John Ferrillo

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.

Randall Wolfgang

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.

Uncertainties

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.

Discoveries

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.

Introduction

Barber began his life as a composer in the 1930s, with his music veering into eighteenth- and nineteenth-century European traditions. There were three major influences in his career. The first was his formal musical education at the newly founded Curtis Institute of Music, which provided a sturdy structure to his work and was also known to be European-oriented. The second was his travels to Europe, where his acquaintances as well as the culture itself were infused into his work. The last influence was the mentoring and guidance of his uncle, composer Sidney Homer, who was married to Barber’s maternal aunt, the famous opera singer Louise Homer. For more than twenty-five years, Sidney Homer had the most profound influence on Barber of all, encouraging him to “listen to his inner voice,” which enabled him to infuse the very soul of his compositions with the romantic passion that ultimately deeply moved his audience.

A Serious Student

When the Curtis Institute of Music opened in 1924, Barber was one of its first students. Due to founder Mary Curtis Bok’s vast cultural background and contacts, the faculty at the school was highly regarded. Early in his studies at the institute, Barber was the first to have a triple major: studying piano with Isabelle Vengerova, voice with Emilio de Gogorza, and composition with Rosario Scalero. He focused intensely on his studies, choosing only a few friends and living a lonely life. It was at Curtis that he met some of the artists who would eventually launch his career, as even his fellow students admired and respected his talent. During this time, Sidney Homer’s unwavering mentoring persisted, and Homer continued to press for excellence and high standards in Barber’s work through their exchange of letters. While Barber worked at Rogers Rock, Lake George, during the summer of 1927, he produced eight songs on texts by James Stephens, many of which are published by G. Schirmer.