curtis catalog

CURTIS INSTITUTE OF MUSIC CATALOG

2009 –10

The Curtis Institute of Music

1726 Locust Street Philadelphia, PA 19103 www.curtis.edu Roberto Díaz, 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 Díaz, President 3 Mission and Objectives 3 Programs and Scholarships 4 Curtis Faculty 6 Visiting Artists and Lecturers, 2008–09 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, 2009–10 37 Curtis Student Information, 2009–10 38 Faculty Biographies 58 Trustees and Other Volunteer Boards,

2009–10 59 Curtis Staff 60 Index 61 Maps

WHAT MAKESCURTIS UNIQUE?

Curtis limits enrollment to about 165 students. Curtis acceptsjust enough students to maintain a full symphony orchestra andan opera program, plus select departments in piano, composition,conducting, organ, and harpsichord.

Curtis is extremely selective. Limited enrollment allows Curtisfaculty to be extremely selective at auditions. According to theU.S. News and World Report survey, Curtis is the nation’s mostselective conservatory, with an acceptance rate of 5 percent. Itshigh standard of admissions ensures that students rehearse andperform alongside musical peers.

All Curtis students receive merit-based full-tuitionscholarships. As a result, artistic promise is the only considera-tion for admission. Generous financial aid likewise ensures thatno student accepted to Curtis will be unable to attend becauseof financial need.

All Curtis students receive personalized attention throughouttheir studies. Curtis students receive personalized attentionfrom an extraordinary faculty of around ninety top-tier musicalartists and highly credentialed classroom teachers. Many studentshave access to multiple teachers on their major instrument.There are no teaching assistants at Curtis. Class sizes are smalland curricula are tailored to the needs of individual students.

Curtis’s celebrated faculty includes a high proportion ofsuccessful performing musicians. Because their livelihood isnot derived primarily from teaching, performance faculty mem-bers are free to accept students on merit alone. Their practicalperforming experience provides Curtis students with a directlink to life as a successful professional musician today.

Curtis students “learn by doing.” All students are encouragedto perform frequently. Curtis’s 165 students present more than125 public performances each year to critical acclaim andenthusiastic audiences. The Curtis Opera Theatre offers four orfive productions per season, casting all voice and opera studentsrepeatedly. The Curtis Symphony Orchestra, in which all butthe very youngest students of orchestral instruments participate,gives a three-concert season in Philadelphia’s Verizon Halland performs often in Carnegie Hall. All instrumental studentsparticipate in chamber music, and Curtis offers more thanone hundred student recitals each season.

Curtis’s high standards attract remarkable visiting artists.Frequent master classes and residencies gives Curtis students inall disciplines exposure to today’s leading musical artists, some ofwhom participate in performances alongside students. Well-knownstage and music directors work with the Curtis Opera Theatreon fully staged productions every year. And since 1924, whenLeopold Stokowski was instrumental in Curtis’s founding, theschool has enjoyed close ties with the music directors of thePhiladelphia 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 shouldstudy with an important teacher from the beginning of his or herconservatory days. Students of elementary-school or high-schoolage receive training from the same teachers at the same intensivelevels as do their older colleagues. There are no “preparatory”teachers. The length of a student’s stay is open-ended, and studentsgraduate when their teachers decide they are ready. In most casesthis occurs after three to five years at Curtis; it may be as few astwo or as many as twelve years.

All keyboard, conducting, and composition students arelent grand pianos for use throughout their studies at Curtis.Curtis currently owns ninety Steinways.

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CURTIS’S DISPROPORTIONATE INFLUENCEON MUSICAL LIFE SINCE ITS FOUNDINGIN 1924 CAN BE TRACED TO ITS UNIQUEAPPROACH TO EDUCATION AND TRAINING.

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A violist of international reputation, Curtis Institute of MusicPresident Roberto Díaz follows in the footsteps of renownedartist/directors Gary Graffman, Efrem Zimbalist, Rudolf Serkin,and Josef Hofmann. As a member of the Curtis viola facultysince 2000 and as principal viola of the Philadelphia Orchestrafrom 1996 to 2006, Mr. Díaz has already had a significant impacton American musical life and continues to do so in his dual rolesas performer and educator.

Some of Mr. Díaz’s recent performances include the New WorldSymphony with Michael Tilson Thomas, Fort Worth Symphonywith Miguel Harth-Bedoya, Orquesta Sinfónica del Principadode Asturias with Krzysztof Penderecki, Kansas City Symphonywith Michael Stern, and Orquesta Sinfónica Nacional (MexicoCity) with Carlos Miguel Prieto.

During the 2007–08 season, he was a member of the inauguralCurtis On Tour ensemble, playing alongside a quartet of Curtisstudents and cellist Margo Tatgenhorst Drakos (’99) in Maine,California, Florida, and Pennsylvania.

The previous season Mr. Díaz performed Krzysztof Penderecki’sConcerto for Viola and Orchestra in Carnegie Hall with theCurtis Symphony Orchestra under Christoph Eschenbach.

In 2008–09 Mr. Díaz performed with Curtis On Tour in Europe,including Berlin, Copenhagen, and Ischia, Italy.

Mr. Díaz has collaborated with conductors such as RobertoAbbado, Riccardo Chailly, Charles Dutoit, Rafael Frühbeck deBurgos, Richard Hickox, Christopher Hogwood, Peter Oundjian,Hugh Wolff, and David Zinman. In addition to KrzysztofPenderecki, he has worked with important twentieth- andtwenty-first-century composers, including Edison Denisov andRoberto Sierra.

In 2006 Naxos released a recording by Mr. Díaz of violatranscriptions by William Primrose, which was nominated for aGrammy Award. Mr. Primrose served on the Curtis faculty from1942 to 1951 and owned the 1595 Amati viola on which Mr.Díaz performs. Mr. Díaz’s other releases include a live recordingof Jacob Druckman’s Viola Concerto with the PhiladelphiaOrchestra conducted by Wolfgang Sawallisch (New WorldRecords, 2001) and works by Henri Vieuxtemps for viola andpiano (Naxos, 2004).

An active chamber musician, Mr. Díaz has performed with artistssuch as the Emerson String Quartet, Emanuel Ax, Yefim Bronfman,Mr. Eschenbach, Yo-Yo Ma, Mr. Sawallisch, and Isaac Stern. Hisfestival appearances include Marlboro, Mostly Mozart at LincolnCenter, Spoleto, Kuhmo, and Verbier, among many others. Asa member of the Díaz Trio, with violinist Andrés Cárdenes andcellist Andrés Díaz, he has performed throughout the UnitedStates, Canada, Europe, Mexico, and Chile. The Díaz Trio is anensemble-in-residence at the Brevard Music Festival and touredChina in the summer of 2006.

Mr. Díaz was principal viola of the National Symphony underMstislav Rostropovich, a member of the Boston Symphonyunder Seiji Ozawa, and a member of the Minnesota Orchestraunder Sir Neville Marriner. While in the Philadelphia Orchestra,he served as a board member for three years, including two yearson the executive committee.

He has received numerous awards, including prizes at the Naum-burg and Munich international viola competitions, as well as thePhiladelphia Orchestra’s 2006 C. Hartman Kuhn Award, givenannually to “the member of the Philadelphia Orchestra who hasshown ability and enterprise of such character as to enhance thestandards and the reputation of the Philadelphia Orchestra.”

Mr. Díaz holds the James and Betty Matarese Chair in ViolaStudies at Curtis. He has served on the faculty at the PeabodyInstitute and Rice University and has taught master classes atconservatories around the United States and abroad.

ROBERTO DÍAZ, President

MISSION ANDOBJECTIVESThe mission of the Curtis Institute of Music is to educate andtrain exceptionally gifted young musicians for careers as performingartists on the highest professional level.

In order to achieve its mission, Curtis continually strives to meetits principal objectives:• enlist the highest quality faculty in all areas of instruction.• admit exceptionally gifted students, accepted for studyexclusively on the basis of merit.• create and administer the most effective programs for trainingprofessional artists, including the highest caliber instructionin musical studies and liberal arts.• provide and maintain the best possible physical facilities insupport of the above objectives.

• offer support services attending to the physical andemotional health care needs as well as the curricular andnoncurricular interests of students.• improve the infrastructure to assure the success of all goalsand objectives.

Success in meeting these objectives requires unwavering commit-ment to the school’s 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

Curtis’s mission, objectives, and core values guide the schooltoward a future built on its historic strengths as a uniqueeducational institution.

PROGRAMS ANDSCHOLARSHIPSACADEMIC PROGRAMS

The Curtis Institute of Music offers the following programs: theDiploma, the Bachelor of Music, the Master of Music in Opera,and the Professional Studies Certificate in Opera. Curtis providescomplete and diversified musical training. Students study withdistinguished artist-teachers in private lessons, repertoire classes,and chamber music coachings. These performance experiencesare augmented by courses in the Musical Studies, Career Studies,and Liberal Arts departments, as well as uncommonly frequentperformance opportunities. Students who have completed Curtis’sliberal arts requirements may enroll at no cost at the Universityof 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 scholarshipsto all students regardless of their financial situation.

Information on need-based financial assistance for living expenses can befound on page 18.

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CURTISFACULTYPERFORMANCE FACULTY

BASSOON

Daniel Matsukawa

CELLO

Carter Brey

David SoyerThe Orlando Cole Chair in Cello Studies

Peter Wiley

CLARINET

Donald Montanaro

COMPOSITION

Richard Danielpour

Jennifer HigdonThe Rock Chair in Composition

David Ludwig

THE HELEN F. WHITAKER FUND

CONDUCTING PROGRAM

Otto-Werner MuellerHead of Department, The Rita E.and Gustave M. Hauser Chairin Conducting Studies

DOUBLE BASS

Edgar Meyer

Harold Hall RobinsonThe A. Margaret Bok Chairin Double Bass Studies

FLUTE

Jeffrey Khaner

HARP

Elizabeth Hainen

Judy LomanThe Maryjane Mayhew Barton Chairin Harp Studies

HARPSICHORD

Lionel Party

HORN

Jennifer Montone

OBOE

Richard Woodhams

ORGAN

Alan MorrisonThe Haas Charitable Trust Chairin Organ Studies

PIANO

Leon Fleisher

Claude Frank

Gary Graffman

Seymour Lipkin

Meng-Chieh Liu

Robert McDonaldThe Penelope P. Watkins Chairin 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 DíazThe James and Betty Matarese Chairin Viola Studies

Michael Tree

VIOLIN

Shmuel Ashkenasi

Victor Danchenko

Pamela Frank

Ida Kavafian

Aaron RosandThe Dorothy Richard Starling Chairin Violin Studies

Yumi Ninomiya Scott

Joseph SilversteinThe Aaron Rosand Chair in Violin Studies

Arnold Steinhardt

VOCAL STUDIES

(VOICE AND OPERA PROGRAMS)

Mikael EliasenThe Hirsig Family Head-of-DepartmentChair in Vocal Studies, Artistic Directorof the Curtis Opera Theatre

Danielle OrlandoPrincipal Opera Coach

Corradina CaporelloItalian Diction

Charles ConwellStage Combat and Fencing

Anna FréVocal Studies Pianist

Lisa KellerOpera and Voice Coach

Marlena Kleinman MalasVocal Teacher

Denise MasséFrench Repertoire Coach

Ghenady MeirsonRussian Repertoire Coach

Susan NowickiOpera and Voice Coach

Joan Patenaude-YarnellVocal Teacher

Chas Rader-ShieberResident Stage Director

Harvey SachsHistory Faculty

Ulrike ShapiroGerman Diction

Donald St. PierreOpera and Voice Coach

Bonnie WagnerVocal Studies Pianist

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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 MuellerHead of Conducting Department,The Rita and Gustave Hauser Chairin 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 bassThe A. Margaret Bok Chairin 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. KassCurator 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 Grozdanic

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.

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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 Frühbeck de Burgos

Hilary Hahn

Juanjo Mena

José-Luis Novo

Peter Oundjian

Ari Pelto

Corrado Rovaris

András 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 O’Connor, 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

Stéphane Lévesque, bassoon

Katherine Needleman, oboe

Mark Nuccio, clarinet

Donald Peck, flute

Marina Piccinini, flute

Michael Rusinek, clarinet

LECTURERSJoke Bradt, Ph.D., Arts and Quality of LifeResearch Center, Temple University

John Carvalho, Ph.D., Villanova University

Susan Dadian, Chamber Music America

Miles B. Davis, Chamber Orchestra ofPhiladelphia and Santa Fe Opera Orchestra

Zachary DePue, Time for Three

Peter Dobrin, The Philadelphia Inquirer

Margo Drakos, InstantEncore.com

Molly Emerman, The PhiladelphiaOrchestra School Partnership Program

Janice Galassi, American Federationof Musicians

Mary Wheelock Javian, The PhiladelphiaOrchestra School Partnership Program

Nick Kendall, Time for Three

Yumi Kendall, The Philadelphia Orchestra

Virginia Lam, Office of Creative andPerforming Arts, School Districtof Philadelphia

Ranaan Meyer, Time for Three

Bill Nerenberg, Peabody Institute of theJohns Hopkins University

Steve Parker, The Philadelphia OrchestraSchool Partnership Program

Eileen Perez-Kelsall, CommunityRelations Consultant

Virginia Sikes, Esq., Montgomery,McCracken, Walker & Rhoads

April Williamson, Greater PhiladelphiaCultural Alliance

Edward Yim, IMG Artists

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VISITING ARTISTSAND LECTURERS, 2008–09

FACILITIES ANDINSTRUMENTSFACILITIES AND STUDENT LIFE

The Curtis Institute of Music is located in Center City Philadelphiaon Rittenhouse Square, a historic residential area with a fullrange of amenities nearby. Most students live alone or withroommates 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 forintense rivalry. The traditional Wednesday-afternoon Teas attractstudents, faculty, and staff, and lessons at that hour are ofteninterrupted for refreshments and conversation.

Curtis occupies four stately mansions that retain their wood-paneledwalls, ornate moldings, high ceilings, decorative ironwork, andOriental rugs but have been adapted to serve the conservatory’sneeds—without 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 NaomiGraffman Common Room brings grandeur of the past into today’scomfortable world, as students gather there. Downstairs, the Stu-dent Lounge provides a place to eat, relax, use the Internet, andplay table tennis. A computer studio is equipped with Macintoshsystems, 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 forvideo- and audio-recording, is used for student recitals, alumniand 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 intimateand flexible performance space, which also has recording capa-bilities, is used most often by the Vocal Studies department foropera performances, dance and movement classes, rehearsals,and master classes.

The third building, the Milton L. Rock Resource Center, housesthe John de Lancie Library and the Orchestra Library.

The fourth, adjacent to the Resource Center, houses classrooms,studios, and administrative offices.

In addition Curtis’s development office, which runs an annualgiving campaign of nearly $3 million and raises funds for endowmentand 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 theInstitute’s mission. The Curtis Archives endeavors to preserve andmake accessible the Institute’s past for the greater Curtis community.

The John de Lancie Library in the Milton L. Rock Resource Centercontains more than fifty-seven thousand volumes of music scoresand 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 OnlineCatalog—named in recognition of the generosity of Dr. Rock,a former chairman of the Curtis Board of Trustees—providesaccess to all holdings. The library also maintains a full range ofaudiovisual equipment, card-operated photocopiers, laptops forreserve use, and open wireless Internet access for use by students.

The Orchestra Library of the Curtis Institute of Music is equalto those of the major symphony orchestras of the world andcontains over one thousand sets of parts. The riches of the libraryalso include many gifts of music, manuscripts, and memorabiliafrom faculty, alumni, and friends. Important collections includeLynnwood Farnam, Josef Hofmann, William Kincaid, SylvanLevin, Arthur Bennett Lipkin, Max Rudolf, Carlos Salzedo, CalvinSimmons, Anton Torello, and Efrem Zimbalist.

The library serves Curtis students, faculty, staff, and local alumni;outside research access is limited to special collections andarchival material and must be applied for in writing.

Students must provide their own music for major lessons andfor secondary piano classes. Music for ensemble and orchestralclasses is supplied by the library.

INSTRUMENT LOANS

The Curtis Institute of Music lends Steinway grand pianos topiano, organ, harpsichord, composition, or conducting majors forthe duration of their enrollment. Students make a security depositand pay the cost of moving the piano to and from their apartments.Curtis pays for the first tuning, and the students cover the costsof repairs and tunings thereafter. String and wind majors mayborrow an instrument from Curtis’s collection with a $100 securitydeposit. Students must cover any costs resulting from negligenceor willful damage.

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PERFORMANCEOPPORTUNITIESSTUDENT RECITAL SERIES

The Curtis Institute of Music requires numerous and variedperformances of its students both at school and in external venues.Almost every Monday, Wednesday, and Friday night during theschool year, students perform solo and chamber works on Curtis’sStudent Recital Series in Field Concert Hall. During secondsemester, recitals are added at other times.

Student recitals are open to the public free of charge and arerecorded by Curtis for educational use and possible broadcast.Highlights are featured on public radio stations WHYY-FM inPhiladelphia and WITF-FM in Harrisburg. Select recitals arebroadcast on Y Arts, a digital cable television channel producedby WHYY-TV.

CURTIS SYMPHONY ORCHESTRA

The Curtis Symphony Orchestra performs on an annualsubscription series that typically includes three concerts underthe direction of eminent conductors in nearby Verizon Hallat the Kimmel Center, home of the Philadelphia Orchestra.The orchestra has appeared at the Kennedy Center and CarnegieHall, as well as in major European cities. While in town,Philadelphia Orchestra guest conductors—such as CharlesDutoit, Alan Gilbert, Roger Norrington, Simon Rattle, andMichael Tilson Thomas—often lead the Curtis SymphonyOrchestra in readings of major repertoire. This professionaltraining, under the direction of Otto-Werner Mueller and DavidHayes, has enabled Curtis alumni to assume prominent positionsin major orchestras across the United States, Canada, andabroad. Orchestra concerts are supported by the Jack WolginOrchestral Concerts endowment fund.

CURTIS CHAMBER ORCHESTRA

Repertoire for smaller ensembles is explored by the Curtis ChamberOrchestra, which in recent years has performed in Philadelphiaand New York City. In 2004 the Curtis Chamber Orchestratoured in Japan.

CURTIS OPERA THEATRE

In nearby venues such as the Prince Music Theater, the CurtisOpera Theatre fully stages operas each year with professionaldirectors and designers, creating fresh interpretations of standardrepertoire and contemporary works. It often gives concert per-formances with the Curtis Symphony Orchestra and aproductionin the intimate Curtis Opera Studio, too, and singers appear onthe Student Recital Series. Curtis’s longtime, informal associationwith the Opera Company of Philadelphia recently developedinto an annual production in the Perelman Theater at the KimmelCenter, combining OCP musical direction and marketing withCurtis performers and designers. The entire program, under ArtisticDirector Mikael Eliasen, gives students the type of experiencethat has enabled recent graduates to join the sixty-plus alumniwho have performed with the Metropolitan Opera, as well as toperform with major opera companies worldwide.

20/21: THE CURTIS CONTEMPORARYMUSIC ENSEMBLE

Each semester 20/21: The Curtis Contemporary Music Ensemblestudies, rehearses, and performs music ranging from importanttwentieth-century works to contemporary composers’ music notyet borne into the repertoire. Open to all students, the ensembleis flexible in size and scope to include works for solo performers,chamber groups, and larger forces with conductor. Faculty andalumni perform with 20/21 as guest artists.

CURTIS CHAMBER CHORUS

The Curtis Chamber Chorus provides instrumental students anopportunity to learn the basics of vocal production, ensemblesinging, blend, and tuning. The chorus meets once a week forone-and-a-half hours, and participation is required for one yearof 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 theopportunity to rehearse and perform chamber music alongsideCurtis faculty and alumni under the auspices of major presenters.Curtis On Tour performs an annual United States tour duringthe school year, a European tour each summer, and numerousrecitals throughout the year. There are also community engagementactivities with some performances. Curtis On Tour enhancesparticipants’ educational and professional experience, createsvisibility, and fosters connections to Curtis.

CAREERDEVELOPMENTCAREER DEVELOPMENT SERVICES

Curtis Career Development Services provides resources andtraining to help students prepare for a successful and satisfyingcareer in music. To develop the professional skills essential fortoday’s musician, the office assists students in creating andmaintaining a professional portfolio, provides individual career-coaching, and coordinates project-based learning experiences.Four Career Studies courses—The Twenty-First-Century Musician,Foundations of Engagement, Conductors’ Forum, and SacredMusic Seminar for organists—offer basic instruction andexperience in a variety of career-development areas. Specialcareer forums and seminars offer in-depth exposure to techniquesand resources, as well as insights from Curtis alumni and othersuccessful performing and creative artists.

CURTIS COMMUNITY ENGAGEMENT PROGRAM

The Curtis Community Engagement Program was created with atwofold mission: to take classical music to young people and othersin our diverse community who may not otherwise have access to it,and to provide training and practical experience to Curtis studentsin presenting interactive educational programs to children andmembers of the public who have little or no experience withclassical music.

Founded on the belief that musicians must actively advocate fortheir art, the program prepares Curtis students for this aspectof their future professional lives.

Curtis offers opportunities for its students to perform in thecommunity through the Albert M. Greenfield Concerts, whichprovide interactive educational presentations for students in areaschools, hospitals, senior centers, and community venues. Inaddition there is the opportunity to participate in the PECOFamily Concerts in Field Concert Hall and to coach youngmusicians in master classes and small-group settings. Curtisstudents who participate in the community engagement programreceive special training prior to their presentations and arecompensated for their performances.

CULTURAL OFFERINGS

Philadelphia, the sixth-largest municipality in the United Statesand a major cultural and artistic center, is home to the PhiladelphiaOrchestra, Pennsylvania Ballet, Opera Company of Philadelphia,Philadelphia Chamber Music Society, Chamber Orchestra ofPhiladelphia, Astral Artists, Philadelphia Museum of Art, anda number of regional theaters. Most of these organizations offerstudent rates on their tickets, and free tickets are occasionallymade available to Curtis students.

In addition Philadelphia is an hour and a half from New YorkCity and two hours from Washington, D.C., by train.

Curtis subscribes to seats for Saturday-night PhiladelphiaOrchestra concerts; tickets are available to students on a first-come-first-served basis. Curtis students may also attend certainrehearsals of the Philadelphia Orchestra, and tickets to OperaCompany of Philadelphia productions are available to vocalstudies students.

ADDITIONAL OPPORTUNITIES

Curtis offers students in several departments opportunities forprofessional performance experience to augment their curriculum,up to a maximum of twenty hours per week during the academicyear. Students can join the Curtis Lab Orchestra and rehearseweekly under the direction of Curtis conducting majors. Theymay also perform with the Symphony in C student intern programand music programs at schools, churches, and synagogues, amongother opportunities.

Students in good standing who have the permission of the Institutemay perform in local ensembles outside of Curtis. All internationalstudents must obtain authorization from the dean and the directorof student services before participating in outside performancesor internships. Curtis students may substitute with the PhiladelphiaOrchestra or play with the Chamber Orchestra of Philadelphia,the Pennsylvania Ballet Orchestra, and various regional orchestras.

Students also perform regularly on series at the PhiladelphiaMuseum of Art, the Kimmel Center, Longwood Gardens, andother institutions. Singers are often soloists for churches andother organizations. Curtis has an ongoing relationship with theOpera Company of Philadelphia and Kimmel Center Presents.

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HOW TO APPLYAND AUDITIONAdmissions decisions are based solely on merit. Studentsare accepted for study at Curtis exclusively on the basisof their artistic talent and promise.

APPLICATION INFORMATIONFOR ADMISSION IN FALL 2010

Application and supporting documents must be postmarkedby Friday, December 11, 2009.

APPLICATION FEE

$150, payable in U.S. dollars ($350 if application is postmarkedafter 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 Curtis’swebsite (www.curtis.edu).

Applicants must complete the entire form, submitting in detailall requested information along with the specified supportingdocuments (see below). No audition will be granted unless theapplicant’s file is complete.

SUPPORTING DOCUMENTS

The following material must be submitted with thecompleted application form and fee:• The teacher’s consent form, signed by the present privateteacher• Two confidential recommendation forms filled out bymusicians, excluding relatives, who are qualified to judgethe applicant’s personal and musical talents• The music school consent form, signed by the head of thecollege-level music school or department in which the applicantis currently enrolled. This requirement does not apply topreparatory- or high-school students.• The most current official transcript of high school and (ifapplicable) college. Transcripts must be translated into English.• One or two programs from concerts in which the applicanthas 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 takethe necessary tests in time to submit the results by June 1, 2010.The SAT I and TOEFL are given by the College EntranceExaminations 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-schoolcollege counselor or, in the case of international students, theeducational attaché of the American Embassy in their countryof residence.

Upon acceptance into Curtis, non-native English speakers musttake the TOEFL for placement purposes and have the score sentto Curtis.

ADDITIONAL APPLICATION INFORMATION

Applicants will be notified of their admission and financial aidstatus by April 1, 2010. Applicants who are offered admissionmust decide by May 1, 2010.

Applicants who wish to visit Curtis before applying must write ortelephone ahead for an appointment; call the Admissions Officeat 215-893-5262 or e-mail [email protected]. Please notethat 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 nondegreeprograms until all official test scores are received.

Candidates who wish to reapply must complete new applicationforms and submit new supporting documents. All applicationmaterials become the property of the Curtis Institute of Music.However, concert programs and original compositions will bereturned if they are accompanied by a self-addressed envelopeof the appropriate size with the correct postage.

Application materials must be mailed or hand-delivered; faxedmaterials cannot be accepted.

Application materials from foreign countries must be sent byfirst-class AIR MAIL only.

Please direct all application materials to:Admissions OfficeCurtis Institute of Music1726 Locust StreetPhiladelphia, PA [email protected]

AUDITION INFORMATION

AUDITION REQUIREMENTS

Every applicant to the Curtis Institute of Music must audition inperson. Video- and/or audiotape recordings will not beconsidered in place of a live audition at Curtis except as notedon page 15 for vocal studies. Applicants to the CompositionDepartment will have original compositions examined by thatdepartment; finalists will have an interview in Philadelphia.

Applicants who wish to be double majors must audition separatelyfor each major department and must be admitted by each faculty.

2010 AUDITIONS

In February and March 2010 Curtis will offer auditions for thosedepartments that anticipate openings in the fall of 2010. Sinceopenings occur only as current students graduate, impendingopenings cannot be determined by the faculty with certaintybefore January 2010. Should there be no vacancy in the depart-ment to which you have applied, Curtis will notify you in writingand refund your application fee.

AUDITION SCHEDULE

Auditions are scheduled on specific dates for each department atthe convenience of the faculty. Curtis is unable to honor requestsfor changes in the scheduled audition dates. The filing of an

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PREREQUISITES AND STANDARDIZED TEST RESULTS

BACHELOR OF MUSIC

Prerequisite High school diploma (or equivalent—The 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 I—Verbal: minimum 500

Post-2005 SAT I—Critical Reasoning: minimum 500

Post-2005 SAT I—Writing: to be evaluated for placement

Non-native speakers of English Scholastic Aptitude Test (SAT I)

Pre-2005 SAT I: Verbal—minimum 500

Post-2005 SAT I: Critical Reasoning—minimum 500

Post-2005 SAT I: Writing—to be evaluated for placement

Test of English as a Foreign Language (TOEFL)

Written: minimum 550

Computer-based test: 213

Post-2005 Internet TOEFL iBT: 79–80

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.

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application does not oblige the Curtis Institute of Music to grantan audition.

Applicants should add [email protected] to their approvedsenders’ list to ensure receipt of Curtis admissions e-mails. Inearly January, applicants will be notified by e-mail that theirapplications have been received. By late January, those whoare granted an audition will receive an e-mail announcing theiraudition date. The audition calendar is posted on the Curtiswebsite (www.curtis.edu) in January.

All auditions are held at the Curtis Institute of Music, 1726Locust Street, Philadelphia. The applicant should be awarethat the auditions may be videotaped and recorded (for panelreview only).

AUDITION ACCOMPANIST

Curtis will provide an accompanist for auditions in flute, opera,viola, violin, cello, and voice. All other auditions are playedwithout piano. The applicant must supply Curtis’s accompanistwith the appropriate piano scores at the time of audition; it is upto the discretion of the audition committee whether the auditionwill be heard if no music is provided. Photocopied music is notacceptable in place of a score. No preaudition rehearsal withCurtis’s accompanist is permitted.

AUDITION PROCEDURES

Applicants may warm up for thirty minutes in an assigned practiceroom before their auditions. If an applicant is late for thescheduled audition, the audition committee will decide whetheror not to hear the audition. The committee is not obliged to hearall the music that an applicant may have prepared nor to givean audition evaluation.

AUDITION FEE

A nonrefundable audition fee of $150 is payable once the applicantis notified of the audition date; this fee must be paid before theapplicant is permitted to audition. The $150 audition fee is inaddition to the $150 application fee.

AUDITION REPERTOIRE

The audition repertoire requirements of Curtis’s major depart-ments are detailed on the following pages.

Some departments permit latitude in the selection of works to bepresented, while others require specific repertoire. All applicantsmust comply with the requirements set forth by the departmentto which they have applied. No substitutions or exceptions to thestated audition requirements will be permitted. In addition tothe stated requirements, applicants may be asked to show theirsight-reading ability. A knowledge of piano and music theoryis desirable.

While the choice of composition is important, audition perform-ance carries the greater weight. The final admission decisionrests upon the evidence of talent shown rather than upon thedegree of proficiency already attained. Admission is limited tothose whose inherent musical gift shows promise of developmentto a point of exceptional professional quality.

NOTE: In major departments with more than one instructor,student placement is determined by the consensus of the facultyof that department.

AUDITIONREPERTOIREREQUIREMENTSCOMPOSITION

Applicants will submit no more than three compositions.Submissions of orchestral compositions are encouraged butare not required. A personal interview in Philadelphia may berequired for candidates considered as finalists.

Manuscripts, to be sent by registered mail, must be postmarkedbetween October 1 and December 11, 2009. Applicants mustsend copies of their work, not originals. Submission of tapes or CDsis encouraged but is not required. If you wish to have materialsreturned, include a postpaid envelope with the manuscripts.

CONDUCTING: THE HELEN F. WHITAKER FUNDCONDUCTING PROGRAM

Applicants should possess a strong foundation in basic musician-ship, including an excellent ear. Applicants will be asked to reada Bach chorale at the keyboard from a score employing threeC-clefs (soprano, alto, and tenor) and bass clef. They will demon-strate familiarity with the orchestral literature including, but notlimited to, the classical symphonic repertory. Applicants will beasked to demonstrate score-reading ability in a variety of repertoire.

Applicants should be proficient on at least one instrument anddisplay the communicative and physical aptitude for a career onthe podium.

KEYBOARD INSTRUMENTS

PIANO

Applicants will play from memory:1) a complete work of J. S. Bach2) any Mozart sonata (except K. 545) or any Beethoven sonataexcept Op. 49) complete3) one slow and one fast selection from the works of Chopinfor solo piano (no works of Chopin for piano and orchestra willbe acceptable)4) a major solo work (at least ten minutes long) of the applicant’schoosing

No substitutions for the above repertoire will be allowed.

ORGAN

Applicants will play from memory:1) a prelude and fugue by J. S. Bach2) an allegro movement from a Bach trio sonata or comparablechorale-prelude3) 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 compositionwill be sent to each auditionee one month prior to auditions andwill be performed (optional: from memory) at the audition.

HARPSICHORD

Applicants will play from memory:1) two Scarlatti sonatas2) two contrasting movements from a suite by J. S. Bach3) a work of their own choice from the French claveçin schoolor the English virginalists

ORCHESTRAL INSTRUMENTS

STRINGS

In addition to fulfilling the specific requirements below, all stringapplicants must be prepared to play all major and minor scalesand arpeggios in fluent tempo.

VIOLIN

Applicants will play from memory:1) a complete concerto by Mozart2) a complete sonata or partita for violin alone by J. S. Bach3) a caprice by Paganini4) another complete standard concerto for violin

VIOLA

Applicants will play:1) a complete J. S. Bach suite2) a complete concerto by Walton or Bartók, or Der Schwanendreherby Hindemith3) one movement of an unaccompanied work by Hindemithor Reger4) one of the Brahms sonatas or Schubert’s “Arpeggione” sonata,complete

Everything except the Brahms or Schubert is to be played frommemory

CELLO

Applicants will play:1) a complete J. S. Bach suite2) any one of the following concertos:• Saint-Saëns No. 1• Boccherini in B-flat• Haydn in C or D

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• Dvorák• Lalo• Elgar• Shostakovich No. 1• Walton• Schumann• Tchaikovsky, Rococo Variations

3) an étude from Popper, Op. 73, or an étude by Piatti4) one of the sonatas by Beethoven or Brahms, complete

Everything except the Beethoven or Brahms is to be played frommemory.

DOUBLE BASS

Applicants will play from memory:1) a three-octave B-flat major and B-flat melodic minor scalewith arpeggios2) a movement from one of the six cello suites by J. S. Bach(transcriptions permitted) or a solo work of the applicant’s choice3) the first two movements (with appropriate cadenzas included)of a major bass concerto or equivalent works that show theapplicant’s abilities

In addition two prepared excerpts from the standard orchestralliterature will be required (music may be used for this portion).

HARP

Applicants will play1) one Baroque piece2) one Romantic piece from the major harp repertoire3) one Impressionistic piece or twentieth-century piece fromthe major harp repertoire

All works should be prepared in their entirety and memorized.Applicants will be accepted for audition depending on the levelof their audition program.

WOODWINDS

In addition to fulfilling the requirements of individual woodwindmajors listed below, all applicants should possess a good ear anda sense of rhythm and tone. They will demonstrate familiaritywith all major and minor scales and arpeggios. Applicants willalso be expected to demonstrate sight-reading ability with materialchosen 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

Applicants will play:1) one movement of a concerto or sonata2) a fast étude by Ferling3) the third movement of the Mozart oboe quartet4) 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 theirgeneral knowledge of music. In honor of the seventh directorof the Curtis Institute of Music, each year one new or currentoboe student will be named the John de Lancie Scholar.

CLARINET

Applicants will play:1) the Mozart clarinet concerto2) two contrasting pieces from the Rose Thirty-two Études3) a prepared piece of the applicant’s choice

BASSOON

Applicants will play from memory: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 octaveswhere possible3) an étude of the applicant’s choice (music may be used for thisportion4) at least two orchestral excerpts of contrasting style (music maybe used for this portion)

BRASS

In addition to fulfilling the specific requirements below, applicantsshould possess physical aptitude for the chosen instrument, agood ear, a sense of rhythm, and the ability to read at sight.

TRUMPET

Applicants will play:1) études from Bousquet and Charlier or equivalent2) one étude of the applicant’s choice in melodic style3) Haydn’s trumpet concerto or equivalent4) orchestral excerpts

Applicants must display at least rudimentary knowledge oftransposition.

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HORN

Applicants will read an orchestral excerpt and demonstratefamiliarity with all major and minor scales and arpeggios.In addition applicants will play:1) one movement of a concerto or sonata2) one étude by Kopprasch and one by Gallay3) the following orchestral excerpts:• the last movement of Brahms’s Symphony No. 1• the second-horn part from the trio of the third movementof Beethoven’s Symphony No. 3• the second movement of Tchaikovsky’s Symphony No. 5• R. Strauss, Till Eulenspiegel• Ravel, Pavane• the short call from Wagner’s Siegfried’s Rheinfahrt• the first movement of Beethoven’s Symphony No. 7• the third movement of Brahms’s 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 work2) one technical étude by Kopprasch, Tyrell, or Blazhevich3) at least two orchestral excerpts of contrasting style

Applicants may be asked to play all major and minor scales andto read at sight in alto, tenor, and bass clefs.

TUBA

Applicants will play:1) two contrasting études of Vasiliev, Blazhevich, Rochut,Kopprasch, or the like2) orchestral excerpts to include Berlioz, Prokofiev, and Mahler3) the first movement of the Vaughan Williams tuba concerto4) 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 fundamentaltechniques of percussion and timpani. They will be examinedon timpani pitch recognition and technical skills such as rolls.They should be prepared to perform one study on timpani, onetwo-mallet work on marimba or xylophone, one four-malletwork on marimba, and two studies on snare drum—classical andrudimental. Applicants will also be expected to demonstrate theirability to sight-read. Applicants must possess a good ear and beable 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 orDVD (please no audio- or videotapes) and the $50 screening feein order to be considered for an invitation to audition in person.Name, age, and screening repertoire should appear on the CDor DVD and on the cover; the recording must be sent with theapplication, 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 thegranting of a live audition will depend upon this.

Applicants will be notified of decisions regarding liveauditions by mid-February. Vocalists who audition live will beasked to perform up to four selections from memory, showing thecharacter and quality of voice and musicianship. One selectionmust be in English (not a translation). Three selections mustbe 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 supplytheir own accompanist if they prefer. A short test of musicaltheory and sight singing may be asked of the applicants in thefinal round of auditions.

Opera: Master of Music andProfessional Studies Certificate Programs

All applicants in opera are required to submit a screening CD orDVD (please no audio- or videotapes) and the $50 screening feein order to be considered for an invitation to audition in person.Name, age, and screening repertoire should appear on the CDor DVD and on the cover; the recording must be sent with theapplication, postmarked no later than December 11, 2009.Repertoire selections for screening should include accompanimentand should show contrast in musical styles and tempos. Pleasemake certain the recording is of good quality, as the granting ofa live audition will depend upon this.

Applicants will be notified of decisions regarding live auditionsby mid-February. Vocalists who audition live will be asked toperform from memory up to five contrasting arias from the standardoperatic repertoire. Though an accompanist is provided, operaapplicants may supply their own accompanist if they prefer.A short test of musical theory and sight singing may be askedof the applicants in the final round of auditions.

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STUDENT FEESAND EXPENSESSTUDENT FEES

ANNUAL FEES

Comprehensive fee1 (includes all text books)

Bachelor of Music program—$1,300

All other programs of study—$1,200

Health services fee2 $900

Health insurance3 $2,450

Internet/e-mail fee4 $90

ONE-TIME FEES AND DEPOSITS

Library deposit $100

Piano deposit (if applicable) $200

Instrument deposit (other than piano) $100

Graduation fee5 $125

1 Payable by new students upon admission and by returning students atregistration. 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 andemotional 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 atregistration.

5 Payable at the beginning of the spring term for students expecting tograduate at the end of that term; the fee covers the costs of cap-and-gownrental and related expenses.

PHYSICAL AND EMOTIONAL HEALTH CARE

The health services fee (above) provides Curtis students withaccess to the University of Pennsylvania Student Health Servicefor primary physical health care. Initial emotional and psychologicalcounseling is provided by a private psychologist.

HEALTH INSURANCE

Curtis requires all students to have adequate health care insurancefor twelve months each year. The Institute offers a comprehensivestudent health insurance policy designed especially for Curtisstudents at an estimated cost of $2,450. All Curtis students areautomatically charged for this plan. Students may request exemptionfrom the Curtis plan and its cost if they feel that a parental orprivate health insurance plan provides adequate protection whilethey are attending Curtis. To seek an exemption, students mustpresent prior to registration: (a) proof of coverage for the twelvemonths beginning September 1 and (b) a copy of their plan’s

Summary Plan Description (SPD) or Schedule of Benefits thatdetails the actual coverage. These materials will be reviewed andstudents will be notified if their private plan provides comparablecoverage. If the private plan is found to be adequate, exemptionwill be granted and the student and parents will each be requiredto sign a release form acknowledging their sole responsibility forany uninsured medical expenses. If, after review, the private planis found to be inadequate, the student will be advised to enroll inthe Curtis plan. If the student still chooses to be exempt from theCurtis plan, the student and parents will be required to sign therelease form.

OTHER EXPENSES

LIVING ACCOMMODATIONS

As Curtis does not provide dormitory or food-service facilities,students need to make their own housing arrangements. Apartmentsin various price ranges are available near Curtis. Upon acceptance,students will be given materials to assist them in their search forsuitable housing.Students under sixteen years of age are required to have a

parent or adult guardian living with them. The school encouragesall students under eighteen to live with a parent, guardian,or older student. There are a limited number of two-bedroomapartments (double occupancy) close to Curtis for whichfirst-year students have priority. Please contact the assistantdirector of student financial assistance at 215-717-3188 [email protected] for information.

PIANO MOVING AND TUNING

Students majoring in piano, organ, harpsichord, composition, orconducting who are lent a Curtis piano must pay a $200 securitydeposit, the cost of moving the piano from the Institute to theirapartment, and the cost of returning the piano to Curtis. Themoving expense varies depending on the distance between theapartment, and Curtis, plus the degree of difficulty of movingthe piano into the apartment. The range of moving expense isapproximately $150 to $500 each way. Curtis will pay for thefirst piano tuning, but students must cover costs of any additionaltuning and repairs.

HIGH-SCHOOL TUITION (PRE-COLLEGIATE STUDENTS ONLY)

Students pursuing elementary- or high-school academic workat an accredited public or private school must make their ownarrangements for the payment of tuition and fees for that school.Expenses vary considerably. Financial aid is available at mostprivate schools. Limited funding based on need may be availablefrom Curtis. Information on Financial Assistance Policies, includingCurtis’s merit-based full-tuition scholarships, begins on page 18.

ESTIMATED STUDENT BUDGET FOR 2009–10

BASIC LIVING EXPENSES1 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 FEES1

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 required2 $2,450

Internet/e-mail fee $90

Subtotal $4,740

TOTAL ESTIMATED 9-MONTH COST (SEPTEMBER 1, 2009—MAY 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.

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STUDENTFINANCIALASSISTANCEPolicies and Procedures

MERIT-BASED FULL-TUITION SCHOLARSHIPS

Since Curtis accepts students only on the basis of talent, all studentsare awarded merit-based full-tuition scholarships. These scholar-ships are renewed each year during enrollment at Curtis.

NEED-BASED FINANCIAL ASSISTANCEFOR LIVING EXPENSES

Supplemental financial assistance is awarded at the Curtis Instituteof Music exclusively on the basis of financial need and is inaddition to the merit-based full-tuition scholarship. Before turningto Curtis for supplemental assistance, students are expected toutilize funds from non-Curtis sources, including grants, loans,and scholarships available through private, public, and othersources whenever possible.

CURTIS SUPPLEMENTAL FINANCIAL ASSISTANCE POLICY

Any student who demonstrates financial need will be awardedadequate assistance to attend school. No student will have toleave Curtis solely because of financial need. Financial assistancefor 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 family’s financial situation.Continued eligibility for Curtis-funded financial assistance

requires that the student demonstrate academic and artisticprogress according to the standards stated under ScholasticStanding on page 35. The dean will interpret this policy forstudents not enrolled in the Bachelor of Music program and/orfor students with special circumstances.Federal requirements stipulate that a student receiving U.S.

Government financial assistance in the form of loans and/orgrants must maintain a minimum cumulative grade point average(GPA) of 2.00 and must make progress toward completion of hisor her degree. A full-time undergraduate student must completea minimum of twenty-four credit hours per academic year anda 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 theminimums will be on probation during the subsequent semesterfor purposes of federal funding. Students will be informed inwriting if a probation period applies. The annual minimumsdescribed above must be achieved by the conclusion of the subse-quent term in order for the student to again be eligible for federalfunding for the next term.Additional definitions and policies related to U.S. Department

of Education Title IV funding are available in the Office ofStudent Financial Assistance. Please call the director of studentfinancial assistance at 215-717-3143 or send an e-mail [email protected] for further information.The following chart is used to determine the appropriate

grade level for federal loan eligibility:

CREDITS GRADE LEVEL

0–24 First year

25–48 Second year

49–72 Third year

73+ Fourth year

Graduate student Full-time status = 9 credits per term

FINANCIAL ASSISTANCE PROCEDURES

Applicants for admission may download the Curtis Applicationfor Supplemental Financial Assistance and detailed instructionsfrom the Curtis website (www.curtis.edu), or may request thata packet be mailed to them by contacting the Office of StudentFinancial Assistance; call 215-717-3188 or [email protected]. The following are generalapplication procedures.Deadline: Prospective students must submit the Curtis

Application for Supplemental Financial Assistance and supportingdocuments no later thanMarch 1, 2010.

U.S. CITIZENS AND PERMANENT RESIDENTS OF THE U.S.

Complete and file the U.S. Department of Education’s FreeApplication for Federal Student Aid (FAFSA). The FAFSATitle IV School Code for the Curtis Institute of Musicis 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 andsubmit it with support documentation to the Office of StudentFinancial Assistance.

Submit copies of previous year IRS income tax returns forboth student and parents to the Curtis Office of Student FinancialAssistance.Submit a copy of either a Social Security Card or Alien

Registration Card, whichever is applicable.

INTERNATIONAL APPLICANTS

Submit tax forms from the student’s home country for the mostrecent 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 theprevious 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, andany other securities holdings.If the student has a financial sponsor, submit a letter from

the sponsor stating the total estimated support to be provided forthe 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 heldin the Office of Student Financial Assistance in strict confidence.

RENEWAL REQUIREMENTS

Curtis financial assistance is awarded for the nine-month periodfrom September through May. Students are responsible fortheir own summer expenses. Students are required to submitapplications and supporting documents each year in order toestablish eligibility for supplemental financial assistance. Awardamounts may vary according to financial need and the availabilityof funds. The application deadline is May 1.

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STUDENTFINANCIALASSISTANCESources

OFF-CAMPUS RESOURCES

Parents and students are urged to contact public and privatefoundations, service clubs, churches, etc., that may be sources ofoutside scholarships or other financial assistance. Information isavailable from high-school guidance counselors, library referencedesks, and the Internet.

U.S. GOVERNMENT FINANCIAL ASSISTANCE

Curtis students who are United States citizens or permanentresidents 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, AcademicCompetitiveness grants (ACG), Stafford loans, and/or PLUSloans will be awarded to students on the basis of documentedfinancial need which cannot be met by student or family resources.The Office of Student Financial Assistance is responsible foradministering and certifying student eligibility for these aidprograms. The programs are as follows:

FEDERAL FAMILY EDUCATION LOAN PROGRAM

(STAFFORD AND PLUS LOANS)

Stafford and PLUS are government-sponsored low-interest loansto assist students and their parents in meeting educational expenses.The Stafford and PLUS loans are administered and certifiedthrough the Office of Student Financial Assistance in conjunctionwith individual lending institutions and state agencies approvedby the federal government.Stafford loans may be certified as interest-subsidized or

unsubsidized, based on federal eligibility requirements. First-yearundergraduates may borrow a maximum of $5,500 per academicyear; second-year students $6,500; and third-year-or-aboveundergraduate students $7,500 per year, through the fifth yearof enrollment. Graduate students are permitted to borrowa 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 thebasis of financial need. Parents who qualify may borrow fundsup 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 grantsadministered and certified through the Office of Student FinancialAssistance, based on a standard federal needs-analysis formula.Students must file the FAFSA to establish eligibility. First- andsecond-year Pell recipients will be considered for ACG as specifiedby federal regulations.

VETERANS BENEFITS

Contact your local Veterans Administration Office for informationon grant and loan programs for veterans. For further informationand certification, contact Veronica McAuley, 215-717-3188, inthe Financial Aid Office.

ALTERNATIVE LOAN PROGRAMS

International and other students who are not eligible for loanprograms through the U.S. Department of Education FederalFamily Education Loan Program (FFELP) may instead applyfor a low-interest private loan. The Office of Student FinancialAssistance can help students and families with securing alternativeloan funding, if necessary.

STATE RESOURCES

Many states offer financial assistance to their residents. Contact theappropriate agency in your state for information and applications.

INTERNATIONAL RESOURCES

Many governments outside the United States provide financialassistance to their citizens who are studying abroad. Internationalstudents should contact the ministry of higher education in theirhome country for information and applications.

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AWARD SEQUENCE FOR SUPPLEMENTALFINANCIAL ASSISTANCE

LOANS

Stafford or alternative, as described on page 20.

ON-CAMPUS EMPLOYMENT

Students who require supplemental financial assistance forliving expenses are expected to work and earn as much of theassistance as possible, artistic and academic schedules permitting.Accordingly, on-campus employment is the second level offunding awarded in a financial-assistance package. The amountof on-campus employment in a Curtis award package relatesdirectly to the instrument and year of study and reflects thejudgment that the hours of expected work are appropriate.

LAB ORCHESTRA AND/OR OPERA ORCHESTRA

The financial-assistance package might include an awardlabeled “Lab Orchestra,” although the assignment may be thelab orchestra and/or the opera orchestra. Note: Some studentsasked to play in the lab or opera orchestras may not have beenawarded this aid in a financial-assistance package. These studentswill be paid on a per-performance basis.

SUPPLEMENTAL GRANTS

Supplemental grants are offered if there is remaining need afterthe awarding of loans, on-campus employment, and/or laborchestra. Grant recipients must demonstrate satisfactory artisticand academic progress. Students offered a supplemental grant inaddition to a loan are required to take the loan in order to retaingrant funding. Students offered a supplemental grant in additionto on-campus employment are generally required to work aminimum number of hours each week in order to retain grantfunding.

For further information on any matter regarding financial assistance,please call the Office of Student Financial Assistance at 215-717-3188or 215-717-3143 or e-mail [email protected].

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THE CURTISCURRICULUMGENERAL STATEMENT

All students, other than those enrolled in the Master of Musicand Professional Studies Certificate programs, must be enrolledin the Diploma or Bachelor of Music programs. Any changefrom one program to another by post-secondary-school diplomastudents must be made no later than the end of the second yearat Curtis. Diploma students wishing to apply for entrance to theBachelor’s degree program must complete the Program TransferForm and submit it to the Registrar’s Office.

The Diploma program for post-secondary-school students isfor two to four years. The Bachelor of Music program takes threeto five years. The Professional Studies Certificate and Masterof Music programs may be completed in two to three years.

DIPLOMA PROGRAM

The diploma is given upon completion of a minimum ofseventy-four semester hours (s.h.), as outlined below. A minimumtwo-year residency is required.

TRANSFER PROCESS FROM DIPLOMATO BACHELOR OF MUSIC

Diploma students who wish to transfer to the bachelor’s programmust provide all required application documents (see page 10)by September 1 for a first-semester transfer or December 1 fora second-semester transfer. Diploma students may take no morethan two one-semester liberal arts courses prior to an officialtransfer to the bachelor’s program.

The GED will be accepted by Curtis as a supplement to evidenceof exceptional academic achievement as part of the applicationfor the bachelor’s program only when prior permission has beenobtained from the dean, the registrar, the director of studentservices, and the chair of the liberal arts department. A permissionform is available in the Registrar’s Office.

BACHELOR OF MUSIC PROGRAM

The Bachelor of Music degree is given upon completion ofa minimum of 136 semester hours (s.h.), as outlined below.Students must fulfill a minimum three-year residency, pass allrequired courses, and have a cumulative grade point averageof at least 2.0 in musical studies and liberal arts courses.

GENERAL REQUIREMENTSCOURSE DIPLOMA CREDITS BACHELOR’S 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.

Solfège I, II 8 s.h. 8 s.h.

Solfège 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 23–25.)


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COURSE DIPLOMA CREDITS BACHELOR’S 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 REQUIREMENTSCOMPOSITION MAJORS DIPLOMA CREDITS BACHELOR’S 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 Recital1 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 BACHELOR’S CANDIDATES: a Student Recital Series concert at least forty-five minutes long of their own music, the majoritywritten while a Curtis student; recommended to occur in the fall of the student’s graduating yearDIPLOMA CANDIDATES: a concert at least one hour long of their own music, the majority written while a Curtis student; maytake place in an alternate venue with the approval of the student’s major teacher and the dean; recommended to occur in the fallof the student’s graduating year

PRIVATE INSTRUCTION FOR COMPOSITION MAJORS

Undergraduate composition majors (bachelor’s candidates) are expected to study with all composition faculty over the course oftheir 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 totake 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 onebe taken by the end of the third year.

Diploma candidates (students with a bachelor’s degree, equivalent, or higher) are expected to study a minimum of one semester withanother instructor of their choice, based on availability, and should consult with their intake teacher to determine the best semesterto do so.

Diploma candidates also are expected to take one course per semester and two per school year—one music and one nonmusic—atCurtis or at the University of Pennsylvania under the reciprocal agreement.

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CONDUCTING MAJORS DIPLOMA CREDITS BACHELOR’S 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 BACHELOR’S 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

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ORCHESTRAL INSTRUMENT MAJORS DIPLOMA CREDITS BACHELOR’S 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 percussion2)


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., T3) Required Required


T = Timpani and Percussion–major 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 chambermusic, including chamber works with nonpercussion instruments is required.

VOICE MAJORS COURSE DIPLOMA CREDITS BACHELOR’S 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 ofthirty-two graduate credits (g.c.). The program normally takestwo years to complete, but a student may stay an optional thirdyear at the discretion of the head of the Vocal Studies Departmentand the Curtis president. Each student receives at least two vocalcoaching sessions per week. A Bachelor of Music degree orequivalent is required for degree candidacy. In the last semester,the Graduate Studies Review Committee will evaluate theprogress 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 madeby the student with the approval of the head of the Vocal StudiesDepartment and the president. Emphasis in the opera programis on performing and developing performance skills. Eachschool year the Curtis Opera Theatre generally performs threeproductions with the Curtis Symphony or Chamber Orchestra.

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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 foreignlanguages.

Students must take or audit at least one course in literature,drama, art history, or modern language at Curtis or at theUniversity of Pennsylvania under the reciprocal agreement.

PROFESSIONAL STUDIES CERTIFICATE IN OPERA

This two-year, nondegree program parallels the Master of Musiccourse of study in opera. No undergraduate degree is requiredto enter the program and no degree is awarded upon completion.An individual curriculum will be designed by the head of theVocal Studies Department together with the student to meet thesinger’s specific needs in language, musical skills, and coaching.

ELEMENTARY AND SECONDARYSCHOOL STUDENTS

The Curtis Institute of Music does not offer a preparatory musicor academic program. It is believed that gifted young musiciansshould study with leading teachers from the beginning of theirconservatory days. Accordingly, Curtis sets no minimum age forthe admission of exceptional students to most of its programs.Even the youngest, elementary school-aged students receivemusical training from the same teachers at the same intensivelevels as do their older colleagues (the only difference being thatthe younger students may receive extra lessons).

Until they earn a high-school diploma or equivalent and takethe SAT I and, if necessary, the TOEFL, students younger thancollege age are considered candidates for the Diploma. Thesestudents pursue their musical studies at Curtis, and they pursuetheir college-preparatory academic studies at an accreditedpublic or private high school of their own choosing. Several suchschools are within walking distance of Curtis. Students mustmake their own arrangements for the payment of tuition andother 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-schooloptions, please contact the director of student services at215-717-3143 or [email protected].

Students under sixteen years old are required to have a parentor adult guardian living with them. The school encourages allstudents under eighteen to live with a parent, guardian, or olderstudent. In consultation with the dean and the faculty, academicallyadvanced younger students may on occasion be permitted to enrollin academic courses for which they demonstrate superior aptitude.

ACTIVITIES REQUIRED OF PRE-COLLEGE-AGED STUDENTS

PERFORMANCE Major Lesson

Chamber Music(required for pianists and orchestralinstrument majors age fourteen and older)

Orchestra (required for orchestral instrumentmajors 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 accreditedelementary- or secondary-school program or other approvedprogram. (The registrar must be informed of student enrollmentin non-Curtis academic programs.)

Students must maintain satisfactory grades (which Curtis definesas 2.0 or better) in their school programs, and they must provideCurtis with evidence of satisfactory progress each marking periodor semester.

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COURSEDESCRIPTIONSKEY 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.” (graduatecredits) indicate credit-hours given per term for undergraduateand graduate courses, respectively.• Yearlong, two-semester courses are designated by hyphenatedcourse numbers. Students must successfully complete bothsemesters of required yearlong courses to satisfy the graduationrequirement.• 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 student’s major instructor.Younger students may receive two lessons per week. Voice andinstrumental majors receive four s.h./term credit; piano, compo-sition and conducting majors receive six s.h./term credit. Operastudents receive one g.c./term credit.

Composition Seminar CMP 001–002; 1 s.h./term

Weekly seminar class for composers, involving analysis, presentation,and discussion of contemporary music.

Early Music Performance HRC 001–002; 1 s.h./term

Examination of sixteenth- and seventeenth-century performancepractice through lectures, demonstrations, and coachings.

Chamber Music CHM 101–402; 1 s.h./term

Regular coaching of student string, brass, woodwind, and mixedensembles by Curtis’s chamber music faculty. Trios, quartets, andlarger ensembles are formed by students or assigned by the faculty.Required of all piano and orchestral instrument majors withspecific repertoire requirements for each semester.

Score Analysis CND 113–114; 1 s.h./term

Detailed study of the structure of orchestral scores for conductingmajors.

ORCHESTRAL REPERTOIRE STUDIES

Brass BRS 001–002; 1 s.h./term

Percussion PRC 001–002; 1 s.h./term

Strings STG 001–002; 1 s.h./term

Woodwinds WWD 001–002; 1 s.h./term

Weekly sectional study and rehearsal of orchestral literature,required of all string, woodwind, brass, and percussion orchestramembers.

Orchestra ORC 001–002; 3 s.h./term

Participation in the Curtis Symphony Orchestra, as well as theCurtis Chamber Orchestra. Required of all orchestral instrumentmajors sixteen years of age and older.

Organ Class ORG 001–002; 1 s.h./term

Weekly performance class, required of all organ majors. Allrepertoire to be performed from memory.

20/21: The Curtis Contemporary Music Ensemble

ORC 211–212; 1 s.h./term

Participation in 20/21, an ensemble devoted to the performanceof chamber music from the twentieth and twenty-first centuries.Rehearsals weekly and as needed. Chamber music credit givenbased on participation and opportunity to perform or at thediscretion of the dean.

Piano Repertoire Seminar PNO 221–222; 1 s.h./term

Weekly performance class, required of all piano majors.

Lab Orchestra ORC 311–312; 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 VocalStudies Department, students in other departments may participatein some of these courses.)

Diction DCT 001–002; 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 importanttools of the singer’s craft.

Diction Coaching DCT 101–102; 1 s.h./term

DCT 401–402; 0.5 g.c./term

DCT 411–412; 0.5 g.c./term

The application of diction fundamentals to prepare for vocalperformances.

Voice Repertoire Coaching VRP 101–102; 1.5 s.h./term

VRP 401–402; 1.5 g.c./term

Vocal and musical preparation with opera and voice coaches foroperatic and recital performances.

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Alexander Technique VRP 111–112; 0.5 s.h./term

OPR 501.1–502.1; 1 g.c./term

An introduction to gentle, novel, guided movement sequencesthat 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 grantedfor yoga classes.

History of Singing: The Recorded Legacy

MHS 211–212; 2 s.h./term

A study of the history of vocal performance, using recordingsfrom the past and present.

Acting Seminar VRP 205–206; 1 s.h./term

An undergraduate course in the method of developing theemotional and physical life of a character through examinationof the text. Using improvisation and other methods, the coursecultivates the skill of acting while singing.

Voice Performance Seminar VRP 301–302; 1 s.h./term

Weekly undergraduate repertoire class for voice majors.

Opera History Seminar MHS 505–506; 0.5 g.c./term

A study of the growth of the operatic form from the Camerataof 1597 to the mid-twentieth century. Emphasis is on major worksof the standard operatic literature from Italy, France, and Germany.

Opera Staging OPR 571–572; 3 g.c./term

OPR 671–672; 3 g.c./term

Rehearsals for major productions.

Opera Performance Seminar VRP 501–502; 0.5 g.c./term

Weekly graduate repertoire class for opera majors, in whichsingers can perform for each other and try out new materialin a constructive environment.

SUPPLEMENTARY PERFORMANCE

Supplementary Harpsichord HRC 005–006; 2 s.h./term

One lesson per week with a member of the harpsichord faculty.

Supplementary Piano PNO 001–002; 0.5 s.h./term

One lesson per week with a member of the supplementary pianofaculty. Required for two years of all undergraduates who arenot exempted from the supplementary piano requirement byexamination.

Supplementary Voice VOI 001–002; 0.5 s.h./term

One lesson per week with a member of the voice faculty or agraduate student. Open as a performance elective to all students.

Viola for Violinists VLA 101–102; 1 s.h./term

One lesson per week with a member of the viola faculty. Open asa performance elective to violin majors.

Elements of Conducting CND 451–452; 3 s.h./term

Introduction to the technique of leading larger ensembles,basic beat patterns, techniques of expression, and baton andscore-reading skills. One semester required of all Bachelor ofMusic 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 understandlinear and vertical relationships in music and their inspiredsynthesis in composition. Required courses are supplementedby specialized courses in keyboard studies, orchestration, andscore-reading. Solfège provides aural reinforcement of musicaltechniques taught in the musical studies program. Music historytraces the evolution of those techniques.

Entering students are placed by examination. Placement decisionsmay be subject to review. Tutoring is available. Students ofexceptional ability may receive specialized instruction andadvanced classes are offered.

COURSE LEVELS IN MUSICAL STUDIES

Complete musical studies graduation requirements are specifiedon pages 22–26. In fulfilling those requirements, the followinggroups of courses are designed to be taken concurrently. Initialplacement levels are determined by examination, and credit isgiven for required courses exempted by examination.

(The symbol * indicates a musical studies course that is notoffered every year.)

MUSICAL STUDIES

LEVEL COURSE HOURS PER WEEK

0 Fundamentals 3

1 Harmony I 3

Counterpoint I 2

Solfège I 2

Music History I 3

2 Harmony II 2

Counterpoint II 1

Form 1

Solfège II 2

Music History II 2

3 Harmony III 2

Analysis 2

Solfège III 2

Music History Seminar 2

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TECHNIQUES OF MUSIC

Preparatory Musical Studies THY 001–002; 1 hr./wk.

A noncredit course designed specifically for younger students,providing intensive drill in the fundamentals of music, includingkey 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, keysignatures, intervals, and chords), preparing students for theCurtis musical studies program.

Solfège for Singers SFG 101–102; 2 s.h./term

Designed to address the specific needs of some singers, the contentof 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 functionsof triads on all diatonic scale degrees.

Harmony II HRM 201–202; 2 s.h./term

Modulation to the dominant in major and to the mediant inminor, sequential progressions, melodic and rhythmic figuration,and chromaticism through modal mixture.

Harmony III HRM 301–302; 2 s.h./term

Diatonic modulation to all keys, the Phrygian II, augmented sixthchords, 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 counterpointin the major and minor modes.

Counterpoint II CPT 201–202; 1 s.h./term

Three-part species counterpoint and introduction to combinedspecies in three voices.

Counterpoint III CPT 301–302; 1 s.h./term

Further study of combined species, double (i.e., invertible)counterpoint, and fugue.

SOLFÈGE

Solfège I SFG 111–132; 2 s.h./term

Sight-singing in five clefs, singing and recognition of intervalsand triads, two-part contrapuntal dictation, rhythmic dictation,and score-reading.

Solfège II SFG 241–262; 2 s.h./term

Advanced sight-singing in seven clefs, chromaticism, three-partcontrapuntal dictation, simple figured-bass dictation, and readingBach chorales in open score.

Solfège III SFG 371–392; 2 s.h./term

More complex figured-bass dictation with chromaticism, atonaldictation and sight-singing, and advanced score-reading.

FORM AND ANALYSIS

Form THY 201–202; 1 s.h./term

Beginning with the study of phrase structure, a survey of theprincipal musical forms of the baroque, classical, and romanticeras, with particular emphasis on the evolution of sonata form.

Analysis THY 301–302; 2 s.h./term

The analysis of tonal music through the study of its voice-leading structure. This course will examine works from differentgenres, including binary and song forms, as well as completesonata movements.

Twentieth-Century Analysis THY 401; 2 s.h./term

A survey of analytical techniques based on original methods ofcomposition and separately produced perspectives. A wide rangeof works will be studied, from early pieces of “free atonality” andimpressionism to music written in the past twenty years.

KEYBOARD

Keyboard Studies I KBD 101–102; 1 s.h./term

Contrapuntal and harmonic progressions in all keys, fundamentalsof figured bass, keyboard settings of folk and chorale melodies,and basic score-reading.

Keyboard Studies II KBD 201–202; 1 s.h./term

Figured bass chorales, introduction to continuo, techniques oforchestral score-reading, Bach’s Art of the Fugue in open score,and sight-reading for two and four hands.

Keyboard Studies III KBD 301–302; 1 s.h./term

Advanced continuo, advanced orchestral score-reading, andadvanced sight-reading for two and four hands.

Keyboard Improvisation KBD 305*; 1 s.h./term

An exploration of the techniques for creating formal tonal structureson both given and free materials. The first semester will focus onharmonization and ornamentation of chorale melodies, includingchorale prelude, variations, and ground bass. Free-form structurewill be explored in the second semester, as well as including sometwo- and three-part form.

Chamber Chorus KBD 355–356; 1 s.h./term

The basics of voice production and ensemble singing, taught ina practical setting. The repertoire for this course is a broadoverview of sacred and secular choral music. Two semesters arerequired for Diploma and Bachelor of Music students majoringin composition, conducting, harpsichord, organ, or piano.

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MUSIC HISTORY

Music History I MHS 101–102; 3 s.h./term

The history of Western music from its origins in ancient Greeceto the beginning of the twentieth century. This course aims toprovide a general survey of the major composers, as well as thedevelopment of tonality to its dissolution at the beginning of thetwentieth century.

Music History II MHS 201–202; 2 s.h./term

An examination of the trends and ideas that shaped music fromthe beginning of the twentieth century to the present. Studentswill explore this development through a chronological study ofthe composers, as well as through the creation of their own worksemploying the different compositional techniques of the era.

Music History Seminars MHS 301–302; 2 s.h./term

Bachelor of Music candidates are required to take at least twoseminars. Offerings vary from year to year. Sample topics include:Bartók and Stravinsky, J. S. Bach, film composers, madness inopera, creativity, Medieval seminar, the Second Viennese School,performance practice, and music of Latin America.

SPECIALIZED SUPPLEMENTARY COURSES

Supplementary Composition CMP 001–002; 1 s.h./term

Fundamentals of music composition focusing on students’ owncomposed music. Students with experience as composers arewelcome, 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 311–312*; 1 s.h.

A study of the history and development of the violin focusing onthe major violinmakers from Italy, France, Germany, and England.

Composers’ Letters MUL 305*; 3 s.h.

An investigation into the lives of composers through theircorrespondence. Studies will include the history of letter-writing and will focus on the letters of Mozart, Brahms, ClaraSchumann, Beethoven, and Tchaikovsky. This course canbe 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, anduse within small, like-instrument ensembles) within historical,traditional, and contemporary contexts. Special attention is paidto score preparation and parts extraction.

Applied Orchestration II THY 322*; 2 s.h.

A study of effective writing for instruments and voices in largeensembles. This course also explores traditional scoring practicesand contemporary techniques, including multiphonics andelectronic sound modification.

Analysis of Orchestration CND 421–422; 1 s.h./term

Basic principles of orchestral instruments (general techniques,ranges, limitations, etc.) and the study of their effective use insmall and large combinations, examined in both historical andcontemporary contexts.

Score-Reading KBD 411–412; 1 s.h./term

Reading at the keyboard of selected movements, representingimportant styles and composers from 1750 to 1950, chosen fromorchestral, chamber, choral, and operatic repertoire.

Music, Magic, and Mysticism MHS 406*; 2 s.h./term

An exploration of common existential themes—such as creationmyths, death and resurrection, heroes and legends, love and sex,and symbolism—and their connections to the arts. Music includesGregorian chant, Haydn, Wagner, African drumming and chanting,Icelandic Eddic poetry, the troubadours, Schoenberg, and Pärt.

Independent Study THY 461–462; various s.h./term

Individual instruction in selected topics of musical studiesor analysis.

LIBERAL ARTS COURSES

GENERAL STATEMENT OF PURPOSE

The goal of the liberal arts program at Curtis is to educatemusicians as broadly and deeply as possible. Great musiciansshould be more than technically proficient; they should be greatlyliterate and widely informed as well. Specific objectives are thepractice of rigorous and independent thinking; the pursuit ofclear expression, both oral and written; the encouragement ofcreativity; and the mastering of learning itself. Students willstudy major works of literature, art, and philosophy and explorethe historical contexts in which those works and ideas originated.

(The symbol * indicates a liberal arts course that is not offeredevery 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 worksof music, art, and literature? Can criticism in the arts be objective?Do such cultural entities answer to more than one admissibleinterpretation? 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, Cézanne, Seurat, and van Gogh. The way in which theemerging field of art criticism shapes the perception of works of

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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 twentiethcentury. The course explores how history, politics, and cultureshape the making and meaning of art.

Italian Renaissance Art ART 231*; 3 s.h./term

A study of the emergence and development of one-pointperspective and transformations in sculpture and architecture inthe fifteenth and sixteenth centuries. This course considers themajor art centers of Florence, Rome, and Venice and artists suchas Donatello, da Vinci, Raphael, Michelangelo, and Titian.

Seventeenth-Century European Art ART 309–310*; 3 s.h./term

A study of the major artists in Italy, France, Flanders, Spain, andHolland. 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 001–002; 3 hr./week

A noncredit course that concentrates on improving reading,writing, and conversational skills, and increasing vocabulary.

English Conversation ENG 003–004; 1 hr./week

A noncredit conversation course, focusing on cultural differencesand building a vocabulary for everyday life. This course canbe taken with or separately from ENG 001–002. Placementdetermined by interview.

ENGLISH LANGUAGE AND LITERATURE

Language and Literature ENG 101–102; 3 s.h./term

A course in writing, reading, and critical thinking, required ofall students in the Bachelor of Music program. Students areintroduced to a wide range of genres and periods of Englishand 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 Shakespeare’s life and times.

Shakespeare and Others LIT 112*; 3 s.h.

A comparison of Shakespearean texts to those of other authorsand librettists who have drawn on his work. The courseworkincludes attendance at a performance of a Shakespeare playor 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,O’Faolain, 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 aimto understand how modernism corresponds to changing viewson 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 artand 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 turnto postmodern literature around the time of World War II. Thepostmodern narrative will be studied with respect to languageand its representation of the world and the status of the narrator,as well as this new attitude’s political and social consequences.

The Literature of War LIT 157–158*; 3 s.h./term

A study of the fiction, poetry, and memoirs produced in the timeof war. Both World Wars and the VietnamWar will be of particularinterest 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 formssupplemented by reading and discussion of short fiction by suchauthors as Dinesen, Fitzgerald, Malamud, Conrad, Barthelme,Oates, Munro, and Carver. Guest authors speak to the class.Limited to ten students.

Modern Drama LIT 303–304*; 3 s.h./term

A look at the changes wrought dramatists and depicted on thestage during “modern times,” reading works by Chekhov, Ibsen,Beckett, O’Neill, and Friel.

Drama Workshop LIT 306*; 3 s.h.

A study of the history and elements of theatrical expressionthrough 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 finestpoetry of the contemporary era.

Fin de Siècle: Vienna and Beyond LIT 321*; 3 s.h.

An exploration of the literary and cultural life in Vienna around1900, as well as the developments in the German-speaking literaturein other urban centers in Central Europe at the beginning of thetwentieth century. Readings include dramas, librettos, stories, poems,and essays by Hugo von Hofmannsthal, Arthur Schnitzler, SigmundFreud, Stephan George, Georg Kaiser, Franz Kafka, and others.

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Russian Literature in Translation LIT 323*; 3 s.h.

The rise of Russian prose and the novel in the nineteenthcentury during the struggle against serfdom and the transition toan urban industrial society and revolution. The course exploresthe texts’ representations of the quest for freedom and socialand 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 wellas important links between Russian and French literary traditionsduring the nineteenth century. Readings include novels, shortstories, 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 thelate eighteenth century. The course will focus on connectionsbetween the project of imperial expansion and the productionof national identity through literary narratives. Readings includeBehn, Defoe, Swift, Shelley, Brontë, and Conrad.

Postcolonial Perspectives: The Empire Writes Back LIT 330*; 3 s.h.

A study of novels from former British colonies that respondto the British literary tradition. Readings include authors fromAfrica, South Asia, and the Caribbean.

Kierkegaard, Mozart, and Desire LIT 331*; 3 s.h.

A survey of philosophical, theological, and psychoanalyticalliterature on the theme of desire/desire for the Other: humanobjects of desire and the Divine Object of desire, conscious andunconscious desire, the mechanisms of desire, and desire as anindex 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 andregulations that influenced the production of print media andfilm. Readings include works by Dashiell Hammett, W. R. Burnett,Raymond Carver, Chester Himes, Dorothy Hughes, PatriciaHighsmith, Walter Mosley, and Paco Ignacio Taibo. Screeningsmay include such films as Detour, The Big Sleep, The Lady in theLake, The Man Who Wasn’t There, Brick, and The Big Lebowski.

HISTORY

Western Civilization I HST 101–102; 3 s.h./term

A study of the evolution of the West from remote antiquity to theend of the Middle Ages. Required of all students in the Bachelorof Music program.

Western Civilization II HST 109–110*; 3 s.h./term

An elective course that presents a continuation of WesternCivilization I from the Italian Renaissance to the present. Europewill be emphasized but not to the exclusion of Western Civilizationtransplanted to areas like America, Africa, and Australia due tocolonialism.

History of the United States HST 121–122*; 3 s.h./term

A yearlong course in American history from pre-Columbiantimes to the present.

American History since the Reconstruction HST 123–124*; 3 s.h./term

A yearlong course on American history from 1877 forward, offeringan in-depth focus on the last 125 years.

America and the World since 1945 HST 201–202*; 3 s.h./term

An examination of America, as well as world history, since theend of World War II.

The Civil War Era HST 321*; 3 s.h./term

A semester course on the American Civil War, including theprelude 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 mankind’s greatest war and tragedy, coveringthe 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 theworlds of science, human behavior, medicine, counseling, the arts,and everyday life. Students will learn how to read and criticallyevaluate many sources of information about psychology and gaina greater understanding of traditional and contemporary research,theory, and practice. Special attention will be given to the applicationof psychology to the performing artist and the creative process.

MODERN LANGUAGES

French Conversation I and II FRE 101–102; 3 s.h./term

A practical approach to learning French, stressing oral communi-cation, the understanding of spoken French, and basic fluency ineveryday situations.

German Conversation I and II GER 101–102; 3 s.h./term

Introduction to sounds, vocabulary, and structure of the language.Listening, comprehension, speaking, reading, and writing aredeveloped simultaneously.

Italian I and II ITL 101–102*; 3 s.h./term

Lessons in how to understand, speak, read, and write the Italianlanguage. Includes discussions of Italian culture.

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French Conversation III and IV FRE 201–202*; 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 201–202; 3 s.h./term

A review of German conversation and grammar. PrerequisiteGER 101–102 or equivalent. The course emphasizes vocabularyand idiom, as well as active mastery of grammatical forms.

Italian III and IV ITL 201–202*; 3 s.h./term

A course in expanding vocabulary by reading and listening tostories, 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 emphasisis on teaching students to understand the acoustics of their owninstruments.

Computer Applications for Musicians SCI 301–302; 3 s.h.

Preparation in the use of Finale to create scores and parts, anintroduction to the use of Sibelius, and instruction in preparingPowerPoint 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 andtwenty-first centuries. In addition to the creation of personalweb spaces in both MySpace and Facebook, the course includesa semester-long project in which each student creates a personalWeb page (for self-promotion or blogging) with graphic andanimated elements, logo, and copy. The course includes readingsby 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 Edisonto the present; the impact of microphone selection on soundrecording; the role of room acoustics on sound recording; anddigital audio editing, among other topics. Each student will havea digital audio project for the term.

CAREER STUDIES COURSES

Foundations of Engagement CRS 201–202; 1 s.h./term

An introduction to basic skills for engaging audiences and beinga complete professional on and off stage, including public speak-ing, communications, leadership, collaboration, and personalresponsibility. The yearlong course features classroom learning,supervised experience in the field, and special projects. Requiredof all second-year Diploma and Bachelor of Music studentsover eighteen.

Sacred Music Seminar ORG 221–222*; 1 s.h./term

ORG 231–232*; 1 s.h./term

A practical course in developing the skills of a successful churchor synagogue musician. One year is devoted to improvisation andservice playing; the other covers choral techniques and worshipplanning. Required of all organ students.

Conductors’ Forum CND 301–302; 1 s.h./term

A yearlong course that helps conducting majors develop variouscareer and personal skills needed to become a successfulconductor, including leadership, career management, orchestraadministration and management, artistic planning andprogramming, and verbal communication. The course includesopportunities to meet various guest conductors, speakers, andartists 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 andhow students can tailor their skills to create their own varied,rewarding, and sustainable professional paths. Topics includeobtaining a job, orchestral life, freelancing, grant-writing, andmanaging money, time, and stress. Required of Bachelor ofMusic and Diploma students in one of their last two years.

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ACADEMICPOLICIES ANDREGULATIONSACADEMIC ADVISING

An academic advisor will be assigned to all new students enrolledin the Bachelor of Music degree program. The advisors, who aremembers of the liberal arts faculty, will be available throughoutthe year to serve as mentors and to offer academic support tostudents. The director of student services serves as advisor to allyounger students and coordinates external academic classes.

ACADEMIC CALENDAR

All accepted students are enrolled for an entire academic yearconsisting of the nine-month period from September to May.(See the Academic Calendar on page 36.) Curtis does not offerprograms or other courses of study during June, July, or August.

ACADEMIC HONESTY

Excellence is as important in the classroom as it is on the stageor in the studio. The Curtis Institute of Music requires academichonesty and expects personal integrity and responsibility inall areas of conduct. (See the “Current Students” area on theCurtis website, www.curtis.edu, for the complete AcademicHonesty Policy.)

ATTENDANCE

Students are required to attend and be on time for all privatelessons, coachings, ensemble classes, academic classes, and operaand orchestra rehearsals scheduled by Curtis.

In addition students must adhere to the attendance policies out-lined by their individual instructors for each class. Late studentsmay be refused admittance, and credit for attendance when latewill be granted at the teacher’s discretion.

Students unable to attend a private lesson, coaching, or ensembleclass because of illness or other circumstance must telephonethe registrar (215-893-5257) by 9 a.m. that day. Curtis reservesthe right to request a doctor's excuse for extended illnesses orafter multiple absences. Unauthorized absences from ensembleclasses or orchestra rehearsals may result in denial of a Release

Request of any kind and a grade of F for the semester. Excessiveunexcused 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 suitand both long black tie and black bow tie for men).

At all times during their enrollment at Curtis, students areexpected to dress in attire appropriate to their positions as studentsand performers.

CREDIT BY EXAMINATION

Students may meet requirements in musical studies andsupplementary performance subjects by examination. Creditfor Advanced Placement Examinations may be given in certainliberal arts subjects. For additional information, consult thedean ([email protected]) or the chair of the Liberal ArtsDepartment ([email protected]); to reach them bytelephone, call 215-893-5252.

Curtis will give credit for liberal arts and music history coursestaken at an accredited college, university, or music school earnedeither before admission or during the period of enrollment. Curtis,however, reserves the privilege of examining all candidates beforegranting the transfer of credits. Any transfer courses taken atanother institution during the student’s period of enrollmentat Curtis must have a grade of C or better, as well as the priorapproval of the dean.

Transfer students may receive credit for up to twenty-sevensemester hours in liberal arts subjects. Students with a previousundergraduate degree must take a minimum of fifteen semesterhours in liberal arts subjects at Curtis to receive a Bachelor ofMusic degree from the Institute.

DROPPING AND ADDING COURSES

Courses may be added only during the first two weeks of eachsemester.

Courses may be dropped during the first four weeks of thesemester without appearing on the student’s transcript. Studentswho drop a course after the second week of classes may not addone in its place.

Students who drop a course between the fifth and eighth week ofclasses will receive a W/F (Withdraw/Fail). After eight weeks themark will be F. If there are extenuating circumstances, a student maysubmit 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 willappear on the student’s transcript.

GRADE OF INCOMPLETE

No grade of Incomplete will be given unless approved by boththe dean and the instructor of the course. The student must makethe request in writing to the dean before the end of the semesterin which the course is being taken. For those courses in which agrade of Incomplete is received, course work must be completedwithin four weeks of the end of the semester and a grade submittedto the registrar. Otherwise, a permanent grade of F for thatcourse will be recorded on the student’s transcript.

RELEASE OF TRANSCRIPTS

Students must make all requests for transcripts in writing to theregistrar. Official transcripts will be released directly to outsideagencies only after the registrar receives a written request fromthe student.

Current students are entitled to three official transcripts each yearwithout charge. Additional transcripts will be sent for $5 each.Alumni will be charged $5 for each transcript released. Writtenrequests must include a check made payable to the CurtisInstitute of Music.

The Curtis Institute of Music adheres to the Family EducationalRights and Privacy Act of 1974.

SCHEDULING

Throughout the school year, students will have performances,rehearsals, and other institutional obligations on weekdayevenings, as well as on Saturdays and Sundays. Examples includeorchestra rehearsals, lessons subject to the availability of teachers,and opera rehearsals.

SCHOLASTIC STANDING

Students are on probation during the entire period of theirenrollment at Curtis. Students are expected to progress accordingto the standards of the faculty and to adhere to the rules of theCurtis Institute of Music.

Students in the Bachelor of Music program must maintain atleast a 2.0 grade point average in musical studies and liberal artssubjects. International students must maintain at least a 2.0 gradepoint 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 exemptionexams count toward the total number of credits for graduationbut are not included in GPA calculations.

One semester-hour represents fifteen clock-hours of class timefor academic courses. In musical studies courses, students whoreceive a D first semester and an F second semester must repeatboth semesters of the course.

In both musical studies and liberal arts courses, D– is a temporaryfirst-semester grade. The D– will be changed to an F if the studentfails second semester; D– will be changed to a D should thestudent receive a passing grade for second semester.

SECURITY POLICIES

All institutions of higher education in the state of Pennsylvaniaare required by federal and state law to publish and distributeannually a Security Information Report, which includes crimestatistics and security policies and procedures. Upon request,the Curtis Institute of Music will provide a copy of this reportto any applicant for admission.

STUDENT INFORMATION RESOURCES

Additional rules and regulations of the Curtis Institute of Musicare 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 AccessCenter in the library, the computer studio, and the studentlounge. Students may be dropped at any time for failure toadhere 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 nogrades were given inthe course, but that thestudent has receivedcredit for attendance)

W/F Withdraw/Fail

W/P Withdraw/Pass

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ACADEMIC CALENDAR, 2009–10AUGUST 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, President’s Picnic)

SEPTEMBER 7 Labor Day holiday

SEPTEMBER 8 First semester begins

OCTOBER 1 Founder's Day (classes held)

NOVEMBER 23–29 Thanksgiving vacation

NOVEMBER 30 Classes resume

DECEMBER 11 Holiday Party

DECEMBER 14–18 Exam period, no applied music

DECEMBER 18 First semester ends

DECEMBER 19–JANUARY 12 Winter vacation

JANUARY 13 Second semester begins

MARCH 22–APRIL 4 Spring vacation

APRIL 5 Classes resume

MAY 10–14 Exam week, no applied music

MAY 15 Commencement

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CURTIS STUDENTINFORMATION, 2008–09GEOGRAPHICAL DISTRIBUTION OF STUDENTS

UNITED STATESAlabama 1California 12Colorado 2Connecticut 1Delaware 1District of Columbia 1Florida 1Georgia 3Illinois 10Indiana 1Iowa 1Kentucky 2Louisiana 1Maryland 3Massachusetts 2Michigan 3Minnesota 2Mississippi 1Missouri 1New Hampshire 1New Jersey 3New Mexico 1New York 8North Carolina 4Ohio 2Oregon 1Pennsylvania 14South Carolina 1Tennessee 1Texas 4Vermont 3Washington 4Wisconsin 4TOTAL 100

OTHER COUNTRIESAustralia 1Canada 8Czech Republic 3France 1Israel 3Japan 1Korea 17Macau 2Mexico 1New Zealand 1People's Republic of China 16Republic of China (Taiwan) 6Russia 1Switzerland 1TOTAL 62

COMPETITIONS AND AWARDSWON BY CURTIS STUDENTS

FIRST PRIZE

2009 American Protégé 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

2008–09 Young Concert Artists International Auditions

SECOND PRIZE

Allentown Symphony Association’s 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 People’s Jury Prize)

ADDITIONAL ACHIEVEMENT

Opera Index, Inc., Judges’ Prize and encouragement awards

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FACULTYBIOGRAPHIESMISHA AMORYVIOLA

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 ASHKENASIVIOLIN

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 Belgium’s 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

world’s 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 BILGERTRUMPET

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. Luke’s. 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 Bach’s 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 BLATTERCOMPUTERS, 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 BOLLINGERBASS 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 Georgia’s 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 University’s Boyer College of Music and Dance. Mr. Bollinger


CARTER BREYCELLO

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, André 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 America’s Performing Arts Prize. Mr.

Brey has performed as soloist with many of America’s 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 O’Riley. 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 BRYANELEMENTS 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 Brass—the Philadelphia Youth Orchestra Brass Ensemble,

faculty member at Temple University’s Esther Boyer College of Music,

music director of Symphony in C’s 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 University’s 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. Joseph’s

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 CAPORELLOITALIAN 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 CAROLORCHESTRAL 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 Bernstein’s Serenade. With the composer conducting,

he performed the world premiere of Skrowaczewski’s violin concerto.

He plays one of the world’s most prized violins: the ex-Albert Spalding

Guarnerius (del Gesù), dating from 1743. Mr. Carol joined the faculty of

the Curtis Institute of Music in 1979.

CHARLES CONWELLSTAGE 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 COOPERSMITHHARMONY, 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 Penn’s Landing Orchestra. He has also served as

music director for Philadelphia’s Opera on the Square, Rittenhouse Row

Festival, and Festival of the Arts. Mr. Coopersmith holds a master’s degree

in orchestral conducting from the Mannes College of Music, where he

studied with David Hayes, and a bachelor’s 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


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ROBERT CUCKSONKEYBOARD 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 CURNOWCHAMBER 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 DANCHENKOVIOLIN

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 Ysaÿe 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 DANIELPOURCOMPOSITION

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 composer—after

Stravinsky and Copland—to be signed to an exclusive recording contract

by Sony Classical. On the Manhattan School of Music’s composition faculty

since 1993, Dr. Danielpour joined the faculty of the Curtis Institute of

Music in 1997.

JOSEPH DE PASQUALEVIOLA, 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 DEVINEYPERCUSSION

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 Bartók’s 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 DÍAZThe James and Betty Matarese Chair in Viola StudiesPRESIDENT, VIOLA

See page 2.

MIKAEL ELIASENThe Hirsig Family Head-of-Department Chair in Vocal StudiesARTISTIC 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 Chautauqua’s 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 ELLMANFRENCH

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 diplômé, conducting English-

conversation classes at the University of Lausanne, Switzerland. He has

taught French language and literature at Saint Joseph’s University and

at Rutgers University in Camden and has instructed all levels of French

at the Alliance Française 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 FLEISHERPIANO

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 2008–09 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. Fleisher’s 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. Fleisher’s 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


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CLAUDE FRANKPIANO

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 FRANKVIOLIN, CHAMBER MUSIC (STRINGS)

Ms. Frank, a 1989 Curtis graduate, has performed regularly with today’s

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 Dvorák 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 FRÉVOCAL STUDIES PIANIST

Anna Fré 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. Fré 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. Fré joined the faculty of the Curtis


PETER GAFFNEYLANGUAGE 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 Université 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 GLANDORFMUSIC HISTORY, COUNTERPOINT, PREPARATORY SOLFÈGE,

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. Joseph’s, 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 GRAFFMANPIANO

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. Graffman’s 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. Graffman’s 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 GRANTHARMONY, KEYBOARD HARMONY, SOLFÈGE

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 Nancy’s

À L’Écoute will appear in the Journal of the American Musicological

Society. In the fall of 2008 he received the Dean’s Dissertation Research

Award from the University of Pennsylvania, which allowed him to study

J. P. Kirnberger’s 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 GROZDANICGERMAN, LITERATURE

Dr. Grozdanic’s 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 Phänomen. Auseinandersetzungen deutschsprachiger

Autoren,” she explores the reactions of prominent German-speaking

contemporary authors to the wars in the former Yugoslavia. She has

studied in Köln, Germany, and has taught a wide range of introductory

and upper-level German language and literature courses. Dr. Grozdanic


ELIZABETH HAINENHARP

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

Society’s 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 & Healy’s 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 HAROZTROMBONE

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 François

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. HAYDENENGLISH 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 solfège 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 HAYESSTAFF 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

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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 Adams’s Death of Klinghoffer, Britten’s Albert Herring

and The Rape of Lucretia, Bizet/Brook’s La Tragédie de Carmen, Weill’s

Mahagonny and Happy End, Handel’s Alcina, Bellini’s I Capuleti e i

Montecchi, Rossini’s Il viaggio a Reims, Donizetti’s L’elisir d’amore,

Puccini’s Gianni Schicchi and La rondine, and Stravinsky’s 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 HICKSSTAFF 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 HIGDONThe Rock Chair in CompositionCOMPOSITION

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 President’s 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 JANTSCHTUBA

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 NPR’s From the Top, and a solo

performance in Carnegie Hall’s 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 KADERABEKTRUMPET

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. KASSTHE 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 world’s 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 Grove’s 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 KAVAFIANVIOLIN

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 O’Connor; 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 KELLEROPERA 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 master’s 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 répétiteur, 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 KHANERFLUTE, 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 KIMSTAFF 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 Orchestra’s 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. KIMMELHISTORY

Mr. Kimmel received his bachelor’s and master’s 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.

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MICHAEL KRAUSZAESTHETICS

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 KRZYWICKITUBA, 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. Joseph’s

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 performer’s

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 LALLERSTEDTORCHESTRAL SCORE-READING, ADVANCED SOLFÈGE,

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 solfège. 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. Mark’s Episcopal Church in Mt. Kisco, N.Y. Dr. Lallerstedt


SEYMOUR LIPKINPIANO

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 LIUPIANO, 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 André 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 LIUZZITIMPANI 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 People’s 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 LOISELLEFOUNDATIONS 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 master’s 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 LOMANThe Maryjane Mayhew Barton Chair in Harp StudiesHARP

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 Canada’s 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. Loman’s

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 LUDWIGACTING CHAIR OF MUSICAL STUDIES, COMPOSITION,

20/21: THE CURTIS CONTEMPORARY MUSIC ENSEMBLE ARTISTIC

DIRECTOR, MUSIC HISTORY

Dr. Ludwig’s music has been performed internationally by leading

musicians of today in some of the world’s most prestigious venues. His

music—which has been called “entrancing”—“promises 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.

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MARLENA KLEINMAN MALASVOICE

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

Yale’s 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 MASSÉFRENCH REPERTOIRE COACH

Ms. Massé 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 Théatre des

Champs Élysées, 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. Massé, who is

also on the faculty at Juilliard, joined the faculty of the Curtis Institute

of Music in 2006.

DANIEL MATSUKAWABASSOON, 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 MCCARTHYHUMANITIES

Dr. McCarthy received his Ph.D. from Stanford University in religion and

philosophy and is professor of philosophy at Saint Joseph’s 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. McCarthy’s 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 Kierkegaard’s psychology and of a study of the role of religion in

nineteenth-century German philosophy. Dr. McCarthy joined the faculty


ROBERT MCDONALDThe Penelope P. Watkins Chair in Piano StudiesPIANO

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 Takács, 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. McDonald’s 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 MCDOUGALLTHE 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 d’Evian, 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. MCGINNCHAIR 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 MEIRSONRUSSIAN 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 singer’s 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 MENGSOLFÈGE

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 master’s 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 MEYERDOUBLE 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

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with Yo-Yo Ma. He collaborated with Mr. Ma and Mark O’Connor 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. Meyer’s 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 MONTANAROCLARINET, 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 MONTONEHORN

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. Montone’s 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 MORALESCHAMBER MUSIC (WOODWINDS)

A native of San Juan, P.R., Mr. Morales began his studies at the Escuela

Libre de Música, 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 NBC’s Today. Mr. Morales serves on the faculties of the

Juilliard School and Temple University’s Boyer College of Music and

Dance. He joined the faculty of the Curtis Institute of Music in 2008.

ROLANDO MORALES-MATOSPERCUSSION

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

Música. 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 Disney’s 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 MORRISONThe Haas Charitable Trust Chair in Organ StudiesORGAN, 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. Morrison’s 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 MUELLERThe Rita E. and Gustave M. Hauser Chair in Conducting StudiesHEAD 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 Wisconsin–Madison. He has

trained conductors of major orchestras—including the San Diego,

Pittsburgh, and Fort Worth symphonies and the Swedish National

Orchestra—and 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 Järvi, 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 NOWICKIOPERA AND VOICE COACH

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 ORLANDOPRINCIPAL 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 Plácido Domingo); Teatro

Colón 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 PARTYHARPSICHORD

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


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52

JOAN PATENAUDE-YARNELLVOICE

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);

Mimì (La Bohème); 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-Yarnell’s 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; Opéra National

de Paris; Volksoper) and collaborate with today’s 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 PETITSUPPLEMENTARY 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 PUPPINART 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-SHIEBERRESIDENT STAGE DIRECTOR

Stage director Chas Rader-Shieber began 2008 with new productions

of Osvaldo Golijov’s Ainadamar for the Curtis Opera Theatre and Martin

y Soler’s Una cosa rara for Opera Theatre of Saint Louis. In the spring

he directed Plácido Domingo in Handel’s Tamerlano for the Washington

National Opera. In recent seasons he has staged Handel’s 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

Mozart’s Idomeneo, Die Entführung aus dem Serail, Die Zauberflöte,

Le nozze di Figaro, and Così fan tutte, and Handel’s Giulio Cesare,

Semele, Ariodante, Imeneo, Alcina, Xerxes, and Partenope, as well as

works of Cavalli, Purcell, Gluck, and Rossini. Mr. Rader-Shieber’s 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 Entführung aus dem Serail for Lyric Opera

of Chicago and San Francisco Opera, Mozart’s Il re pastore for Opera

Theatre of Saint Louis, and Barber’s 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 Plácido 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 ROBINSONThe A. Margaret Bok Chair in Double Bass StudiesDOUBLE BASS, ORCHESTRAL REPERTOIRE (DOUBLE BASS)

Appointed principal bass of the Philadelphia Orchestra beginning with

the 1995–96 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 ROBINSONPERCUSSION

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 Martino’s

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 ROSANDThe Dorothy Richard Starling Chair in Violin StudiesVIOLIN

Mr. Rosand, world-renowned violin virtuoso and pedagogue, carries on

the tradition of Leopold Auer and Eugène Ysaÿe, 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 SATOKEYBOARD 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 SACHSMUSIC HISTORY SEMINAR, HISTORY OF SINGING, OPERA HISTORY

Mr. Sachs’s books—of which there are now more than fifty editions in

fifteen languages—include the standard biographies of Arturo Toscanini

and Arthur Rubinstein, as well as Virtuoso, Music in Fascist Italy,

Reflections on Toscanini, and, as co-author, Plácido Domingo’s My First

Forty Years and Sir Georg Solti’s 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 Library’s 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 Società del

Quartetto di Milano (2004–06). 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. SCHOENBACHSPANISH, 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 SCOTTVIOLIN

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 University’s Boyer College of Music

and Dance, joined the faculty of the Curtis Institute of Music in 1970.

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54

ERIC SESSLERSOLFÈGE, 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 School’s precollege division and

has taught at Chestnut Hill College. Dr. Sessler joined the faculty of the


SHERIDAN SEYFRIEDKEYBOARD 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 Curtis’s Alfredo Casella Award in

Composition. Mr. Seyfried’s diverse body of work includes orchestral,

chamber, solo, and film music, and he has received performances

throughout the world in major venues, including Prague’s Rudolfinum,

Vienna’s Radio Symphony Hall, and Salzburg’s 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 Washington’s

Kennedy Center with violinist Stephanie Jeong. He joined the faculty


ULRIKE SHAPIROGERMAN 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 L’Opera 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 SIVANKEYBOARD 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 Mozart—with

newly composed cadenzas—to Viktor Ullmann, the Asian premiere of

which he performed with the Philippine Philharmonic Orchestra, as well

as Mr. Sivan’s 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 SILVERSTEINThe Aaron Rosand Chair in Violin StudiesVIOLIN

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. SMITHINTRODUCTION 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 SOKOLOFFPIANO

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, and—along with her late husband,

Vladimir—the two-piano repertoire with Vera Brodsky and Harold Triggs.

More than seventy-five of Mrs. Sokoloff’s 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 SOLZHENITSYNPIANO

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 orchestras—including those of Boston, Chicago,

Philadelphia, St. Louis, Los Angeles, Montreal, London, Paris, and St.

Petersburg—and 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 SOYERThe Orlando Cole Chair in Cello StudiesCELLO

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 STEINHARDTVIOLIN

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 group’s

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 STOKKINGORCHESTRAL 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 master’s/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. PIERREOPERA AND VOICE COACH

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 Monteverdi’s Il coronazione di Poppea to Stephen Oliver’s

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 Bernstein’s

Quiet Place (recorded by DGG and conducted by the composer).

As a recital accompanist, Mr. St. Pierre has appeared at such venues

as New York’s Lincoln Center, London’s Wigmore Hall and Almeida

Theatre, and Paris’s Théâtre du Châtelet, 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 SUNGRESIDENT 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 Díaz 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 TENENBOMCHAMBER 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 TREEVIOLA

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 SICEPERCUSSION

Robert van Sice is considered one of the world’s 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 world’s 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 Europe’s leading contemporary music ensembles, including the

London Sinfonietta, Ensemble Contrechamps, and L’Itinéraire. From

1988 to 1997, he headed Europe’s 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 WAGNERVOCAL STUDIES PIANIST

Ms. Wagner enjoys a career as a freelance coach and accompanist in

Philadelphia. She is the pianist for the Philadelphia Orchestra’s 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 WALKERHEAD 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 Sullivan’s alto character roles for fifteen

seasons with Philadelphia’s 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 WENHARMONY, 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 WILEYCELLO

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 Center’s 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 WOODHAMSOBOE, 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 ZARZECZNASUPPLEMENTARY 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 Sant’Ambrogio, 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 OTHERVOLUNTEER BOARDS, 2008–09BOARD OF TRUSTEES

H. F. “Gerry” Lenfest, ChairmanEdward A. Montgomery Jr., Vice-ChairmanScott M. Jenkins, TreasurerAlan R. Hirsig, Secretary

Nina AlbertFrank S. BayleyVictoria BokBlair BollingerSheldon M. BonovitzLuther W. Brady, M.D.Carolyn S. BurgerJoseph A. CamardaRoberto DíazDeborah M. FretzBruce Jay Gould, M.D.Bobby Ellen Kimbel, Ph.D.Steven LadenJames R. Ledwith, EsquireBong S. Lee, M.D.Lisa LiemSueyun P. LocksChristina Weiss LurieBetty H. MatareseJohn H. McFaddenJeanne M. McGinn, Ph.D.Frank J. MechuraJohn J. MedveckisBarbara Moskow, Alumni TrusteeRobert H. MundheimShaun F. O’MalleyJohn N. ParkAlbert E. PiscopoRobert PollackWilliam H. Roberts, EsquireHarold Hall RobinsonRobert H. RockBarbara Oaks Silver, Esquire,Friends Trustee

Jay H. TolsonPenelope P. Watkins

HONORARY TRUSTEES

A. Margaret BokDr. Milton L. Rock

EMERITUS TRUSTEES

Peter A. BenolielJoseph M. FieldFrederic R. HaasJohn A. NyheimJack Wolgin

BOARD OF OVERSEERS

Frank S. Bayley, ChairmanCatherine French, Vice-ChairmanC. Richard Neu, Secretary

Cynthia BayleyChristopher BeachPeter A. BenolielJosephine B. CarpenterAlma O. CohenGeorge M. ElvinMary Lou FalconeMarjorie M. Fisher, Ph.D.Henry FogelAnthony FoggDavid V. FosterPamela FrankGeorge HecksherRobert A. KippJoseph H. KlugerJune LeBellMarguerite LenfestJan M. LodalCharles MacKayWilliam J. MarrazzoThomas D. McCarthyJoan M. MoranThomas W. MorrisLowell J. NoteboomEnid Curtis Bok OkunThe Honorable Herbert S. OkunMitzi PerdueGabrielle Kazze RinaldiDon RothDeborah RutterAlann Bedford SampsonMarc A. ScorcaRaymond W. SmithIgnat SolzhenitsynStanley M. SprackerRussell Willis TaylorJames UndercoflerBaroness Nina von MaltzahnHelge H. WehmeierThomas WolfEfrem Zimbalist III

EMERITUS OVERSEERS

A. Margaret BokDr. Milton L. Rock

THE MARY LOUISE CURTIS BOKFOUNDATION BOARD OFDIRECTORS

James R. Ledwith, PresidentA. Margaret Bok, Vice PresidentBayard R. Fiechter, TreasurerJoseph M. Field, Secretary

Gary GraffmanShaun F. O’MalleyMilton L. RockJ. G. RubensteinSamuel R. Shipley III

CURTIS STAFFRoberto Díaz, 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 andCareer 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 andResource Development

Anne O’Donnell, 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 PRESIDENT’S OFFICE

Nan Alderson, Executive Assistant and Facilities andBoard 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

PRESIDENT’S OFFICE

Carol Hauptfuhrer, Executive Assistant

RECEPTIONIST

Barbara Harris

REGISTRAR

Paul Bryan

STUDENT SERVICES AND FINANCIAL ASSISTANCE

Richard Woodland, Director of Student Services andFinancial Assistance

Laurel Grady, Assistant Director of Student Services andFinancial Assistance

Veronica McAuley, Assistant Director of Student Financial Assistance

Daniel S. McDougall, International Student Advisor

VOCAL STUDIES DEPARTMENT

Ralph Batman, Managing Director, Vocal Studies andthe Curtis Opera Theatre

59

60

INDEXAcademic advising 34

Academic calendar 34, 36

Academic honesty 34

Academic policies 34–35

Academic programs 3

Application information 10–11

Attendance 34

Attire 34

Auditions

Application deadline 10

Audition fee 12

Procedures 11–12

Repertoire requirements 13–15

Bachelor of Music program

Admission 10–11

Degree requirements 22–25

Scholastic standing 35

Bassoon

Auditions 11–12, 14

Bachelor of Music 11, 22–23, 25

Diploma 11, 22–23, 25

Faculty 4

Repertoire requirements 14

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 11–12


Diploma 11, 22–23, 25

Faculty 4

Repertoire requirements 13–14

Chamber music


Faculty 5

Performance opportunities 8

Clarinet

Auditions 11–12


Diploma 11, 22–23, 25

Faculty 4


Community engagement program 11

Composition

Auditions 11–12

Bachelor of Music 11, 22–23

Diploma 11, 22–23

Faculty 4


Computer access 7

Conducting

Auditions 11–12


Diploma 11, 22–24

Faculty 4


Course descriptions 27–33

Credit by examination 34

Cultural offerings 9

Curriculum 22–26

Curtis On Tour 8

Diploma

Admission 10–15

Course requirements 22–26

Double bass

Auditions 13–14


Diploma 11, 22–23, 25

Faculty 4


Double majors 11

Dropping and adding courses 34

Elementary and secondary

school students

Activities required 26

Application information 10–12

High-school tuition 16

Employment

Curtis on-campus employment 18, 21

Outside part-time 9

English horn, see Oboe

Facilities 7

Faculty biographies 2, 38–57

Faculty list 4–5

Fees

Application 10

Audition 12

Screening 10

Student fees, annual 16–17

Financial assistance 18–21

Flute

Auditions 11–12


Diploma 11, 22–23, 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 22–26

Harp

Auditions 11–12


Diploma 11, 22–23, 25

Faculty 4


Harpsichord

Auditions 11–12


Diploma 11, 22–24

Faculty 4


Health care 16

Horn

Auditions 11–12


Diploma 11, 22–23, 25

Faculty 4


Housing 7, 16

Instrument loans 7, 16

International students

Admissions 10–12

Financial assistance 18–21

Geographical summary 37

Keyboard instruments,

see individual instruments

Liberal arts department


Degree requirements 23

Faculty 5

Library

Curtis library 7

Orchestra library 7

Maps of Philadelphia area 61

Master of Music program in Opera

Admission 10–12, 15


Faculty 4


Musical studies department



Faculty 5

Oboe

Auditions 11–12


Diploma 11, 22–23, 25

Faculty 4


On-campus employment 18, 19

Opera




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 11–12


Diploma 11, 22–24

Faculty 4


Percussion

Auditions 11–12


Diploma 11, 22–23, 25

Faculty 4


Performance division



Faculty 4–5

Performance commitments 35

Performance opportunities 8–9

Philadelphia Orchestra rehearsals 9

Piano

Auditions 11–12


Diploma 11, 22–24

Faculty 4


Piano loans 7, 16

Piano, supplementary

Course description 28

Credit by examination 34

Faculty 5

Requirements for

nonpiano majors 23–26

Placement exams

Advanced Placement Exams 34

Musical Studies 28

Pre-college-aged students 11, 16, 26

Professional Studies

Certificate in Opera

Admission 10–12, 15

Degree requirements 25

Faculty 4


Psychological counseling 16

Recitals

See degree requirements

for individual instruments 22–25

Student recital series 8

Recording facilities 7

SAT I 10–11

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 7–9

Timpani

Auditions 11–12


Diploma 11, 22–23, 25

Faculty 4


TOEFL 10–11

Transcripts 35

Transfer students 34

Trombone

Auditions 11–12


Diploma 11, 22–23, 25

Faculty 4


Trumpet

Auditions 11–12


Diploma 11, 22–23, 25

Faculty 4


Tuba

Auditions 11–12


Diploma 11, 22–23, 25

Faculty 4


University of Pennsylvania/

Curtis reciprocal agreement 3, 23, 26

Viola

Auditions 11–12


Diploma 11, 22–23, 25

Faculty 4


Violin

Auditions 11–12


Diploma 11, 22–23, 25

Faculty 4


Visiting artists 6

Visiting lecturers 6

Voice



Diploma 11, 22–23, 25

Faculty 4


Woodwinds, see individual instrument

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NewJersey

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LAKE ONTARIO

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ATLANTIC OCEAN

NewYork

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TrentonHarrisburgPittsburgh

DoverBaltimore

Washington, D.C.

Hartford

Albany

New Haven

Rochester

Toronto

LAKE ERIE

LAKEHURON

DISTANCE FROM PHILADELPHIA TO:

New York City 94 miles

Washington, D.C. 141 miles

Boston 309 miles

1726 Locust StreetPhiladelphia, Pennsylvania 19103

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