Curtis Institute of Music—Organ studio renovation

2019 ◽  
Vol 146 (4) ◽  
pp. 2932-2932
Author(s):  
Dan Clayton
Keyword(s):  
Curtis Institute Of Music

John Ferrillo

2020 ◽  
pp. 57-67
Author(s):  
Michele Fiala
Keyword(s):  
Symphony Orchestra ◽  
Early Career ◽  
Metropolitan Opera ◽  
Boston Symphony Orchestra ◽  
Curtis Institute Of Music ◽  
Relationship Of ◽  
The Relationship

John Ferrillo joined the Boston Symphony Orchestra as principal oboe in 2001. From 1986 to 2001, he was principal oboe of the Metropolitan Opera Orchestra. In this chapter, he discusses his early career, auditions, breathing for wind playing, and the relationship of teaching and playing. He also reminisces about his experiences at the Curtis Institute of Music with John de Lancie and about his most memorable performances.

Uncertainties

Samuel Barber ◽  
2020 ◽  
pp. 95-124
Author(s):  
Barbara B. Heyman
Keyword(s):  
New York ◽  
Foreign Language ◽  
American Academy ◽  
String Quartet ◽  
German Literature ◽  
Language And Literature ◽  
Curtis Institute Of Music ◽  
Critical Reviews ◽  
Poetry And Music

At the Curtis Institute of Music, Barber pursued further studies in foreign language and literature, mostly of a European background. He aimed for perfection of his craft and was inspired by English, Irish, and German literature, poetry, and music. He continued to travel in Europe together with his closest friend from the Curtis Institute, Gian Carlo Menotti, and subsequently spent a year at the American Academy in Rome. At the same time, his orchestra pieces started to be performed regularly in New York; Dover Beach, for voice and string quartet, especially, earned good critical reviews. The Overture to The School for Scandal won him a second Bearns Prize. He also pursued a career as a singer as a means of earning extra income, his first recording being Dover Beach. The “Angel Mary” Bok continued to foster his career. Following their graduation from Curtis, Barber and Menotti moved into an apartment in New York.

One Woman in a Hundred

2013 ◽  
Author(s):  
Mary Sue Welsh
Keyword(s):  
Philadelphia Orchestra ◽  
Curtis Institute Of Music ◽  
And Performance ◽  
Female Member

Gifted harpist Edna Phillips (1907–2003) joined the Philadelphia Orchestra in 1930, becoming not only that ensemble's first female member but also the first woman to hold a principal position in a major American orchestra. Plucked from the Curtis Institute of Music in the midst of her studies, Phillips was only 23 years old when Leopold Stokowski, one of the twentieth century's most innovative and controversial conductors, named her principal harpist. This book traces Phillips's journey through the competitive realm of Philadelphia's virtuoso players, where she survived—and thrived—thanks to her undeniable talent, determination, and lively humor. The book chronicles the training, aspirations, setbacks, and successes of this pioneering woman musician. It recounts numerous insider stories of rehearsal and performance with Stokowski and other renowned conductors of the period such as Arturo Toscanini, Fritz Reiner, Otto Klemperer, Sir Thomas Beecham, and Eugene Ormandy. It also depicts Phillips's interactions with fellow performers, the orchestra management, and her teacher, the wily and brilliant Carlos Salzedo. Blessed with a nimble wit, Phillips navigated a plethora of challenges, ranging from false conductors' cues to the advances of the debonair Stokowski and others. She remained with the orchestra through some of its most exciting years from 1930 to 1946 and was instrumental in fostering harp performance, commissioning many significant contributions to the literature.

Elaine Li, Orchestra Librarian, Curtis Institute of Music

2022 ◽  
pp. 179-192
Author(s):  
Patrick Lo ◽  
Robert Sutherland ◽  
Wei-En Hsu ◽  
Russ Girsberger
Keyword(s):  
Curtis Institute Of Music

Discoveries

Samuel Barber ◽  
2020 ◽  
pp. 58-94
Author(s):  
Barbara B. Heyman
Keyword(s):  
Violin Sonata ◽  
Fellow Student ◽  
European Culture ◽  
Curtis Institute Of Music

This chapter describes Barber’s first few trips to Europe, with a fellow student, cellist David Freed, where his romance for European culture began and greatly influenced his work. He sought the most brilliant European artists, musicians, and music professors during that time, immersing himself in their works and teachings. These trips left him with a greater passion for composition as he returned to the Curtis Institute, where he proceeded to write with an utmost intensity. But his writing at this time was not without the usual peaks and troughs, as is the case with any artist. There were compositions wherein Barber doubted his talent. However, his perseverance and determination earned him his first prize in music—the Joseph Bearns Prize for a violin sonata that was lost for many years. It was also at this time that the Serenade of 1928 was born, one of the earliest orchestra pieces that launched Barber’s career. The promotion of his work by Mary Curtis Bok, the founder of the Curtis Institute of Music, was substantial.

Randall Wolfgang

2020 ◽  
pp. 260-264
Author(s):  
Michele Fiala
Keyword(s):  
Early Career ◽  
Teaching Philosophy ◽  
Career Motivation ◽  
Curtis Institute Of Music

Randall Wolfgang studied with John de Lancie at the Curtis Institute of Music. In the chapter, he discusses his early career, motivation, phrase shaping, and teaching philosophy. He shares his ideas on the skill set needed for performing in a variety of ensembles.

Sign in / Sign up

Export Citation Format

Share Document