL STUDIES DEPARTMENT
Ralph Batman, Managing Director, Vocal Studies and
the Curtis Opera Theatre
59
60
INDEX
Academic advising 34
Academic calendar 34, 36
Academic honesty 34
Academic policies 3435
Academic programs 3
Application information 1011
Attendance 34
Attire 34
Auditions
Application deadline 10
Audition fee 12
Procedures 1112
Repertoire requirements 1315
Bachelor of Music program
Admission 1011
Degree requirements 2225
Scholastic standing 35
Bassoon
Auditions 1112, 14
Bachelor of Music 11, 2223, 25
Diploma 11, 2223, 25
Faculty 4
Board of Overseers 58
Board of Trustees 58
Bok Foundation Board of Directors 58
Brass, see individual instruments
Career Development Services 9
Career studies department
Course descriptions 33
Faculty 5
Cello
Auditions 1112
Diploma 11, 2223, 25
Faculty 4
Chamber music
Faculty 5
Performance opportunities 8
Clarinet
Auditions 1112
Diploma 11, 2223, 25
Faculty 4
Community engagement program 11
Composition
Auditions 1112
Bachelor of Music 11, 2223
Diploma 11, 2223
Faculty 4
Computer access 7
Conducting
Auditions 1112
Diploma 11, 2224
Faculty 4
Credit by examination 34
Cultural offerings 9
Curriculum 2226
Curtis On Tour 8
Diploma
Admission 1015
Course requirements 2226
Double bass
Auditions 1314
Diploma 11, 2223, 25
Faculty 4
Double majors 11
Dropping and adding courses 34
Elementary and secondary
school students
Activities required 26
Application information 1012
High-school tuition 16
Employment
Curtis on-campus employment 18, 21
Outside part-time 9
English horn, see Oboe
Facilities 7
Faculty biographies 2, 3857
Faculty list 45
Fees
Application 10
Audition 12
Screening 10
Student fees, annual 1617
Financial assistance 1821
Flute
Auditions 1112
Diploma 11, 2223, 25
Faculty 4
Repertoire requirements 1 4
French horn, see Horn
Grading system 35
Graduate program
Master of Music in Opera 11, 15, 22
Professional Studies
Certificate 11, 15, 22
Graduation requirements 2226
Harp
Auditions 1112
Diploma 11, 2223, 25
Faculty 4
Harpsichord
Auditions 1112
Diploma 11, 2224
Faculty 4
Health care 16
Horn
Auditions 1112
Diploma 11, 2223, 25
Faculty 4
Housing 7, 16
Instrument loans 7, 16
International students
Admissions 1012
Financial assistance 1821
Geographical summary 37
Keyboard instruments,
see individual instruments
Liberal arts department
Faculty 5
Library
Curtis library 7
Orchestra library 7
Maps of Philadelphia area 61
Master of Music program in Opera
Admission 1012, 15
Faculty 4
Musical studies department
Faculty 5
Oboe
Auditions 1112
Diploma 11, 2223, 25
Faculty 4
On-campus employment 18, 19
Opera
Auditions 1112, 15
Faculty 4
Master of Music 15, 25
Professional Studies Certificate 15, 25
Orchestra
Conductors 5, 6, 8
Chamber orchestra 8
Lab orchestra 21, 25
Library 7
Opera orchestra 21
Scheduling 35
Sectionals 27
Orchestral instruments,
see individual instruments
Organ
Auditions 1112
Diploma 11, 2224
Faculty 4
Percussion
Auditions 1112
Diploma 11, 2223, 25
Faculty 4
Performance division
Faculty 45
Performance commitments 35
Performance opportunities 89
Philadelphia Orchestra rehearsals 9
Piano
Auditions 1112
Diploma 11, 2224
Faculty 4
Piano loans 7, 16
Piano, supplementary
Course description 28
Credit by examination 34
Faculty 5
Requirements for
nonpiano majors 2326
Placement exams
Advanced Placement Exams 34
Musical Studies 28
Pre-college-aged students 11, 16, 26
Professional Studies
Certificate in Opera
Admission 1012, 15
Faculty 4
Psychological counseling 16
Recitals
See degree requirements
for individual instruments 2225
Student recital series 8
Recording facilities 7
SAT I 1011
Scholarship policy 3, 18
Scholastic standing 18, 35
Security policies 35
Staff 59
Strings, see individual instruments
Student budget 17
Student fees 16
Student information resources 35
Student information 37
Student life 79
Timpani
Auditions 1112
Diploma 11, 2223, 25
Faculty 4
TOEFL 1011
Transcripts 35
Transfer students 34
Trombone
Auditions 1112
Diploma 11, 2223, 25
Faculty 4
Trumpet
Auditions 1112
Diploma 11, 2223, 25
Faculty 4
Tuba
Auditions 1112
Diploma 11, 2223, 25
Faculty 4
University of Pennsylvania/
Curtis reciprocal agreement 3, 23, 26
Viola
Auditions 1112
Diploma 11, 2223, 25
Faculty 4
Violin
Auditions 1112
Diploma 11, 2223, 25
Faculty 4
Visiting artists 6
Visiting lecturers 6
Voice
Auditions 1112, 14
Diploma 11, 2223, 25
Faculty 4
Woodwinds, see individual instrument
1
6
t
h
S
t
.
1
5
t
h
S
t
.
1
3
t
h
S
t
.
7
t
h
S
t
.
F
r
o
n
t
S
t
.
1
7
t
h
S
t
.
1
8
t
h
S
t
.
1
9
t
h
S
t
.
2
0
t
h
S
t
.
2
1
s
t
S
t
.
2
2
n
d
S
t
.
2
3
r
d
S
t
.
3
0
t
h
S
t
.
J.F. Kennedy Blvd.
Vine St.
Spring Garden St.
B
e
n
j
a
m
i
n
F
r
a
n
k
l
i
n
P
a
r
k
w
a
y
S
c
h
u
y
l
k
i
l
l
E
x
p
w
y
.
B
r
o
a
d
S
t
.
THE CURTIS
INSTITUTE
OF MUSIC
Academy
of Music Kimmel
Center
City
Hall
R
i
t
t
e
n
h
o
u
s
e
S
q
u
a
r
e
Logan
Circle
University of
Pennsylvania
30th St.
Station
S
c
h
u
y
l
k
i
l
l
R
i
v
e
r
Old City
Washington
Square
Benjamin
Franklin
Bridge
Philadelphia
Museum of Art 611
76
95
N
30
R
i
d
g
e
A
v
e
.
Lombard St.
Pine St.
Spruce St.
Locust St.
Walnut St.
Sansom St.
Chestnut St.
Market St.
Arch St.
Race St.
South St.
Prince Music
Theater
676
Chinatown
Pennsylvania
New York
Massachusetts
New
Jersey
Connecticut
Rhode
Island
New
Hampshire
Maine Vermont
CANADA
LAKE ONTARIO
Delaware
Maryland
West
Virginia
Virginia
ATLANTIC OCEAN
NewYork
Boston
Philadelphia
Trenton
Harrisburg Pittsburgh
Dover
Baltimore
Washington, D.C.
Hartford
Albany
New Haven
Rochester
Toronto
LAKE ERIE
LAKE
HURON
DISTANCE FROM PHILADELPHIA TO:
New York City 94 miles
Washington, D.C. 141 miles
Boston 309 miles
1726 Locust Street
Philadelphia, Pennsylvania 19103
address service requested

Curtis Catalog

Hochgeladen von

Dokumentinformationen

Originalbeschreibung:

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

Curtis Catalog

Hochgeladen von

Copyright:

Verfügbare Formate

CURTIS

Das könnte Ihnen auch gefallen