(navigation image)
Home American Libraries | Canadian Libraries | Universal Library | Community Texts | Project Gutenberg | Biodiversity Heritage Library | Children's Library | Advanced Microdevices Manuals | Linear Circuits Manuals | Supertex Manuals | Sundry Manuals | Echelon Manuals | RCA Manuals | National Semiconductor Manuals | Hewlett Packard Manuals | Signetics Manuals | Fluke Manuals | Datel Manuals | Intersil Manuals | Zilog Manuals | Maxim Manuals | Dallas Semiconductor Manuals | Temperature Manuals | SGS Manuals | Quantum Electronics Manuals | STDBus Manuals | Texas Instruments Manuals | IBM Microsoft Manuals | Grammar Analysis | Harris Manuals | Arrow Manuals | Monolithic Memories Manuals | Intel Manuals | Fault Tolerance Manuals | Johns Hopkins University Commencement | PHOIBLE Online | International Rectifier Manuals | Rectifiers scrs Triacs Manuals | Standard Microsystems Manuals | Additional Collections | Control PID Fuzzy Logic Manuals | Densitron Manuals | Philips Manuals | The Andhra Pradesh Legislative Assembly Debates | Linear Technologies Manuals | Cermetek Manuals | Miscellaneous Manuals | Hitachi Manuals | The Video Box | Communication Manuals | Scenix Manuals | Motorola Manuals | Agilent Manuals
Search: Advanced Search
Anonymous User (login or join us)
Upload
See other formats

Full text of "Catalogue 1938-1942"

-^-^-^ iT 




1938-1939 



THE 
CURTIS INSTITUTE OF MUSIC 




CATALOGUE 
1938-1939 



KIT ^.2, 

^(o If 3 



RITTENHOUSE SQUARE 
PHILADELPHIA • PENNSYLVANIA 



THE CURTIS INSTITUTE OF MUSIC, founded 
in 192.4 by Mary Louise Curtis Bok, welcomes 
students of all nationalities. 

The Curtis Institute receives its support from 
The Mary Louise Curtis Bok Foundation, is 
operated under a Charter of the Commonwealth 
of Pennsylvania, and is fully accredited for the 
conferring of Degrees . 

The Curtis Institute is approved by the United 
States Government as an institution of learning 
for the training of non-quota foreign students, 
in accordance with the Immigration Act of 192.4- 



THE CURTIS INSTITUTE OF MUSIC 



Officers 



MARY LOUISE CURTIS BOK 

President 



CURTIS BOK 

Vice-President 



CARY W. BOK 

Secretary 



PHILIP S. COLLINS 
Treasurer 



Board of Directors 

CARY W. BOK EDITH EVANS BRAUN 

CURTIS BOK PHILIP S. COLLINS 

MARY LOUISE CURTIS BOK JENNIE M. FELS 



[page four] 



THE CURTIS INSTITUTE OF MUSIC 



MARY LOUISE CURTIS BOK 
Acting Director 



Staff 



DOROTHY BOWMAN 

Executive Secretary 



SARAH HETTINGER 

Librarian 



JANE FAIRFAX HILL 

Registrar 



JAY H. MATTIS 

Comptroller 



ELSIE HUTT 

Publicity 



C. DAVID HOCKER 

Concert Bureau 



[page five] 



PURPOSE 



TO HAND DO^VN 
THROUGH CONTEMPORARY MASTERS 
THE GREAT TRADITIONS OF THE PAST 

TO TEACH STUDENTS TO BUILD 
ON THIS HERITAGE FOR 
THE FUTURE 



THE CURTIS INSTITUTE OF MUSIC 



THE FACULTY 

Voice 

EMILIO DE GOGORZA ELISABETH SCHUMANN 

EUFEMIA GIANNINI GREGORY 

Piano 

DAVID SAPERTON ISABELLE VENGEROVA 

Violin 

EFREM ZIMBALIST 
LEA LUBOSHUTZ ALEXANDER HILSBERG 

Violoncello 

FELIX SALMOND 

Viola 

LOUIS BAILLY, Mus. D. MAX ARONOFF, assistant 



Harp 

CARLOS SALZEDO, Mus. D. 

Organ 

ALEXANDER McCURDY, Mus. D. 



[page eight] 



THE CURTIS INSTITUTE OF MUSIC 



THE FACULTY . . . Continued 



Accompanying 

HARRY KAUFMAN 

Chamber Music 

LOUIS BAILLY, Mus. D. 

Woodwind Ensemble 

MARCEL TABUTEAU 

Orchestra 

FRITZ REINER, Conductor 

ALEXANDER HILSBERG, Strings MARCEL TABUTEAU, Winds 

ANTON TORELLO, Doubh Bass ANTON HORNER, Horn 

WILLIAM KINCAID, Flute SAUL CASTON, Trumpet 

ROBERT McGINNIS, Clarinet CHARLES GERHARD, Trombone 

MARCEL TABUTEAU, Oboe PHILIP DONATELLI, Tuba 

FERDINAND DEL NEGRO, Bassoon OSCAR SCHWAR, Percussion 

Conducting 

FRITZ REINER 

Music Criticism 

SAMUEL CHOTZINOFF 

Composition 

ROSARIO SCALERO 



[PAGB nine] 



THE CURTIS INSTITUTE OF MUSIC 



THE FACULTY . . . Continued 

Harmony and Counter-point 
QElementary) 

ANNE-MARIE SOFFRAY 

Solfege 

RENEE LONGY MIQUELLE 

Supplementary Piano 

MARTHA HALBWACHS MASSENA JOSEPH SAMUEL LEVINE 

JEANNE BEHREND FREDA PASTOR 

WILLIAM HARMS VERA RESNIKOFF 

Vocal Repertoire 

LEO ROSENEK 

SYLVAN LEVIN 

HARRY KAUFMAN 

ELIZABETH WESTMORELAND 

Madrigal Chorus 

SAMUEL BARBER 

Languages and Diction 

MARY WESNER , A . B . , English and Latin 
LOUISE ANDRE TABUTEAU, French 
LESTER ENGLANDER, Fretich 
MARY SHUMWAY, PH.D., German 
MARTHA TURK, German 
EUFEMIA GIANNINI GREGORY, Italian 
PLACIDO DE MONTOLIU, Italian and Spanish 

Academic Tutors 

MARY SHUMW^AY, PH.D. 
MARY WESNER, A.B. 



[page tbn] 



THE CURTIS INSTITUTE OF MUSIC 



Privileges Enjoyed by Students of The Curtis Institute 

Free tuition. 

Individual instruction by world-famous artists. 

The use of instruments owned by the Institute for home practice. 

The use of music and books from the Institute's Library for home 
study. 

Preparatory public and radio performances. 



Curtis Institute Graduates Who Qualify Are Granted 

The Degree of Bachelor of Music. 

Introductory public appearances here and abroad. 

The use of instruments owned by the Institute for the period of 
their public introduction. 

Individual coaching in preparation for professional engagements. 

Assistance in obtaining professional engagements. 



[page eleven] 



THE CURTIS INSTITUTE OF MUSIC 

COLLECTION OJF INSTRUMENTS 

OWNED BY THE CURTIS INSTITUTE FOR THE 

USE OF ITS STUDENTS AND GRADUATES 

46 Violins Among them 2.8 old instruments, includ- 
ing 1. Antonius Stradivarius (Cremona 
1695 and 1709) and 2. Jean Baptiste 
Guadagnini (Milano and Parma, i8th 
century). 

17 Violas Among them 3 old instruments: 2. 

Gasparo da Salo (Brescia, late i6th 
century) and an Antonius and Hierony- 
mous Amati (Cremona 1616). 

13 Violoncellos . . . Among them 9 old instruments, includ- 
ing a Dominic Montagnana (Venice, 
17x9), a Giofreddo Cappa (Turin 1697) 
and a Nicolas Lupot "King of France" 
(Paris 181 1). 

84 Pianos Steinway: 69 grands, 3 concert grands 

and 11 uprights. 

X Organs Aelian-Skinner: a five-manual concert 

(in Casimir Hall) and a three-manual 
Aelian practice. 

15 Harps Lyon and Healy, including 1. concert 

grands. 

Orchestra Instruments 

13 Double Basses i English Horn z Trumpets 

i Flutes 7 Clarinets 3 Trombones 

z Piccolos 3 Bassoons 6 Tubas 

3 Oboes i Contrabassoon 6 Tympani 

Miscellaneous other Percussion Instruments 

Complete equipment for recording and reproducing disc records 
and for radio reception. 

I Steinway Duo-Art Player Piano 

Large collection of musical records and piano rolls 

[page twelve] 



THE CURTIS INSTITUTE OF MUSIC 



PUBLIC AND RADIO ACTIVITIES 

OF CURTIS INSTITUTE STUDENTS AS PART OF 

MUSICAL EDUCATION 

Radio — Student soloists, ensemble groups, and the 
Curtis Symphony Orchestra composed of Curtis 
students participate in thirty radio programs during 
the school year 1938-39. These programs are broad- 
cast from Casimir Hall, the auditorium of The Curtis 
Institute of Music, over a nation-wide hook-up of 
the Columbia Broadcasting System. 

Concert Course—Student soloists and ensemble groups 
managed by The Curtis Institute Concert Bureau 
appear before educational and civic organizations. 

Students are permitted to accept professional engage- 
ments at the discretion of the President. 



[page thirteen] 



THE CURTIS INSTITUTE OF MUSIC 

STUDIES 

The curriculum is adjusted to each student's needs. 
The major subjects are: 



Voice 


Accompanying 


Piano 


Chamber Music 


Violin 


Woodwind Ensemble 


Violoncello 


Orchestra Playing 


Viola 


Conducting 


Harp 


^Composition 


Organ 


Music Criticism 



The supplementary subjects are: 

Elementary Harmony 
and Counterpoint 

**Solfege 

Piano 

Vocal Repertoire 



Languages and 

other Academic Studies 

Diction 

Eurhythmies 

Madrigal Chorus 



*Composition includes the study of Elements and Forms of Musical Expression, Counterpoint and 
Orchestration. 

**Solfcge embraces Ear Training, Chord Formation, Rhythm, Sight Reading, Transposition and 
Score Reading. 



[PAOB fourteen] 



THE CURTIS INSTITUTE OF MUSIC 



STUDIES . . . Continued 

Supplementary Piano is a required subject for 
every student except those majoring in Piano and 
Accompanying. 

Chamber Music is a required subject for students 
majoring in Piano, Accompanying, and String 
Instruments. Students majoring in Voice, Harp, 
and Wind Instruments are required to rehearse 
with Chamber Music groups when called upon. 

All students of solo String Instruments as well 
as students of Orchestra Instruments are required 
to attend orchestra classes. 



[page fifteen] 



THE CURTIS INSTITUTE OF MUSIC 

APPLICATION FOR ADMISSION 
TO THE CURTIS INSTITUTE 

Before being granted an audition, an applicant is required to file 
an application form and to answer in full all questions contained 
therein. This form must be accompanied by an official birth 
certificate, physician's certificate of health, and a photograph of 
the applicant. See requirements for Entrance Examinations on the 
following pages. 

An applicant enrolled as a student at another school of music or 
studying with a private teacher will be considered for an audition 
only if the application form is accompanied by written permission 
from the respective school or teacher. 

Entrance examinations will be held at The Curtis Institute in 
April 1939 for the school year 1939-40. Completed application 
forms must be received by The Curtis Institute not later than March 7, ig^g . 

Application forms may be had upon request. 

Address all communications to 

THE CURTIS INSTITUTE OF MUSIC 

RlTTENHOUSE SqUARE, PHILADELPHIA, PENNSYLVANIA 



PAGE SIXTEEN I 



THE CURTIS INSTITUTE OF MUSIC 



REQUIREMENTS FOR ENTRANCE 
EXAMINATIONS 

The entrance requirements are presented here in a general forrn, 
allowing the applicant latitude in the selection of works to be 
presented for examination. While the choice of composition to 
be played at an audition is important, the manner of performance 
carries far greater weight. The final decision as to the suitability 
of an applicant for acceptance rests upon the evidence of talent 
shown in the examination rather than upon the degree of ad- 
vancement already attained. 

Admission is limited to those whose inherent musical gift shows 
promise of development to a point of professional quality. 

The examiners are not obliged to hear all that an applicant may 
have in readiness for examination nor to comply with requests 
for criticism of applicants not accepted. 

Accompanists are provided by the Institute for vocal and instru- 
mental auditions. 

Voice 

The applicant must possess a good voice, musical talent, and 
personality. In addition, the applicant should have at least an 
elementary knowledge of music and of piano, while a fair knowl- 
edge of languages is desirable. 

Four selections from operatic arias, oratorios or songs, showing 
the range and power of the voice, should be submitted from 
memory, the selections to be chosen from the works of the fol- 
lowing composers: Handel, Schubert, Schumann, Franz, Brahms, 
Strauss, Tschaikowsky, Rachmaninoff, Faure, Debussy, Duparc, 
Mozart, Bizet, Saint-Saens, Puccini, Wagner, or from the col- 
lection of Italian Songs edited by Parisotti (Schirmer, Publishers). 

Applicants should not be over twenty-three years of age. 

[page seventeen] 



THE CURTIS INSTITUTE OF MUSIC 



REQUIREMENTS FOR ENTRANCE 
EXAMINATIONS . . . Continued 

Piano 

Applicants must play from memory a Three-part Invention or 
a Prelude and Fugue from The Well-tempered Clavichord of 
Bach; a Beethoven sonata, complete; two selections — one slow 
and one brilliant — from the works of Chopin or Schumann 
(preferably Chopin). 

Applicants should not be over twenty years of age. 



Violin 

Applicants under fourteen years of age must play satisfactorily 
Hrimaly scales in three octaves and double stops; Kreutzer Etudes 
and one or more concertos from the works of the following com- 
posers: de Beriot, Viotti and Spohr. 

Applicants over fourteen years of age must play all scales in fluent 
tempo and double stops; a Bach sonata for violin alone; etudes by 
Dont and Paganini; and a concerto by one of the following com- 
posers: Bach, Mozart, Spohr, Brahms, Beethoven, Paganini, 
Mendelssohn or Goldmark. 

Applicants should not be over twenty years of age. 



[page eighteen] 



THE CURTIS INSTITUTE OF MUSIC 



REQUIREMENTS FOR ENTRANCE 
EXAMINATIONS . . . Continued 

Violoncello 

Applicants must be able to play satisfactorily all major and minor 
scales and arpeggios; also, a fast and a slow movement from a 
Bach Suite. They may choose for a second composition one 
movement of a concerto from the standard repertoire or one 
movement from a sonata for piano and violoncello, classical or 
modern. It is desirable, but not obligatory, that selections be 
submitted from memory. 

Applicants should not be over twenty years of age. 



Viola 

Applicants must have a fair knowledge of the clefs, positions, 
scales, arpeggios and double stops, and be able to play some of 
the standard violin studies such as those of Kreutzer and Rode, 
and also Campagnoli's 41 Caprices, Opus xx, which are especially 
written for the viola. They should also play one movement of 
Firket's or Hans Sitt's Concertos. 

Applicants should not be over twenty-five years of age. 



Harp 

Applicants should possess a complete knowledge of the funda- 
mental principles of contemporary harp playing. Knowledge of 
piano playing is desirable. Applicants should submit from 
memory two transcriptions from the classics and two works of 
contemporary composers. 

Applicants should not be over twenty years of age. 

[PAGH NINETEENf] 



THE CURTIS INSTITUTE OF MUSIC 



REQUIREMENTS FOR ENTRANCE 
EXAMINATIONS . . . Continued 

Organ 

Applicants must play from memory: (a) fugue or prelude and 
fugue or principal movement from a sonata or symphony, (b) a 
trio, (c) a scherzo, and (d) a slow movement. 

Applicants must also play the following on the piano : 

(a) a study, and (b) a nocturne or other slow movement. 

Applicants should not be over twenty-five years of age. 

Accompanying 

Applicants must play fluently some of the more difficult studies 
of Cramer, Clementi-Tausig, or Czerny, Opus 740; be able to read 
at sight, with a certain degree of accuracy, such accompaniments 
as the examiners may choose, and have a fair knowledge of the 
standard violin, 'cello, and song literature. 

Chamber Nlusic — Woodivind Ensemble 

Applicants must possess a good ear, be able to read fluently at 
sight from standard works, and show command of the instrument 
of their selection. 

Applicants should not be over thirty years of age. 

Orchestra Playing 

Applicants must possess an elementary knowledge of music, a 
good ear, a good sense of rhythm, be able to read at sight, and 
show talent and aptitude for the instrument of their choice. 

Applicants should not be over twenty-five years of age. 

[page twenty] 



THE CURTIS INSTITUTE OF MUSIC 



REQUIREMENTS FOR ENTRANCE 
EXAMINATIONS . . .Continued 

Conducting 

Applicants must possess an accurate ear, a developed rhythmic 
sense, and a theoretical knowledge of the range and technique 
of orchestral instruments in the modern orchestra. They must 
be able to transpose at sight and demonstrate a knowledge of 
harmony and musical form and must show familiarity with 
classical and romantic orchestral literature and be able to read 
scores fluently at the piano. 

M.usic Criticism 

Applicants must have a knowledge of the rudiments of musical 
theory and be able to play an instrument. In addition they must 
show writing ability and submit an article on music of from three 
hundred to five hundred words. 

Composition 

Applicants must send their manuscripts by registered mail for 
examination, presenting themselves in person only when so 
requested by the Institute. All manuscripts must be in the hand- 
writing of the applicant. 

Only such manuscripts as show genuine creative ability will be 
considered. 



[page twbnty-onb] 



THE CURTIS INSTITUTE OF MUSIC 



GENERAL INFORMATION 

The Curtis Institute of Music is situated in the center of Philadel- 
phia. It is within four squares of the Academy of Music, where 
the concerts of the Philadelphia Orchestra and other important 
musical events take place. 

Casimir Hall, auditorium of The Curtis Institute of Music, has a 
seating capacity of 300. An Aeolian-Skinner five-manual concert 
organ and two Steinway concert grands form a part of the equip- 
ment. In this hall two annual series of concerts, the Faculty and 
the Student, are given. 

Weekly programs are broadcast from Casimir Hall over a nation- 
wide hook-up of the Columbia Broadcasting System. 

Practice rooms equipped with Steinway pianos are reserved for 
Curtis students. An additional room has a three-manual Aeolian 
practice organ. 

A cafeteria where wholesome food is served at cost to students, 
teachers and members of the staff forms a part of the Institute's 
equipment. 

The Institute, upon request, will furnish information regarding 
Philadelphia rentals and living expenses and assist students in 
obtaining suitable living accommodations. 



[page twenty-two] 



THE CURTIS INSTITUTE OFMUSIC 



THE LIBRARY 

The library consists of 2.8,500 volumes — 
music, scores, and books. 

There are approximately 1,000 miniature 
scores which are in constant circulation 
among the students. 

The music library of the late Charles H. 
Jarvis, of Philadelphia, is a gift to The 
Curtis Institute of Music by joint action 
of the heirs of Mr. Jarvis and The Drexel 
Institute of Technology where formerly 
it was in custody. 

The Jarvis library consists of approx- 
imately 1,700 volumes of chamber music, 
orchestra, violin, piano, and vocal works 
and includes a reference collection of the 
complete works of Mozart. 



[PAGB twenty-three] 



THE CURTIS INSTITUTE OF MUSIC 

THE CALENDAR 

Season 193 8-193 9 

School Year begins October 3 

Auditions begin *April 3 

Commencement Exercises May 9 

School Year ends May 1 1 

Holidays 

Thanksgiving Day November 30 

Christmas vacation December 18 to 

January 3, inclusive 

Washington's birthday February 1.1. 

Easter vacation April 2. to 

April 9, inclusive 

*Date subject to change 



[page twbnty-four] 




1939-1940 



THE 
CURTIS INSTITUTE OF MUSIC 




CATALOGUE 

1939-1940 



RITTENHOUSE SQUARE 
PHILADELPHIA • PENNSYLVANIA 



THE CURTIS INSTITUTE OF MUSIC, founded 
in 1924 by Mary Louise Curtis Bok, welcomes 
students of all nationalities and is approved by 
the United States as an institution of learning 
for the training of non-quota foreign students, in 
accordance with the Immigration Act of 1924. 

The Curtis Institute receives its support from 
The Mary Louise Curtis Bok Foundation, is 
operated under a Charter of the Commonwealth 
of Pennsylvania, and is fully accredited for the 
conferring of Degrees. 




DR. RANDALL THOMPSON 

Director of the Institute 



PURPOSE 



TO HAND DOWN 
THROUGH CONTEMPORARY MASTERS 
THE GREAT TRADITIONS OF THE PAST 

TO TEACH STUDENTS TO BUILD 
ON THIS HERITAGE FOR 
THE FUTURE 



THE 



CURTIS 



INSTITUTE 



O F 



MUSIC 



Officers 



MARY LOUISE CURTIS BOK 

Presicient 



CURTIS BOK 

Vice-President 



CARY W. BOK 

Secretary 



PHILIP S. COLLINS 

Treasurer 



Board of Directors 

CARY W. BOK EDITH EVANS BRAUN 

CURTIS BOK PHILIP S. COLLINS 

MARY LOUISE CURTIS BOK JENNIE M. EELS 



[page eight] 



THE CURTIS INSTITUTE OF MUSIC 



Executive Staff 



RANDALL THOMPSON, M.A., MUS. D. 
Director 



SARAH HETTINGER 

Librarian 



JANE FAIRFAX HILL 

Registrar 



JAY H. MATTIS 

Comptroller 



ELSIE HUTT 

Publicity 



HELEN HOOPES 

Secretary of Admissions 



C. DAVID HOCKER 

Concert Bureau 



[page nine] 



THE CURTIS INSTITUTE OF MUSIC 



THE FACULTY 

Voice 

EMILIO DE GOGORZA ELISABETH SCHUMANN 

EUFEMIA GIANNINI GREGORY 

Piano 

RUDOLF SERKIN 

DAVID SAPERTON ISABELLE VENGEROVA 

HARRY KAUFMAN (also Accompanying) 



JEANNE BEHREND JOSEPH S. LEVINE 

ELEANOR BLUM MARTHA HALBWACHS MASSENA 

JORGE BOLET FREDA PASTOR 

WILLIAM HARMS EZRA RACHLIN 

VERA RESNIKOFF 

Violin 

EFREM ZIMBALIST 
LEA LUBOSHUTZ ALEXANDER HILSBERG 

Violoncello 

FELIX SALMOND 

Viola 

LOUIS BAILLY, Mus. D. 
MAX ARONOFF 

Harp 

CARLOS SALZEDO, Mus. D. 



[page ten] 



THE CURTIS INSTITUTE OF MUSIC 



THE FACULTY . . . Continued 
Organ 

ALEXANDER Mc CURDY, Mus. D. 

Chamber Music 

LOUIS BAILLY 

Woodivind Ensemble 

MARCEL TABUTEAU 

Orchestra 

FRITZ REINER, Conductor 

ALEXANDER HILSBERG, Strings MARCEL TABUTEAU, Winds 

ANTON TORELLO, Double Bass ANTON HORNER, Horn 

WILLIAM KINCAID, Flute SAUL CASTON, Trumpet 

ROBERT McGINNIS, Clarinet CHARLES GERHARD, Trombone 

MARCEL TABUTEAU, Oboe PHILIP DONATELLI, Tuba 

SIMON KOVAR, Bassoon OSCAR SCHWAR, Percussion 

Conducting 

FRITZ REINER 

Music Criticism 

SAMUEL CHOTZINOFF 

History of Music 

(Lecturer to be announced later) 

Eurhythmies 

PLACIDO DE MONTOLIU 



[page eleven] 



THE CURTIS INSTITUTE OF MUSIC 



THE FACULTY . . . Continued 
Composition 

ROSARIO SCALERO 
CONSTANT VAUCLAIN, Assistant 

Solfege 

RENEE LONGY MIQUELLE 
ANNE-MARIE SOFFRAY 

Harmony and Counterpoint 

{Elementary) 

RICHARD STOHR 

ANNE-MARIE SOFFRAY 

Orchestration 

RANDALL THOMPSON 

Vocal Repertoire 

LEO ROSENEK 

HARRY KAUFMAN 

ELIZABETH WESTMORELAND 

Madrigal Chorus 

SAMUEL BARBER 

Opera Class 

HANS WOHLMUTH, PH.D. 

Languages and Diction 

MARY WESNER, A.B., English and Latin 

LOUISE ANDRE TABUTEAU, B. es L., L. es L., Vrench 

LESTER ENGLANDER, A.B., MUS. B., French 

MARY SHUMWAY, PH.D., German 

MARTHA TURK, German 

DOMENICO VITTORINI, A.M., D. in L., Italian 

PLACIDO DE MONTOLIU, Spanish 

Academic Tutors 

MARY SHUMWAY 
MARY WESNER 



[page twelve] 



THE CURTIS INSTITUTE OF MUSIC 



Privileges Enjoyed by Students of The Curtis Institute 

Free tuition. 

Individual instruction by world-famous artists. 

The use of instruments owned by the Institute for home practice. 

The use of music and books from the Institute's Library for home 
study. 

Preparatory public and radio performances. 



Curtis Institute Graduates Who Qtialijy Are Granted 

The Degree of Bachelor of Music. 

Introductory public appearances here and abroad. 

The use of instruments owned by the Institute for the period of 
their public introduction. 

Individual coaching in preparation for professional engagements. 

Assistance in obtaining professional engagements. 



[page thirteen] 



THE CURTIS INSTITUTE OF MUSIC 

COLLECTION OF INSTRUMENTS 

OWNED BY THE CURTIS INSTITUTE FOR THE 

USE OF ITS STUDENTS AND GRADUATES 

47 Violins Among them x8 old instruments, includ- 
ing 1. Antonius Stradivarius (Cremona 
1695 and 1709) and 2. Jean Baptiste 
Guadagnini (Milano and Parma, i8th 
century). 

18 Violas Among them 3 old instruments: 2. 

Gasparo da Salo (Brescia, late i6th 
century) and an Antonius and Hierony- 
mous Amati (Cremona 1616). 

13 Violoncellos . . . Among them 9 old instruments, includ- 
ing a Dominic Montagnana (Venice, 
172.9), a Giofreddo Cappa (Turin 1697) 
and a Nicolas Lupot "King of France" 

(Paris 1811). 

84 Pianos Steinway: 69 grands, 3 concert grands 

and 17. uprights. 

2. Organs Aeolian-Skinner: a five-manual concert 

(in Casimir Hall) and a three-manual 
Aeolian practice. 

15 Harps Lyon and Healy, including 2. concert 

grands. 

Orchestra Instruments 

13 Double Basses i English Horn x Trumpets 

X Flutes 7 Clarinets 3 Trombones 

2. Piccolos 3 Bassoons 6 Tubas 

3 Oboes i Contrabassoon 6 Tympani 

Miscellaneous other Percussion Instruments 

Complete equipment for recording and reproducing disc records 

and for radio reception. 

Large collection of musical records and piano rolls. 

[page fourteen] 



THE CURTIS INSTITUTE OF MUSIC 



PUBLIC AND RADIO ACTIVITIES 

OF CURTIS INSTITUTE STUDENTS AS PART OF 

MUSICAL EDUCATION 

Kadio Broadcasts — Soloists, ensembles, and the Curtis 
Symphony Orchestra participate in a series of radio 
programs during the school year. These programs 
are broadcast from Casimir Hall, the auditorium of 
The Curtis Institute, over a nation-wide network of 
the Columbia Broadcasting System. 

Concert Course — Student soloists and ensemble groups 
managed by The Curtis Institute Concert Bureau 
appear before educational and civic organizations. 

Students are permitted to accept professional engage- 
ments at the discretion of the Director. 



[pAc-.E fifteen] 



THE 



CURTIS 



INSTITUTE 



O F 



MUSIC 



CURRICULUM 



The major subjects are: 




Voice 
Piano 


Accompanying 
Chamber Music 


Violin 


Woodwind Ensemble 


Violoncello 
Viola 
Harp 
Organ 


Orchestra Playing 
Conducting 
Composition 
Music Criticism 


The supplementary subjects are: 




Soljege 

Elementary Harmony 

and Counterpoint 
Orchestration 
Piano 
Vocal Kepertoire 


Languages and 

other Academic Studies 
Diction 
Music History 
Eurhythmies 
Madrigal Chorus 



The curriculum is adjusted to each student's needs. 

Supplementary Piano is a required subject for every student except 
those majoring in Piano and Accompanying. 

Chamber Music is a required subject for students majoring in 
Piano, Accompanying, and String Instruments. Students major- 
ing in Voice, Harp, and Wind Instruments are required to rehearse 
with Chamber Music groups when called upon. 

All students of solo String Instruments as well as students of 
Orchestra Instruments are required to attend orchestra class. 



[page sixteen] 



THE CURTIS INSTITUTE OF MUSIC 

APPLICATION FOR ADMISSION 
TO THE CURTIS INSTITUTE 

Students are accepted only after an audition. Each applicant is 
requested to fill out an application blank, giving in detail all 
required information. This form must be accompanied by an 
official birth certificate, physician's certificate of health, and a 
photograph of the applicant. See requirements for Entrance Examina- 
tions on the following pages. 

An applicant enrolled as a student at another school of music or studying 
tvith a private teacher ivill be considered for an audition only if the 
application form is accompanied by written permission from the respective 
school or teacher. 

Entrance examinations will be held at The Curtis Institute in 
April 1940 for the school year 1940-41. Completed application forjns 
must be received by The Curtis Institute not later than March 7, /p^o. 

Application forms will be sent upon request. 

Address all communications to 

Secretary of Admissions 
THE CURTIS INSTITUTE OF MUSIC 

RiTTENHOUSE SqUARE, PHILADELPHIA, PENNSYLVANIA 



PAQB SEVENTEEN 



THE CURTIS INSTITUTE OF MUSIC 



REQUIREMENTS FOR ENTRANCE 
EXAMINATIONS 

The entrance requirements are presented here in a general form, 
allowing the applicant latitude in the selection of works to be 
presented for examination. While the choice of composition to 
be played at an audition is important, the manner of performance 
carries far greater weight. The final decision as to the suitability 
of an applicant for acceptance rests upon the evidence of talent 
shown in the examination rather than upon the degree of ad- 
vancement already attained. 

Admission is limited to those whose inherent musical gift shows 
promise of development to a point of professional quality. 

The examiners are not obliged to hear all that an applicant may 
have in readiness for examination nor to comply with requests 
for criticism of applicants not accepted. 

Accompanists are provided by the Institute for vocal and instru- 
mental auditions. 

Voice 

The applicant must possess a good voice, musical talent, and 
personality. In addition, the applicant should have at least an 
elementary knowledge of music and of piano, while a fair knowl- 
edge of languages is desirable. 

Four selections from operatic arias, oratorios or songs, showing 
the range and power of the voice, should be submitted from 
memory, the selections to be chosen from the works of the fol- 
lowing composers: Handel, Schubert, Schumann, Franz, Brahms, 
Strauss, Tschaikowsky, Rachmaninoff, Faure, Debussy, Duparc, 
Mozart, Bizet, Saint-Saens, Puccini, Wagner, or from the col- 
lection of Italian Songs edited by Parisotti (Schirmer, Publishers). 

Applicants should not be over twenty-three years of age. 

[page eighteen] 



THE CURTIS INSTITUTE OF MUSIC 



REQUIREMENTS FOR ENTRANCE 

EXAMINATIONS . . . Continued 

Piano 

Applicants must play from memory a Three-part Invention or 
a Prelude and Fugue from The Well-tempered Clavichord of 
Bach; a Beethoven sonata, complete; two selections — one slow 
and one brilliant — from the works of Chopin or Schumann 
(preferably Chopin). 

Applicants should not be over twenty years of age. 

Violin 

Applicants under fourteen years of age must play satisfactorily 
Hrimaly scales in three octaves and double stops; Kreutzer Etudes 
and one or more concertos from the works of the following com- 
posers: de Beriot, Viotti and Spohr. 

Applicants over fourteen years of age must play all scales in fluent 
tempo and double stops; a Bach sonata for violin alone; etudes by 
Dont and Paganini; and a concerto by one of the following com- 
posers: Bach, Mozart, Spohr, Brahms, Beethoven, Paganini, 
Mendelssohn or Goldmark. 

Applicants should not be over twenty years of age. 



[page nineteen] 



THE CURTIS INSTITUTE OF MUSIC 



REQUIREMENTS FOR ENTRANCE 
EXAMINATIONS . . . Continued 

Violoncello 

Applicants must be able to play satisfactorily all major and minor 
scales and arpeggios; also, a fast and a slow movement from a 
Bach Suite. They may choose for a second composition one 
movement of a concerto from the standard repertoire or one 
movement from a sonata for piano and violoncello, classical or 
modern. It is desirable, but not obligatory, that selections be 
submitted from memory. 

Applicants should not be over twenty years of age. 



Viola 

Applicants must have a fair knowledge of the clefs, positions, 
scales, arpeggios and double stops, and be able to play some of 
the standard violin studies such as those of Kreutzer and Rode, 
and also Campagnoli's 41 Caprices, Opus 2.2., which are especially 
written for the viola. They should also play one movement of 
Firket's or Hans Sitt's Concertos. 

Applicants should not be over twenty-five years of age. 



Harp 

Applicants should possess a complete knowledge of the funda- 
mental principles of contemporary harp playing. Knowledge of 
piano playing is desirable. Applicants should submit from 
memory two transcriptions from the classics and two works of 
contemporary composers. 

Applicants should not be over twenty years of age. 



PAGE TWENTY! 



THE CURTIS INSTITUTE OF MUSIC 



REQUIREMENTS FOR ENTRANCE 
EXAMINATIONS . . . Continued 

Organ 

Applicants must play from memory: (a) fugue or prelude and 
fugue or principal movement from a sonata or symphony, (b) a 
trio, (c) a scherzo, and (d) a slow movement. 

Applicants must also play the follov^ing on the piano : 

(a) a study, and (b) a nocturne or other slow movement. 

Applicants should not be over twenty-one years of age. 

Accom-panying 

Applicants must play fluently some of the more difficult studies 
of Cramer, Clementi-Tausig, or Czerny, Opus 740; be able to read 
at sight, with a certain degree of accuracy, such accompaniments 
as the examiners may choose, and have a fair knowledge of the 
standard violin, 'cello, and song literature. 

Chamber Music — Woodwind Ensemble 

Applicants must possess a good ear, be able to read fluently at 
sight from standard works, and show command of the instrument 
of their selection. 

Applicants should not be over twenty-five years of age. 

Orchestra Playing 

Applicants must possess an elementary knowledge of music, a 
good ear, a good sense of rhythm, be able to read at sight, and 
show talent and aptitude for the instrument of their choice. 

Applicants should not be over twenty years of age. 

[page twenty-one] 



THE CURTIS INSTITUTE OF MUSIC 



REQUIREMENTS FOR ENTRANCE 
EXAMINATIONS . . .Continued 

Conducting 

Applicants must possess an accurate ear, a developed rhythmic 
sense, and a theoretical knowledge of the range and technique 
of orchestral instruments in the modern orchestra. They must 
be able to transpose at sight and demonstrate a knowledge of 
harmony and musical form and must show familiarity with 
classical and romantic orchestral literature and be able to read 
scores fluently at the piano. 

Music Criticism 

Applicants must have a knowledge of the rudiments of musical 
theory and be able to play an instrument. In addition they must 
show writing ability and submit an article on music of from three 
hundred to five hundred words. 

Composition 

Applicants must send their manuscripts by registered mail for 
examination, presenting themselves in person only when so 
requested by the Institute. All manuscripts must be in the hand- 
writing of the applicant. 

Only such manuscripts as show genuine creative ability will be 
considered. 



[page twenty-two] 



THE CURTIS INSTITUTE OF MUSIC 



GENERAL INFORMATION 

The Curtis Institute of Music is situated in the center of Philadel- 
phia. It is within four squares of the Academy of Music, v/here 
the concerts of the Philadelphia Orchestra and other important 
musical events take place. 

Casimir Hall, auditorium of The Curtis Institute of Music, has a 
seating capacity of 300. An Aeolian-Skinner five-manual concert 
organ and two Steinway concert grands form a part of the equip- 
ment. In this hall two annual series of concerts, the Faculty and 
the Student, are given. 

Weekly programs are broadcast from Casimir Hall over a nation- 
wide network of the Columbia Broadcasting System. 

Practice rooms equipped with Steinway pianos are reserved for 
Curtis students. An additional room has a three-manual Aeolian 
practice organ. 

A cafeteria where wholesome food is served at cost to students, 
teachers and members of the staff forms a part of the Institute's 
equipment. 

The Institute, upon request, will furnish information regarding 
Philadelphia rentals and living expenses and assist students in 
obtaining suitable living accommodations. 



[page twenty-three] 



THE CURTIS INSTITUTE OF MUSIC 



THE LIBRARY 

The library consists of x8,8oo volumes — 
music, scores, and books. 

There are approximately i,ooo miniature 
scores which are in constant circulation 
among the students. 

The music library of the late Charles H. 
Jarvis, of Philadelphia, is a gift to The 
Curtis Institute of Music by joint action 
of the heirs of Mr. Jarvis and The Drexel 
Institute of Technology v^here formerly 
it was in custody. 

The Jarvis library consists of approx- 
imately 1,700 volumes of chamber music, 
orchestra, violin, piano, and vocal works 
and includes a reference collection of the 
complete works of Mozart. 



[page twenty-fouk] 



THE CALENDAR 

Season 193 9-1940 

School Year . . . October 2. to May 9 

Auditions April 

Commencement Exercises . . . May 10 

Holidays 

Thanksgiving Day . . . November 13 

Christmas Vacation . December 17 to 

January 3, inclusive 

Easter Vacation . . March 17 to 

March 14, inclusive 



THE CURTIS INSTITUTE 
OF MUSIC 



1939-1940 



THE 
CURTIS INSTITUTE OF MUSIC 




CATALOGUE 

1939-1940 



RITTENHOUSE SQUARE 
PHILADELPHIA • PENNSYLVANIA 



COPYRIGHT NOVEMBER 1939 BY 
THE CURTIS INSTITUTE OF MUSIC 



THE CURTIS INSTITUTE OF MUSIC, founded 
in 1924 by Mary Louise Curtis Bok, welcomes 
students of all nationalities and is approved by 
the United States Government as an institution 
of learning for the training of non-quota foreign 
students, in accordance with the Immigration 
Act of 1924. 

Students are accepted, under conditions herein 
set forth, exclusively on the Scholarship basis. 

The Curtis Institute receives its support from 
The Mary Louise Curtis Bok Foundation, is 
operated under a Charter of the Commonwealth 
of Pennsylvania, and is fully accredited for the 
conferring of Degrees. 

Corporation Officers and Directors 

THE MARY LOUISE CURTIS BOK FOUNDATION 

MARY LOUISE CURTIS BOK President 

CURTIS BOK Vice-President 

CARY W. BOK Secretary 

PHILIP S. COLLINS Treasurer 

EDITH EVANS BRAUN 
JENNIE M. FELS 
FRANK AYDELOTTE 



THE CURTIS INSTITUTE OF MUSIC 



Corporation Officers and Directors 

THE CURTIS INSTITUTE OF MUSIC 

MARY LOUISE CURTIS BOK President 

CURTIS BOK Vice-President 

GARY W. BOK Secretary 

PHILIP S. COLLINS Treasurer 

EDITH EVANS BRAUN 
JENNIE M. FELS 



[page pour] 



PURPOSE 



TO HAND DOWN THROUGH CONTEMPORARY MASTERS 
THE GREAT TRADITIONS OF THE PAST 

TO TEACH STUDENTS TO BUILD ON THIS HERITAGE 
FOR THE FUTURE 




I'hoio by Rirtast 



RANDALL THOMPSON, A.B., A.M., MUS.D 
Director 



THE CURTIS INSTIT 



UTE OF MUSIC 



Executive Staff 



JANE FAIRFAX HILL 

Kegistrar 



HELEN HOOPES 

Secretary of Admissions 



JAY H. MATTIS 

Comptroller 



SARAH HETTINGER 

Librarian 



ELSIE HUTT 

Publicity 



THOMAS D. PERRY, JR. 

Concert Bureau 



[page seven] 



THE CURTIS INSTITUTE OF MUSIC 

FACULTY ^ COURSES 

Headings in CAPITALS designate major courses; headings in italics, supplementary courses. 



SINGING 

Emilio de Gogorza Elisabeth Schumann 

Eufemia Giannini Gregory Steuart Wilson, A. M. TCantab.) 



Diction 

Steuart Wilson : English 

Louise Andre Tabuteau, B. es L., L. es L. : French 

Lester Englander, A. B., Mus. B.: French 

Martha Tiirk : German 

Eufemia Giannini Gregory: Italian 



Vocal Repertoire 

Leo Rosenek 

Harry Kaufman 

Steuart Wilson 

Elizabeth Westmoreland, Mus. B. 



Vocal Ensemble Opera Class 

Steuart Wilson Hans Wohlmuth, Ph. D. (Vienna) 

IS/iadrigal Chorus Institute Chorus 

Samuel Barber, Mus. B. Randall Thompson, A. B., A. M., Mus. D. 

[page eight] 



THE CURTIS INSTITUTE OF MUSIC 



Faculty Courses, Continued 

PIANO 

Rudolf Serkin 

David Saperton Isabelle Vengerova 

Harry Kaufman 



Jeanne Behrend Martha Halbwachs Mass6na, Mus. B. 

Jorge Bolet, Mus. B. Freda Pastor, Mus. B. 

William Harms, Mus. B. Ezra Rachlin 

Joseph S. Levine, Mus. B. Vera ResnikofF 

Eleanor SokolofF 



ORGAN 

Alexander McCurdy, Mus. D. 

HARP 

Carlos Salzedo, Mus. D. 

VIOLIN 

Efrem Zimbalist 
Lea Luboshutz Alexander Hilsberg 



Frederick Vogelgesang 
Marian Head 



VIOLA 

Louis Bailly, Mus. D. Max Aronoff 



THE CURTIS INSTITUTE OF MUSIC 



Faculty Courses, Continued 



VIOLONCELLO 
Felix Salmond 



Orlando Cole, Mus. B. 



DOUBLE BASS 

Anton Torello 



HORN 
Anton Horner 



FLUTE 

William Kincaid 



TRUMPET 

Saul Caston 



OBOE 

Marcel Tabuteau 



TROMBONE 

Charles Gerhard 



CLARINET 

Robert McGinnis 



TUBA 
Philip Donatelli 



BASSOON 

Simon Kovar 



PERCUSSION 

Oscar Schwar 



[pAOB ten] 



THE CURTIS INSTITUTE OF MUSIC 



Faculty Courses, Continued 



Chamber Music 
Louis Bailly 

Woodwind Ensemble 
Marcel Tabuteau 

Orchestra 

Fritz Reiner, Conductor 

Alexander Hilsberg, Strings 

Marcel Tabuteau, Winds 

Saul Caston, Brasses 

CONDUCTING 
Fritz Reiner 

Music Criticism 
Samuel ChotzinofF 

Eurhythmies 
Placido de Montoliu 



[page eleven] 



THE CURTIS INSTITUTE OF MUSIC 



Faculty Courses, Continued 



COMPOSITION 
Rosario Scalero 



Constant Vauclain, Mus. B., Assistant 



Solftge 

Renee Longy Miquelle 
Anne-Marie SofFray 



Harmony 

Richard Stohr 
Anne-Marie SofFray 
Constant Vauclain 



Counterpoint 
Richard Stohr 



Form 
Richard Stohr 



Elements of Music 
Rosario Scalero 



Orchestration 
Randall Thompson 



Languages 

Louise Andre Tabuteau, B. es L., L. es L. : French 

Lester Englander, A. B., Mus. B.: French 

Mary Q. Shumway, A. B., A. M., Ph.D.: German 

Martha Tiirk : German 

Domenico Vittorini, A. M., D. in L. : Italian 

Eufemia Giannini Gregory: Italian 

Placido de Montoliu : Spanish 



[page twelve] 



THE CURTIS INSTITUTE OF MUSIC 



Faculty Courses, Continued 

A course in Accompanying is offered by Mr Kaufman for qualified students of 
Piano who wish to elect it. 

Assemblies are held once a week in Casimir Hall, for lectures on the history 
and literature of music, informal recitals, and singing by the student body. 



ACADEMIC TUTORS 

Mary Q. Shumway 

Mary B, Wesner, A. B. 

Eleanor Field, A. B. 



THE CONCERT BUREAU 

Radio — Student soloists, ensembles, and the Curtis Symphony Orchestra, par- 
ticipate in a series of radio concerts broadcast from Casimir Hall during the 
School Year over a nation-wide network of the Columbia Broadcasting System. 

Casimir Hall Concerts — Faculty and students give two annual series of recitals 
in Casimir Hall. 

Extra-curriculum — A series of historical recitals is conducted as an extra-cur- 
riculum activity by the students under the sponsorship of a committee of grad- 
uates headed by Ralph Berkowitz. 

Concert Course — Student soloists and ensembles give concerts before educational 
and civic organizations. 



[page thirteen] 



THE 



CURTIS 



INSTITUTE 



O F 



MUSIC 



EQUIPMENT 

Instruments 

51 Violins Among them 18 old instruments of 

the Cremona, Venice, and Milan 
Schools, and 16 old instruments of the 
French School 

17 Violas Among them 3 old instruments of the 

Cremona School 

14 Violoncellos Among them 5 old instruments of the 

Italian and 4 old instruments of the 
French School 

85 Pianos Steinway: 68 grands, 3 concert grands, 

and 14 uprights 

2. Organs Aeolian-Skinner: a five-manual concert 

(in Casimir Hall) and a three-manual 
practice 

15 Harps Lyon and Healy, including 2. concert 

grands 

13 Double Basses 4 Clarinets i Trumpet 

2. Flutes i Alto Clarinet i Bass Trumpet 

2. Piccolos 2. Bass Clarinets 2. Tubas 

3 Oboes 3 Bassoons 4 Wagnerian Tubas 

I English Horn i Contrabassoon 6 Tympani 

Miscellaneous Percussion Instruments and a Celesta 



[page iourtebn] 



THE CURTIS INSTITUTE OF MUSIC 



EQUIPMENT 

Library 

The library of 2.9,000 volumes (books and music) is housed in the 
main building. Some of the more important sets are the Bach Gesell- 
schaft publications, the collected works of Beethoven, Schubert, 
and Schumann as published by Breitkopf, and the complete works 
of Brahms, Chopin, Handel, Lassus, Mozart, Palestrina, Purcell, 
Schiitz, and Vittoria, many volumes of the Denkmaler deutscher 
Tonkunst, including the Tonkunst in Bayern, a number of volumes 
of the Denkmaler der Tonkunst in Oesterreich, and the works of 
Monteverdi. Twenty-three periodicals are currently received. There 
are also a number of first editions and certain rare manuscripts. 

The Charles H. Jarvis Collection of about 1700 titles is segregated 
in special bookcases by request of the donors. Chamber music and 
viola music are kept in a room adjoining the chamber music 
studio. 

A large collection of phonograph records comprises a separate 
section of the library, adjoining the recording studios. 

The library rooms are open during the School Year on Monday 
through Friday from 9:00 A.M. to 5 :oo P.M., on Saturday from 
9:00 A.M. to I :oo P.M.; during the summer, on Monday through 
Friday from 9:00 A.M. to 4:00 P.M. 



[page fifteen] 



THE CURTIS INSTITUTE OF MUSIC 



EQUIPMENT^ INFORMATION 

Casimir Hall — Faculty, student, and guest recitals, concerts and 
lectures, student assemblies, and Commencement, are held in this 
hall. The Cyrus Curtis organ is a five-manual with 65 ranks of 
pipes, built by Aeolian-Skinner. 

Instruments; Practice — Pianos, harps, string, and wind instruments 
are lent students for practice and public use without charge. 
Practice rooms are available at the School. 

Library — The privilege of borrowing books and music is granted 
to all registered students. Students have the use of textbooks 
without charge. 

Recording; Radio — Complete equipment for recording from radio 
reception or studio, and for reproducing disc records, enables 
students to study their actual performances. 

Cafeteria — Wholesome lunches are served at cost Mondays through 
Fridays during the School Year, except on holidays. 

Living — The Secretary of Admissions will furnish information re- 
garding rentals and living expenses in Philadelphia. Upon request, 
students are assisted in finding suitable living accommodations. 

Professional Engagements — Students are permitted to accept profes- 
sional engagements with the approval of the Director. 

Tuition — Students are accepted on the Scholarship basis exclu- 
sively. No tuition is charged. 



[page SIXTEE>f] 



THE CURTIS INSTITUTE OF MUSIC 



ENTRANCE REQUIREMENTS 

Application for Audition or Examination 

Students are accepted only after an audition or the examination 
of prepared written material. The qualifications for audition or 
examination are given on the following pages. 

The applicant is required to fill out an application form and to 
give in detail all requested information. The application form 
must be accompanied by an official birth certificate (photostat 
is acceptable), physician's certificate of health, and a recent small 
photograph of the applicant. An applicant enrolled as a student 
at another school of music or studying with a private teacher 
will be considered for an audition or examination only if the ap- 
plication form is accompanied by written permission from the 
school or teacher. Application forms are sent upon request. 

School Year 19 40-1 941 

Auditions and examinations will be held at The Curtis Institute 
in April 1940 for the School Year 1940-1941. To receive consideration, 
completed application forms must reach the Institute not later than 
J P.M., March i, 1940. 

Kindly address all communications to the 

Secretary of Admissions 

THE CURTIS INSTITUTE OF MUSIC 

Rittenhouse Square 

Philadelphia, Pennsylvania 



PAGE SEVENTEEN I 



THE CURTIS INSTITUTE OF MUSIC 



ENTRANCE REQUIREMENTS 

Qualifications for Audition or Examination 

The qualifications for receiving an audition or examination are 
presented here in a general form, allowing the applicant latitude 
in the selection of works to be presented. While the choice of 
composition is important, the manner of performance carries far 
greater weight. 

The final decision as to the suitability of an applicant for ac- 
ceptance rests upon the evidence of talent shown rather than upon 
the degree of advancement already attained. Admission is limited 
to those whose inherent musical gift shows promise of develop- 
ment to a point of professional quality. 

Except under unusual circumstances, preference will be given to appli- 
cants between the ages of sixteen and twenty-four. 

Applicants in any subject may be asked to show the degree of 
their attainments in sight-reading. A supplementary knowledge 
of the piano, or other medium, and of the theory of music, is 
desirable. 

The auditors are not obliged to hear all that an applicant may 
have in readiness nor to comply with requests for criticism of 
applicants not accepted. 

Accompanists are provided. 

Singing 

Applicants shall submit from memory four items showing the 
character, quality, and personality of voice and singer, selected 
from the standard operatic and oratorio recitatives and arias, and 
from the repertoire of German Lieder, Italian songs of the Seven- 



[PAGE eighteen] 



THE CURTIS INSTITUTE OF MUSIC 



ENTRANCE REQUIREMENTS: Qualifications for Audition or Examination, Continued 

teenth and Eighteenth Centuries, French songs (whether of the 
'Bergerette' type or of the Nineteenth and Twentieth Centuries), 
and songs of any period in the English language which are of 
artistic merit. At least one item must be submitted in English. 

Clear diction and accurate pronunciation in one foreign language 
will be considered of higher value than a casual and inaccurate 
use of several. 

Piano 

Applicants shall play from memory: i) a prelude and fugue from 
The Well-Tempered Clavichord or a three-part invention of Bach; 
x) a Beethoven sonata, complete; 3) two selections — one slow 
and one brilliant — from the works of Chopin. 



Organ 

Applicants shall play from memory: i) a fugue or prelude and 
fugue or a principal movement from a sonata or symphony; 2.) 
a trio; 3) a scherzo; 4) a slow movement. 

Applicants shall also play the following at the piano: i) a study; 
i) a nocturne or other slow movement. 



Harp 

Applicants should possess a complete knowledge of the funda- 
mental principles of contemporary harp playing. A knowledge 
of piano playing is desirable. Applicants shall submit from memory 
two transcriptions from the classics and two works of contem- 
porary composers. 



[page nineteen] 



THE CURTIS INSTITUTE OF MUSIC 



ENTRANCE REQUIREMENTS: Qualifications for Audttton or Examination, Continued 

Violin 

Applicants under fourteen years of age shall play: i) Hrimaly 
scales in three octaves and double stops; 2.) Kreutzer etudes; 3) 
a concerto of de Beriot, Viotti, or Spohr. 

Applicants over fourteen years of age shall play: i) all scales in 
fluent tempo and double stops; i) a Bach sonata for violin 
alone; 3) etudes by Dont and Paganini; 4) a concerto of Bach, 
Mozart, Spohr, Brahms, Beethoven, Paganini, Mendelssohn, or 
Goldmark. 



Viola 

Applicants shall play : i) all major and minor scales and arpeggios ; 
i) the Technische Studien of Hermann, Op. 2.2.; 3) the forty-one 
Caprices of Campagnoli, Op. 2.2.; 4) the twenty-four Studies of 
Dont-Bailly, Op. 35; 5) a concerto of Cecil Forsyth, Handel- 
Casadesus, Stamitz, or Mozart, or the Arends Concertino, Op. 7, 
or the Hubay Morceau de Concert, Op. 2.0. 



Violoncello 

Applicants shall play: i) all major and minor scales and arpeggios; 
x) a fast and a slow^ movement from a Bach suite; 3) one movement 
of a concerto from the standard repertoire or one movement from 
a sonata for piano and violoncello, classical or modern. 



[page twenty] 



THE CURTIS INSTITUTE OF MUSIC 



ENTRANCE REQUIREMENTS: Qualifications fof Audttton or Examination, Continued 

Double Bass 

Applicants shall possess a good ear, sense of rhythm, and the 
ability to read at sight. They shall play: i) all the scales, inter- 
vals, and broken chords; 2.) one movement of a concerto by 
Dragonetti, Bottesini, or Koussevitzky. 



Woodwind Instruments 
QFlute, Oboe, Clarinet, Bassoon) 

Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read at 
sight. They shall play from memory: i) a concert piece; i) a 
movement from a classical concerto or sonata. 



Brass Instruments 
(Horn, Trumpet, Trombone, Tuba) 

Applicants shall possess physical aptitude for the chosen instru- 
m.ent, particularly as to embouchure and lung capacity. They 
shall possess also a good ear, sense of rhythm, and the ability 
to read at sight. 

Ver cuss ion, Tympani 

Applicants shall possess a good ear, a keen sense of rhythm, and 
the ability to read at sight, and shall show talent and aptitude 
for the instruments. 



[page TWENTV-ONEj 



THE CURTIS INSTITUTE OF MUSIC 



ENTRANCE REQUIREMENTS: Qualifications f Of Audttton or Examination, Continued 

Conducting 

Applicants shall possess an accurate ear, a developed rhythmic 
sense, and a theoretical knowledge of the range and technique 
of instruments in the modern orchestra. Applicants shall demon- 
strate a knowledge of harmony and musical form and familiarity 
with classical and romantic orchestral literature, and be able to 
transpose at sight and to read scores fluently at the piano. 



Composition 

Applicants shall demonstrate sound workmanship and genuine 
creative ability, and shall submit at least one original composition 
in any classical form. The manuscript must be in the handwriting 
of the applicant. 

Applicants should send their manuscripts by registered mail, 
presenting themselves in person only when so requested. The 
Institute cannot accept responsibility for the return of manuscripts 
unless the necessary postage is enclosed. 



[page twenty-two] 



THE 



CURTIS 



INSTITUTE 



O F 



MUSIC 



Summary of Enrolment by States and Countries 
(October 1939) 



Arkansas i 

California 17 

Colorado 3 

Connecticut 7. 

Delaware i 

Florida 1 

Illinois I 

Indiana i 

Iowa i 

Kansas i 

Louisiana i 

Maine i 

Maryland 3 

Massachusetts 5 



Michigan 6 

Minnesota 3 

Missouri 4 

Nebraska 3 

New Jersey 8 

New York 19 

North Carolina 4 

Ohio 16 

Oklahoma 3 

Oregon 4 

Pennsylvania 68 

Washington 5 

West Virginia 4 

Wisconsin i 



District of Columbia . 



Austria . . 
Canada. . 
Cuba . . . . 
Italy. . . . 
Rumania. 



Total Enrolment 107 



[page twenty-threej 



THE CURTIS INSTITUTE OF MUSIC 

CALENDAR 
I939-1940 

October t (Monday) : First Term opens 

November 2.3 (Thursday) : Thanksgiving holiday 

December 18 (Monday) tol 
January 3 (Wednesday) \ Christmas vacation 
inclusive J 

January 4 (Thursday) : Second Term opens 

March i (Friday) : Completed application forms for 
the April auditions and examina- 
tions to be received by the Secre- 
tary of Admissions not later 
than 5 P. M. 

March 18 (Monday) to 1 
March 13 (Saturday) j- Easter vacation 
inclusive J 

April (dates to be announced) : Auditions and exam- 
inations for enrolment of new 
students for the School Year 
1940-1941 

May 9 (Thursday) : Last day of instruction 

May 10 (Friday): Commencement 

1940-1941 

September 30 (Monday): First Term opens (enrol- 
ment of new students from the 
auditions and examinations held 
in April 1940) 

[page twenty-fourJ 



THE CURTIS INSTITUTE 
OF MUSIC 



1940-1941 



THE 
CURTIS INSTITUTE OF MUSIC 

Founded in 1314 by Mary Louise Curtis Bok 




CATALOGUE 
1340-1941 



RITTENHOUSE SQUARE 
PHILADELPHIA • PENNSYLVANIA 



COPYRIGHT NOVEMBER 1940 BY 
THE CURTIS INSTITUTE OF MUSIC 



PURPOSE 



TO HAND DOWN THROUGH CONTEMPORARY MASTERS 
THE GREAT TRADITIONS OF THE PAST 

TO TEACH STUDENTS TO BUILD ON THIS HERITAGE 
FOR THE FUTURE 




RANDALL THOMPSON, A.B., A.M., MUS.D. 

Director 



THE CURTIS INSTITUTE OF MUSIC welcomes 
students of all nationalities, races, and creeds, 
and is approved by the United States Govern- 
ment as an institution of learning for the 
training of non-quota foreign students, in 
accordance with the Immigration Act of 1924. 

The School is operated under a Charter of the 
Commonwealth of Pennsylvania, and is fully 
accredited for the conferring of Degrees. 

Students are accepted, under conditions herein 
set forth, exclusively on the Scholarship basis. 



[page five] 



THE CURTIS INSTITUTE OF MUSIC 



CORPORATION OFFICERS 
AND DIRECTORS 

THE MARY LOUISE CURTIS BOK POUNDATION 

(Supporting The Curtis Institute of Music) 

Mary Louise Curtis Bok President 

Curtis Bok Vice-President 

Cary W. Bok Secretary 

Philip S. Collins Treasurer 

Edith Evans Braun 
Jennie M. Pels 
Frank Aydelotte 



THE CURTIS INSTITUTE OF MUSIC 

Mary Louise Curtis Bok President 

Curtis Bok Vice-President 

Cary W. Bok Secretary 

Philip S. Collins Treasurer 

Edith Evans Braun 
Jennie M. Pels 



[page six] 



THE CURTIS INSTITUTE OF MUSIC 



EXECUTIVE STAFF 



Jane Fairfax Hill 
Registrar 



Helen Hoopes 

Secretary of Admissions 



Jay H. Mattis 

Comptroller 



Sarah Hettinger 
Librarian 



Elsie Hutt 

Publicity 



Thomas D. Perry, Jr 

Concert Bureau 



[page seven] 



THE CURTIS INSTITUTE OF MUSIC 

FACULTY 

Headings in CAPITALS designate major courses; headings in italics, supplementary courses. 

SINGING 

Elisabeth Schumann 
Eufemia Giannini Gregory Steuart Wilson, A. M. (Cantab.) 

Diction 

Steuart Wilson : English 

Louise Andre Tabuteau, B. es L., L. es L. : French 

Lester Englander, A. B., Mus. B.: French 

Martha Tiirk : German 

Eufemia Giannini Gregory: Italian 



Vocal Repertoire 

Leo Rosenek 

Harry Kaufman 

Steuart Wilson 

Elizabeth Westmoreland, Mus. B. 



Vocal Ensemble 
Steuart Wilson 



Opera Class 

Hans Wohlmuth, Ph. D. (Vienna) 
Joseph S. Levine, Mus. B. 



Madrigal Chorus Institute Chorus 

Samuel Barber, Mus. B. Randall Thompson, A. B., A. M., Mus. D. 



[page eight] 



THE CURTIS INSTITUTE OF MUSIC 



FACULTY — Continued 

PIANO 

Rudolf Serkin 
David Saperton Isabelle Vengerova 

Harry Kaufman Jorge Bolet, Mus. B. 

Piano 

Jeanne Behrend Ezra Rachlin 

Freda Pastor, Mus. B. Eleanor SokolofF 



ORGAN 

Alexander McCurdy, Mus. D. 

HARP 
Carlos Salzedo, Mus. D. 

VIOLIN 

Efrem Zimbalist 
Lea Luboshutz Alexander Hilsberg 



Frederick Vogelgesang 
Marian Head 



VIOLA 
Louis Bailly, Mus. D. Max Aronoff 



[page hflNEJ 



THE CURTIS INSTITUTE OF MU 



SIC 



FACULTY — Continued 



VIOLONCELLO 

Felix Salmond 



Orlando Cole, Mus. B. 



DOUBLE BASS 
Anton Torello 



HORN 

Anton Horner 



FLUTE 

William Kincaid 



TRUMPET 

Saul Caston 



OBOE 

Marcel Tabuteau 



TROMBONE 

Charles Gerhard 



CLARINET 

Daniel Bonade 



TUBA 

Philip Donatelli 



BASSOON 

Simon Kovar 



PERCUSSION 

Oscar Schwar 



[pAOB ten] 



THE CURTIS INSTITUTE OF MUSIC 



FACULTY — Continued 



CONDUCTING 
Fritz Reiner, Mus. D. 

Chamber Music 

Louis Bailly Lea Luboshutz 

Harry Kaufman Felix Salmond 

Woodwind Ensemble 
Marcel Tabuteau 

Harp Ensemble 
Carlos Salzedo 

Orchestra 

Fritz Reiner, Conductor 

Alexander Hilsberg, Strings 

Marcel Tabuteau, Winds 

Saul Caston, Brasses 



[PAOB eleven] 



THE CURTIS INSTITUTE OF MUSIC 



FACULTY — Continued 



COMPOSITION 

Rosario Scalero, Mus. D. 



Solfege 
Renee Longy Miquelle 

Counterpoint 

Richard Stohr 
Constant Vauclain 

Elements of Music 
Rosario Scalero 



Harmony 

Richard Stohr 
Anne-Marie Soffray 
Constant Vauclain, Mus. M. 



Form 

Richard Stohr 
Ralph Berkowitz 



Orchestration 
Rosario Scalero Randall Thompson 



ACCOMPANISTS 



Ralph Berkowitz 
Genia Robinor, Mus. B. 



Vladimir SokolofF 
Elizabeth Westmoreland 



[page twelve] 



THE CURTIS INSTITUTE OF MUSIC 

FACULTY, Continued 

Languages 

Louise Andre Tabuteau, B. es L., L. es L.: French 

Lester Englander, A. B., Mus. B.: French 

Mary Q. Shumway, A. B., A. M., Ph.D.: German 

Martha Tiirk: German 

Domenico Vittorini, A. M., D. in L.: Italian 

Exifemia Giannini Gregory: Italian 



ACADEMIC TUTORS 

Mary B. Wesner, A. B, 

Eleanor Field, A. B. 



A course in Accompanying is offered by Mr Kaufman for qualified students of 
Piano who wish to elect it. 

An elective course in Recorder is offered by Alfred Mann, guest teacher. 

Assemblies are held once a week in Casimir Hall, for lectures on the history 
and literature of music, informal recitals, and singing by the student body. 



[page thirteen] 



THE CURTIS INSTITUTE OF MUSIC 

MINIMUM COURSE REQUIREMENTS 

(Entrance Requirements, pages 2.3-18) 

For the Diploma 
The Diploma is given at the completion of three or more years of study 
in any major subject except Conducting*. The candidate must have 
maintained a high standard of excellence during the entire period both 
in his major and in his supplementary subjects, and, if a soloist, must 
be capable of playing a recital acceptably. 

The prescribed minimum work to be covered in Theory is outlined on 
page 15. 

Other required supplementary subjects are listed on pages i6 and 17. 
The privilege of giving a graduation recital is granted as a reward for 
distinguished work in a vocal or instrumental major. 

For the Degree Bachelor of Music 
Prerequisite: Completion of 16 units of the required high school sub- 
jects as outlined by the Department of Public Instruction, Harrisburg, 
Pennsylvania. 

The degree is given at the completion of not less than four years of study 
in any major subject except Conducting*, with a total of 11.0 Semester 
Hours, of which 60 are to be in Applied Music including the major, 
30 in Theory, and 30 in academic work. The candidate must have main- 
tained a high standard of excellence during the entire period both in his 
major and in his supplementary subjects, and, if a soloist, must be 
capable of playing a recital acceptably. 

The prescribed minimum work to be covered in Theory is outlined on 
page 16. 

Other required supplementary subjects are listed on pages 16 and 17. 
Credit will be given for academic subjects of college grade taken, before 
acceptance or during the period of enrolment, at an accredited college 
or university. 

The privilege of giving a graduation recital is granted as a reward for 
distinguished work in a vocal or instrumental major. 

For the Degree Master of Music 

(Given only in Composition) 

Prerequisite: Completion of ^^.o Semester Hours of the required subjects 
admitting to the Bachelor of Music degree in Composition, according 
to the standards of The Curtis Institute of Music. 

* Conducting is an advanced course requiring two years. Completion of the course does not admit 
to the Bachelor of Music degree but to the Diploma. 

[page fourtbbn] 



THE 



CURTIS 



INSTITUTE 



O F 



MUSIC 



MINIMUM COURSE REQUIREMENTS, Continued 

The degree is given at the completion of not less than two years of 
graduate study in Composition, and such additional work as may be 
prescribed, with a total of 30 Semester Hours. 

The Thesis may consist of an extended original composition for full 
orchestra or for chorus and orchestra. 

Supplementary Theoretical Subjects 

(Major courses in Capitals) 

All courses in Theory may be anticipated by examination. 



For the Diploma 



Singing 

Harp 

Violin 

Viola 

Violoncello . 
Double Bass. 

Flute 

Oboe 

Clarinet . . . . 

Bassoon 

Horn 

Trumpet 

Trombone . . . 

Tuba 

Percussion. . . 



Solfcge : 2 years 
Harmony I: 1 year 
Form I: 1 year 



Piano . 



Organ . 



Conducting . 



Composition . 



Solfege: 1 year 
(Accompanying course includes 
special emphasis on Transposition) 

Harmony 1 : 1 year 

Harmony II : 1 year 

Form I: 1 year 

Form II: 1 year 

Solfcge: 1 year 
Harmony I: 1 year 
Harmony II: 1 year 
Counterpoint I: 1 year 
Counterpoint II: 1 year 
Form I: 1 year 
Form II : 1 year 

Harmony II : 1 year 
Counterpoint II : 1 year 
Orchestration II: 1 year 
Form I: 1 year 
Form II : 1 year 

Elements of Music : 1 year 
Orchestration I: 1 year 
Orchestration II: 1 year 



[page fifteen] 



THE 



CURTIS 



I NSTITUTE 



O F 



MUSIC 



MINIMUM COURSE REQUIREMENTS, Continued 



For the Degree Bachelor of Music 



Piano 

Organ 

Harp 

Violin 

Viola 

Violoncello. 
Double Bass. 

Flute 

Oboe 

Clarinet . . . . 

Bassoon 

Horn 

Trumpet 

Trombone . . . 

Tuba 

Percussion. . . 



Singing . 



Solfege: 2 to 3 years 
Harmony I: 1 year 
Harmony II: 1 year 
Counterpoint I: 1 year 
Counterpoint II: 1 year 
Form I: 1 year 
Form II: 1 year 
Orchestration I: 1 year 
Orchestration II: 1 year 



Solfege: 2 to 3 years 
Harmony I: 1 year 
Harmony II: 1 year 
Counterpoint 1 : 1 year 
Counterpoint II: 1 year 
Form I: 1 year 
Form II: 1 year 



Composition . 



(Elements of Music: 1 year 
Orchestration I: 1 year 
Orchestration II: 1 year 

Note: The Solfege courses include Ear Training, Chord formation and Progressions, Rhythm, 
Sight Reading, Transposition, and Score Reading. 



Supplementary Applied Subjects 

(Major courses in Capitals) 

The following are required both in courses admitting to the Diploma and courses admitting to the 
Bachelor of Music degree, and are taken, except as indicated, throughout the entire period. 

Supplementary Piano may be anticipated by examination. 



Singing • 



Piano. . 
Organ . 



Piano: 2 years 
Diction 

Vocal Repertoire 
Opera Class 
Madrigal Chorus 

Chamber Music 

Piano 



[page sixteen] 



THE CURTIS INSTITUTE OF MUSIC 



MINIMUM COURSE REQUIREMENTS, Continued 

Supplementary Applied Subjects 

(Major courses in Capitals) 

i Piano: 2 years 
Harp Ensemble 
Orchestra 

Violin 1 Piano : 2 years 

Viola i Chamber Music 

Violoncello | String Class 

Double Bass J Orchestra 

Flute 1 „• . 

Q Piano: 2 years 

/~ ■ ■ '_ > Woodwind Ensemble 

ba^^.:;:;.::;::::::::::::::::::::::::::::: J o^^^estra 

f Piano: 2 years 
Woodwind Ensemble 
Brass Ensemble 
Orchestra 

Trumpet 1 „• - 

T Piano: 2 years 

1 ROMBONE T, T7 ' 11 

Y > Brass Ensemble 

n Orchestra 

Percussion J 

Composition Piano : 2 years 

In all vocal and instrumental majors, public performance is required and is credited toward gradu- 
ation. Students majoring in Composition receive credit for public performance, whether by them- 
selves or by others, of their compositions. 

Attendance is required at all Assemblies and at all Faculty and certain other recitals given in 
Casimir Hall. 



THE CONCERT BUREAU 

Radio — Student soloists, instrumental ensembles, the Madrigal Chorus, Institute 
Chorus, and the Curtis Symphony Orchestra, participate in a series of radio 
concerts broadcast from Casimir Hall during the School Year over a nation- 
wide network of the National Broadcasting Company. 

Casimir Hall Concerts — Faculty and students give annual series of recitals in 
Casimir Hall. 

Extra-curriculum — A series of historical recitals is conducted as an extra-cur- 
riculum activity by the students under the supervision of Ralph Berkowitz. 

Concert Course — Student soloists and ensembles give concerts before educational 
and civic organizations. 



[page seventeen] 



THE CURTIS INSTITUTE OF MUSIC 



AWARDS 

THE JOSEF HOFMANN AWARD. Established 
in 1940 in honor of Dr Josef Hofmann, Director 
of The Curtis Institute of Music from 192.7 to 
1938. Presented annually, when merited, to that 
pianist, associated with the Institute, who, over 
and above his or her technical proficiency, has, 
in musical performance, arrived at spiritual and 
artistic maturity. First presentation May 10, 
1940 to Jorge Bolet. 

THE CURTIS AWARD. Established in 1940. 
Presented annually to a member of the graduating 
class whose musical and personal qualifications 
render him or her outstanding. First presentation 
May 10, 1940 to Lynne Wainwright, harpist. 



[page eighteen] 



THE 



CURTIS 



INSTITUTE 



O F 



MUSIC 



EQUIPMENT 

Instruments 
Louis Bailly, Curator 

50 Violins Among them 18 old instruments of 

the Cremona, Venice, and Milan 
Schools, and 16 old instruments of the 
French School 

17 Violas Among them 3 old instruments of the 

Cremona School 

14 Violoncellos Among them 5 old instruments of the 

Italian and 4 old instruments of the 
French School 

84 Pianos Steinway: 67 grands, 3 concert grands, 

and 14 uprights 

2. Organs Aeolian-Skinner : a five-manual concert 

(in Casimir Hall) and a three-manual 
practice 

15 Harps Lyon and Healy, including 2. concert 

grands 

13 Double Basses i Alto Clarinet 3 Trombones 

z Flutes x Bass Clarinets 2. Tubas 

■L Piccolos 3 Bassoons 4 Wagnerian Tubas 

3 Oboes i Contrabassoon 6 Tympani 

I English Horn i Trumpet i Glockenspiel 

4 Clarinets i Bass Trumpet i Celesta 



[page nineteen] 



THE CURTIS INSTITUTE OF MUSIC 



EQUIPMENT 

Library 

The library of 2.9,700 volumes (books and music) is housed in the 
main building. Some of the more important sets are the Bach Gesell- 
schaft publications, the collected works of Beethoven, Schubert, 
and Schumann as published by Breitkopf, and the complete works 
of Brahms, Chopin, Handel, Lassus, Mozart, Palestrina, Purcell, 
Schiitz, and Vittoria, many volumes of the Denkmaler deutscher 
Tonkunst, including the Tonkunst in Bayern, a number of volumes 
of the Denkmaler der Tonkunst in Oesterreich, and the works of 
Monteverdi. Twenty-three periodicals are currently received. There 
are also a number of first editions and certain rare manuscripts. 

The Charles H. Jarvis Collection of about 1700 titles is segregated 
in special bookcases by request of the donors. Chamber music and 
viola music are kept in a room adjoining the chamber music 
studio. 

A large collection of phonograph records comprises a separate 
section of the library, adjoining the recording studios. 

The library rooms are open during the School Year on Monday 
through Friday from 9:00 A.M. to 5 :oo P.M., on Saturday from 
9:00 A.M. to I :oo P.M.; during the summer, on Monday through 
Friday from 9:00 A.M. to 4:00 P.M. 



[page twenty] 



THE CURTIS INSTITUTE OF MUSIC 



EQUIPMENT— INFORMATION 

Casimir Hall — Faculty, student, and guest recitals, concerts and 
lectures, student assemblies, and Commencement, are held in this 
hall. The Cyrus Curtis organ is a five-manual with 65 ranks of 
pipes, built by Aeolian-Skinner. 

Instruments; Practice — On the recommendation of the major teacher, 
and with the approval of the Curator of Instruments and the 
Director, pianos, harps, string, and wind instruments are lent 
students for practice and public use without charge. Practice 
rooms are available at the School. 

Library — The privilege of borrowing books and music is granted 
to all registered students. Students have the use of textbooks 
without charge. 

Kecording; JR<^<^io— Complete equipment for recording from radio 
reception or studio, and for reproducing disc records, enables 
students to study their actual performances. 

Cafeteria — Wholesome lunches are served at cost Mondays through 
Fridays during the School Year, except on holidays. 

Living — The Secretary of Admissions will furnish information re- 
garding rentals and living expenses in Philadelphia. Upon request, 
students are assisted in finding suitable living accommodations. 

Professional Engagements — Students are permitted to accept profes- 
sional engagements with the approval of the Director. 

Tuition — Students are accepted on the Scholarship basis exclu- 
sively. No tuition is charged. 

[page twenty-one] 



THE CURTIS INSTITUTE OF MUSIC 



AN ANNOUNCEMENT 

In April 1941, auditions will be held in those Departments where 
vacancies occur. 

Applicants wishing to be considered for possible vacancies should 
place their names on file prior to February ij, 1941. Following this 
date such persons will be notified whether auditions are to be 
held in their chosen subject. If they are, formal application blanks 
will accompany the notice, and applicants will be required to 
comply with the entrance requirements as stated in the following 
pages. 

In placing your name on file please state the subject in which you 
wish to major. 

Kindly address all communications to 

The Secretary of Admissions 
The Curtis Institute of Music 
Rittenhouse Square 
Philadelphia, Pennsylvania 



[page twbnty-two] 



THE CURTIS INSTITUTE OF MUSIC 

ENTRANCE REQUIREMENTS 

Application for Audition or Examination 

Students are accepted only after an audition or the examination 
of original compositions submitted. The qualifications for audi- 
tion or examination are given on the following pages. 

The applicant is required to fill out an application form and to 
give in detail all requested information. The application form 
must be accompanied by an official birth certificate (photostat 
is acceptable), physician's certificate of health, and a recent small 
photograph of the applicant. An applicant enrolled as a student 
at another school of music or studying with a private teacher 
will be considered for an audition or examination only if the ap- 
plication form is accompanied by written permission from the 
school or teacher. 

Qualifications for Audition or Examination 

The qualifications for receiving an audition or examination are 
presented here in a general form, allowing the applicant latitude 
in the selection of works to be presented. While the choice of 
composition is important, the manner of performance carries far 
greater weight. 

The final decision as to the suitability of an applicant for ac- 
ceptance rests upon the evidence of talent shown rather than upon 
the degree of advancement already attained. Admission is limited 

[PAOB twenty-three] 



THE CURTIS INSTITUTE OF MUSIC 

ENTRANCE REQUIREMENTS: Qualifications for Audition or Examination, Continued 

to those whose inherent musical gift shows promise of develop- 
ment to a point of professional quality. 

Except under unusual circumstances, preference will be given to appli- 
cants between the ages of sixteen and twenty-four. 

Applicants in any subject may be asked to show the degree of 
their attainments in sight-reading. A supplementary knowledge 
of the piano, or other medium, and of the theory of music, is 
desirable. 

The auditors are not obliged to hear all that an applicant may 
have in readiness nor to comply with requests for criticism of 
applicants not accepted. 

Accompanists are provided. 

SINGING 

Applicants shall submit from memory four items showing the 
character, quality, and personality of voice and singer, selected 
from the standard operatic and oratorio recitatives and arias, and 
from the repertoire of German Lieder, Italian songs of the Seven- 
teenth and Eighteenth Centuries, French songs (whether of the 
'Bergerette' type or of the Nineteenth and Twentieth Centuries), 
and songs of any period in the English language which are of 
artistic merit. At least one item must be submitted in English. 

Clear diction and accurate pronunciation in one foreign language 
will be considered of higher value than a casual and inaccurate 
use of several. 

[page twenty-four] 



THE CURTIS INSTITUTE OF MUSIC 

ENTRANCE REQUIREMENTS: Qualifications for Audition or Examination, Continued 

PIANO 

Applicants shall play from memory : i) a prelude and fugue from 
The Well-Tempered Clavichord or a three-part invention of Bach ; 
2.) a Beethoven sonata, complete; 3) two selections — one slow 
and one brilliant — from the works of Chopin. 

ORGAN 

Applicants shall play from memory: i) a fugue or prelude and 
fugue or a principal movement from a sonata or symphony; 2.) 
a trio; 3) a scherzo; 4) a slow movement. 

Applicants shall also play the following at the piano: i) a study; 
i) a nocturne or other slow movement. 

HARP 

Applicants should possess a thorough knowledge of the funda- 
mental principles of contemporary harp playing. A knowledge 
of piano playing is desirable. Applicants shall submit from memory 
two transcriptions from the classics and two works from contem- 
porary literature. 

VIOLIN 

Applicants under fourteen years of age shall play: i) Hrimaly 
scales in three octaves and double stops; 2.) Kreutzer etudes; 3) 
a concerto of de Beriot, Viotti, or Spohr. 

[page twentty-five] 



THE CURTIS INSTITUTE OF MUSIC 



ENTRANCE REQUIREMENTS: Qualifications for Audition or Examination, Continued 

Applicants over fourteen years of age shall play: i) all scales in 
fluent tempo and double stops; x) a Bach sonata for violin 
alone; 3) etudes by Dont and Paganini; 4) a concerto of Bach, 
Mozart, Spohr, Brahms, Beethoven, Paganini, Mendelssohn, or 
Goldmark. 

VIOLA 

Applicants shall play: i) all major and minor scales and arpeggios; 
2) the Kreutzer violin etudes ; 3) the forty-one Caprices of Cam- 
pagnoli. Op. 22; 4) a concerto of Handel-Casadesus, Stamitz, or 
Mozart. 

VIOLONCELLO 

Applicants shall play: i) all major and minor scales and arpeggios; 

2) an etude or a caprice by Franchomme or Piatti or Duport; 

3) a fast and a slow movement from a Bach suite; 4) a concerto 
from the standard repertoire or a sonata by Beethoven or Brahms 
or a modern composer. 

DOUBLE BASS 

Applicants shall possess a good ear, sense of rhythm, and the 
ability to read at sight. They shall play: i) all the scales, inter- 
vals, and arpeggios; 2) one movement of a concerto or a sonata. 



[page twenty-six] 



THE CURTIS INSTITUTE OP MUSIC 

ENTRANCE REQUIREMENTS I Qualifications for Audition or Examination, Continued 
FLUTE, OBOE, CLARINET, BASSOON 

Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read at 
sight. They shall play from memory: i) a concert piece; 2.) a 
movement from a classical concerto or sonata. 



HORN, TRUMPET, TROMBONE, TUBA 

Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read at sight. 

PERCUSSION, TYMPANI 

Applicants shall possess a good ear, a keen sense of rhythm, and 
the ability to read at sight, and shall show talent and aptitude 
for the instruments. 

CONDUCTING 

Applicants shall possess an accurate ear, a developed rhythmic 
sense, and a theoretical knowledge of the range and technique 
of instruments in the modern orchestra. Applicants shall demon- 
strate a knowledge of harmony and musical form and familiarity 
with classical and romantic orchestral literature, be able to 
transpose at sight and to read scores fluently at the piano. 



[page twenty-seven] 



THE CURTIS INSTITUTE OF MUSIC 

ENTRANCE REQUIREMENTS: Qualifications fov Audition or Examination, Continued 

COMPOSITION 

Applicants shall demonstrate sound workmanship and genuine 
creative ability, and shall submit at least one original composition 
in any classical form. The manuscript must be in the handwriting 
of the applicant. 

Applicants should send their manuscripts by registered mail, 
presenting themselves in person only when so requested. The 
Institute cannot accept responsibility for the return of manuscripts 
unless the necessary postage is enclosed. 



[page twenty-eight] 



THE 



CURTIS 



INSTITUTE 



O F 



MUSIC 



Summary of Enrolment by States and Countries 
(October 1940) 



California 13 

Colorado x 

Delaware 3 

Florida 

Illinois 

Iowa 

Kansas 

Louisiana 

Maryland z 

Massachusetts 6 

Michigan 5 

Minnesota 4 

Missouri 6 

Nebraska 3 



New Hampshire i 

New Jersey 6 

New York 13 

North Carolina 2. 

Ohio II 

Oklahoma z 

Oregon i 

Pennsylvania 53 

South Dakota i 

Tennessee i 

Texas i 

Washington 3 

West Virginia 4 

Wisconsin 2. 



Austria i 

Canada i 

China i 

Cuba 3 

Germany i 

Italy I 

Roumania i 

Total Enrolment. . .• 170 



[page twenty-nine] 



THE CURTIS INSTITUTE OF MUSIC 

CALENDAR 
1^40-1941 

September 30 (Monday): First Term opens 

October I (Tuesday) 1 ^^^^^^^ Assembly 

and subsequent Tuesdays ?■ r» at 

u u u c u 1 V at 4 P. M. 

throughout the School YearJ 

November i6 (Saturday) 1 Broadcast at 

and subsequent Saturdays Y P M 

throughout the School YearJ 

November 2.5 (Monday) : Mid-Term Reports 

November 28 (Thursday): Thanksgiving Holiday 

December 2^ (lAonday) to 1 
January 4 (Saturday) \ Christmas Vacation 
inclusive J 

January 6 (Monday) : Second Term opens 

January xo (Monday) : Mid- Year Reports 

March 17 (Monday): Mid-Term Reports 

April : Auditions and examinations for enrolment 
of new students for the School Year 1941- 
194^ — (cf. Announcement on page 12..) 

A^ril II (Friday) to 1 
A-pril 16 (Wednesday) r Easter Vacation 
inclusive J 

May X (Friday) : Last day of instruction 

May 3 (Saturday): Final Reports; Commencement 
at II A. M. 

Faculty and student recitals, other concerts, 
as announced 

[page thirty] 



THE 



CURTIS 



INSTITUTE 



O F 



MUSIC 



GRADUATES 

Through the Seventh Commencement, M.ay lo, 1^40 



Amansky, Selma 
Angelucci, Ernani 
Angelucci, Rhadames 
Apgar, Lawrence 
AronofF, Max 
Asin, Simon 
Atkinson, Burnett ~^, 

Bacharach, Charles H 
Baker, Julius 
Baker, Walter "'''• 
Bampton, Rose 
Barber, Samuel 
Barozzi, Adine 
Barron, Richard 
Batkin, Lilian 
Beamer, Irene 
Beard, Henry 'i ^ 
Behrend, Jeanne 
Bennett, Harold 
Bergstrom, Paul ^ ^ 
Berkowitz, Ralph 
Berman, Grace 
Berv, Harry 
Berv, Jack 
Bielski, Noah^^"-' 
Binz, Ralph 
Bitter, John 
Bloom, James 
Bloom, Robert 
Blum, Eleanor " 
Bodanya, Natalie 
Bolet, Jorge 
Bolotine, Leonid 
Bos well, Guy 
Bowman, Carl ^" 
Brant, Blanche 
Braun, Edith 
Braverman, Bella 
Braverman, Gabriel 
Briggs, John 
Briselli, Iso 
Brodsky, Jascha 
Brown, George 
Brunner, Miriam 
Buchman, Carl 
Budde, Marie 
Burg, Abe 
Burkhart, Warren 

Call, Marjorie 
Carhart, Ruth 
Castagnetta, Grace 

[thirty-one] 



Caston, Saul 
Cato, Robert 
Cauler, Elwood ' 
Chalifoux, Alice 
Cherkassky, Shura 
Clearfield, Elvin 
Codd, Margaret 
Cohen, Thelma 'f «" 
Cole, Howard ^ '' 
Cole, Orlando 
Collis, James 
Conant, Katherine 
Cresswell, Rowland 

Dabrowski, Waldemar 
Daniels, Charlotte 
Davis, Agnes 
Dean, Kathryn 
de Blasis, Virginia 
de Lancie, John 
de Loache, Benjamin 
de Long, Alfred 
de Machula, Tibor 
Demarest, Charles 
de Palma, Attilio 
de Sanzewitch, Tatiana 
Diamond, Paceli 
Dinkin, Alvin 
Duchow, Marvin ■ 
Duff, Cloyd 

Eiermann, Oscar 
Emde, James 
Eney, Gilbert 
Englander, Lester - 1 
Escalona, Rosita 
Eustis, Edwina 
Evans, Wilbur 
Fairweather, James 
Ferguson, Paul 
Fields, Eleanor 
Finn, Caesar 
Fischer, Joseph -^ "' 
Fleisher, Martin i'\ 
Foss, Lukas ^1 
Foster, Sidney 
Frank, Bernard 
Frank, Philip 
Frantz, Florence 
Frantz, Leonard 
Eraser, Florence 
Frengut, Leon 
Frisina, David 



Garstick, George -^<^ 
Gegenheimer, Claribel -"^ 
Geisler, Lloyd 
Gershman, Paul 
Geschichter, Cecille 
Giacobbe, Stellario 
Gibson, William ^' 
Gilbert, Charles i 
*Gilbert, Gama 
Goldovsky, Boris 
Gomberg, Celia 
Gomberg, Harold 
Gomberg, Leo 
Gomberg, Robert 
Goodman, Richard 
Gorodetzer, Harry ■- 
Gottlieb, Victor 
Gordon, Ruth 
Gralnick, Isidore ' f 
Gray, John 
Griffing, Laura 
Griszmer, Ruth 
Grobani, Benjamin 
Grooters, Robert 
Halbwachs, Martha 
Hall, Helen 
Harmaala, John 
Harms, William 
Hartman, Robert 
Head, Marian 
Headman, Melvin 
Healy, Daniel 
Helmer, Eugene 
Hodge, Dorothy 
Hodge, Muriel 
Hookins, Ardelle 
Horle, Henriette 
Hreachmack, John 
Ibach, Isabel 
Ippolito, Carmela 
Irons, Florence 
Jacobs, Arnold 
Jaffe, Charles 
Jepson, Helen 
Jirak, Josephine 
Johnson, Britton " o 
Johnson, Sune 
Kahn, Gordon 
Kaplan, Sol 
Kaufman, Zelik 
Kendrick, Virginia 

* Deceased 



THE 



CURTIS 



INSTITUTE 



O P 



MUSIC 



graduates: Through the Seventh Commencement, May lo, 1940 



Klenz, William 
Krauss, Samuel 
Krinsky, Yvonne 
Krueger, Fritz 

Lavrans, Elayne 
Lehnhoff, Sheppard 
Leich, Roland 
Lerch, Louise 
Lester, Leon 
Levin, Sylvan 
Levine, Joseph 
Lewis, Eleanor 
Lewis, Rebecca -' ' 
Lewis, Sarah 
Loewenthal, Eugene 
Luck, Andrew 
MacFarlane, Elsie 
McCormick, William 
McCurdy, Alexander 
McGinnis, Robert 
Majewski, Virginia 
Miiki, Lei a 
Mapes, Gordon 
Maresh, Ferdinand 
Mariano, Joseph 
Marlowe, Anthony 
Marzyck, Mary 
Matison, Lily 
Mayes, Samuel 
Mayhew, Maryjane 
Meiskey, Elsa 
Menotti, Gian Carlo 
Meredith, Eleanor 
Meyer, Felix 
Miller, Frank 
Mills, Harlow 
Milofsky, Bernard 
Minsker, John 
Mitchell, Ercelle 
Mitchell, Howard 
Moffitt, John 
Mogill, Leonard 
Morey, George 
Morse, Hilda 
Morseman, Florence 
Murdock, Victoria 
Nazarevitch, Xenia 
Noonan, Alice 
Norris, Mary 
O'Gorman, Edward 
Opava, Emil 
Paget, Ethel 
Pari ante. Carmen . i 

^ Deceased 



Pastor, Freda 
Peckham, Irene 
Pepper, George 
Pepper, Jack 
Persichetti, Vincent ?f 

Petina, Irra 

Phillips, Edna 

Pickens, Jane 

Pierson, Herbert 

Podder, Leopold 

Polisi, William 

Polnarioff, Kurt 

Polvogt, Esther 

Portnoi, Henry 

Portnoy, Bernard 

Posell, Jacques 

Poska, Judith 

Purvis, Richard 

Putlitz, Lois 

Pyle, Ella 

Rachlin, Ezra 

Ramey, Eugene 

Reatha, Reva 

Reinert, Clarence 

Reisenberg, Nadia 

ResnikofF, Vera 

Ridley, Charlotte 

Robinault, Jean-Marie 

Robinor, Genia 

Robinson, Bernice 

Robinson, Paul 

Robofsky, Abrasha 

Rose, Leonard 

Rota, Nino 

Ruggieri, Frank 
Russell, Constance ii;2> 
Safstrom, Harry " 
Savran, Jeannette 
Saidenburg, Theodore 
Santucci, William 
Savitt, Jan 

Schmachtenberg, Emil 
Schwartz, David 
Seder, Jules 
Seder, Theodore 
Shapiro, Eudice 
Sharlip, Benjamin 
Sheridan, Francis 
Shoaf , Jane 
Shub, Louis 
Shulman, Harry ' 
Shumsky, Oskar 
Siegl, Henry 
Simon, Abbey 



Simons, Charlotte 
Sinatra, Frank 
Singer, Bronja '"^ 
Singer, Irene 
Skolovsky, Zadel 
Sokoloff, Vladimir 
Spitzer, Jean 
Stark, Ethel 
Starter, Arthur 
Stephens, David 
*Stern, Lucie 

Tamburini, James 
Temianka, Henri 
Terry, Kenton 
Thibault, Conrad 
Thorne, Barbara js 
Thurmond, James 
Tipton, Albert 
Torello, Carl 
Townsend, Richard 
Treash, Leonard 
Tyre, Marjorie 

van den Burg, William 
Vassar, Walter 
Vauclain, Constant 
Vogelgesang, Frederick 
Vyner, Louis 

Wainwright, Lynne 
Walker, Louise 
Walstrum, Theodore 
Watlington, Helen 
Watkins, Herman 
Weinrich, Carl 
Weisgall, Hugo 
Werle, Frederick 
Westmoreland, Elizabeth 
Whitehead, Henry 
Whitenack, Irven '''^ 
Wiener, Frances 
Wightman, Florence 
Williams, Florence 
Williamson, Bernard 
Wilson, Harvey 
Winters, June 
Woerner, Gerald 
Wohl, Milton 
Wiistner, Marga 
Wyre, Ross 

Zawisza, Leon 
Zegler, Manuel 
Zimmerman, Oscar 

[thirty-two] 



THE CURTIS INSTITUTE 
OF MUSIC 



1941-1942 



THE 
CURTIS INSTITUTE OF MUSIC 

Founded in 192.4 by Mary Louise Curtis Bok 




CATALOGUE 

I94I-I94X 



RITTENHOUSE SQUARE 
PHILADELPHIA • PENNSYLVANIA 



COPYRIGHT JUNE 1941, BY 
THE CURTIS INSTITUTE OF MUSIC 



PURPOSE 



TO HAND DOWN THROUGH CONTEMPORARY MASTERS 
THE GREAT TRADITIONS OF THE PAST 

TO TEACH STUDENTS TO BUILD ON THIS HERITAGE 
FOR THE FUTURE 




EFREM ZIMBALIST, Director 



THE CURTIS INSTITUTE OF MUSIC welcomes 
students of all nationalities, races, and creeds, 
and is approved by the United States Govern- 
ment as an institution of learning for the 
training of non-quota foreign students, in 
accordance with the Immigration Act of 1924. 

The School is operated under a Charter of the 
Commonwealth of Pennsylvania, and is fully 
accredited for the conferring of Degrees. 

Students are accepted, under conditions herein 
set forth, exclusively on the Scholarship basis. 



[page five] 



THE CURTIS INSTITUTE OF MUSIC 



CORPORATION OFFICERS 
AND DIRECTORS 

THE CURTIS INSTITUTE OF MUSIC 

Officers 

Mary Louise Curtis Bok President 

Curtis Bok Vice-President 

Philip S. Collins Vice-President 

Cary W. Bok Secretary 

Jay H. Mattis Assistant Secretary and Treasurer 

Directors 

Mary Louise Curtis Bok Philip S. Collins 

Cary W. Bok Jennie M. Fels 

Curtis Bok Jay H. Mattis 

Edith Evans Braun Efrem Zimbalist 

THE MARY LOUISE CURTIS BOK FOUNDATION 

(Supporting The Curtis Institute of Music^ 

Officers 

Mary Louise Curtis Bok President 

Curtis Bok Vice-President 

Philip S. Collins Vice-President 

Cary W. Bok Secretary 

Jay H. Mattis Assistant Secretary and Treasurer 

Directors 
Mary Louise Curtis Bok Edith Evans Braun 

Cary W. Bok Philip S. Collins 

Curtis Bok Jennie M. Fels 

George P. Orr 



[page six] 



THE CURTIS INSTITUTE OF MUSIC 



ADMINISTRATION 

Mary Louise Curtis Bok President 

Efrem Zimbalist Director 

Jay H. Mattis Business Manager 



STAFF 

Jane Fairfax Hill Registrar 

Helen Hoopes Secretary of Admissions 

Sarah Hettinger Librarian 

Elsie Hutt Publicity 

Ethel Kingsley Nice Secretary to the Director 



[page seven] 



HE CURTIS INSTITUTE OF MUSIC 

FACULTY 

Headings in CAPITALS designate major courses; headings in italics, supplementary courses. 



VOICE 

Elisabeth Schumann Richard Bonelli 

Eufemia Giannini Gregory- 



Foe.^/ Repertoire, Diction 

Leo Rosenek 

Elizabeth Westmoreland 

Eufemia Giannini Gregory 



PIANO 

Rudolf Serkin, head of Department 

Isabelle Vengerova Mieczyslaw Munz 

Jorge Bolet 

Piano 

Jeanne Behrend Freda Pastor 

Eleanor Sokoloff 



ORGAN 

Alexander McCurdy 



[page eight] 



THE CURTIS INSTITUTE OF MUSIC 



FACULTY — Continued 

HARP 

Carlos Salzedo 

Harp Ensemble 
Carlos Salzedo 

VIOLIN 

Efrem Zimbalist, head of Department 

Carl Flesch 
Lea Luboshutz Alexander Hilsberg 

Frederick Vogelgesang Marian Head 

VIOLA 

Max AronofF 



VIOLONCELLO 

Emanuel Feuermann Felix Salmond 

Orlando Cole 



Chamber Music 

Jascha Brodsky Max AronofF 

Charles JafFe Orlando Cole 



[PAOB nine] 



THE CURTIS INSTITUTE OF MUSIC 



FACULTY — Continued 



DOUBLE BASS 
Anton Torello 



HORN 
Anton Horner 



FLUTE 

William Kincaid 



TRUMPET 

Saul Caston 



OBOE 

Marcel Tabuteau 



TROMBONE 

Charles Gerhard 



CLARINET 

Daniel Bonade 



TUBA 

Philip Donatelli 



BASSOON 

Simon Kovar 



PERCUSSION 
Oscar Schwar 



Woodwind Ensemble 
Marcel Tabuteau 

Orchestra 

Alexander Hilsberg, Conductor 
Efrem Zimbalist, Associate Conductor 



ACCOMPANISTS 

Elizabeth Westmoreland 
Vladimir Sokoloff Ralph Berkowitz 



[page ten] 



THE CURTIS INSTITUTE OF MUSIC 



FACULTY — Continued 

COMPOSITION 

Rosario Scalero, head of Department 

Dramatic Forms 
Gian Carlo Menotti 

Elements of Nlusic Orchestration 

Rosario Scalero Samuel Barber 

Th e ory 

Rosario Scalero, head of Department 

Solfege Counterpoint, Harmony 

Anne-Marie Soffray Constant Vauclain 

Instrumentation 
, To be announced 



Languages 

Mary Q. Shumway, A. B., A. M., Ph.D.: German 

Louise Andre Tabuteau, B. es L., L. es L.: French 

Domenico Vittorini, A. M,, D. in L.: Italian 



ACADEMIC TUTOR 
Mary Boyde Wesner, A. B. 



[page eleven] 



THE CURTIS INSTITUTE OF MUSIC 

MINIMUM COURSE REQUIREMENTS 

CEntrance Requirements, pages 10-2.5) 

All students are on probation during their entire period of enrolment, 
and may be dropped at any time for failure to progress according 
to the standards of the Faculty. 

For the Diploma 

The Diploma is given at the completion of three or more years of study- 
in any major course. The candidate must have maintained a high stand- 
ard of excellence during the entire period both in his major and in his 
supplementary courses. 

The prescribed minimum work to be covered in Theory is outlined on 
page 13. 

Required supplementary applied subjects are listed on pages 14 and 15. 

For the Degree Bachelor of Musk 

Prerequisite: Completion of 16 units of the required high school sub- 
jects as outlined by the Department of Public Instruction, Harrisburg, 
Pennsylvania. 

The degree is given at the completion of not less than four years of study 
in any major course, with a total of no Semester Hours, of which 60 
are to be in Applied Music including the major, 30 in Theory, and 30 
in academic work. The candidate must have maintained a high standard 
of excellence during the entire period both in his major and in his sup- 
plementary courses. 

The prescribed minimum work to be covered in Theory is outlined on 
page 14. 

Required supplementary applied subjects are listed on pages 14 and 15. 

Credit will be given for academic subjects of college grade taken, before 
acceptance or during the period of enrolment, at an accredited college 
or university. 

For the Degree Master of Musk 

(Given only in Composition) 

Prerequisite: Completion of iio Semester Hours in the required courses 
admitting to the Bachelor of Music degree in Composition, according 
to the standards of The Curtis Institute of Music. 



[page twelve] 



THE 



CURTIS 



INSTITUTE 



O F 



MUSIC 



MINIMUM COURSE REQUIREMENTS, Continued 

The degree is given at the completion of not less than two years of 
graduate study in Composition, and such additional work as may be 
prescribed, with a total of 30 Semester Hours. 

The Thesis may consist of an extended original composition for full 
orchestra or for chorus and orchestra. 



Supplementary Theoretical Courses 

(Major courses in Capitals) 



All courses in Theory may be anticipated by examination. 



Voice. 
Piano. 
Harp. 



Organ 

Violin 

Viola 

Violoncello . 



For the Diploma 



Solfege: i year 
Counterpoint: i year 
Harmony: i year 
Elements of Music: i year 



Double Bass. 

Flute 

Oboe 

Clarinet. . . . 

Bassoon 

Horn 

Trumpet. . . . 
Trombone. . . 

Tuba 

Percussion. . . 



Solfege: i year 
Harmony: i year 



Composition See Note i 



Note i. The Elements of Music course includes Acoustics, Theory of Harmony, Theory of Rhythm, 
Form, the Greek System, the Modal System, the Constitution of Polyphonic Forms, the Rise of 
Opera and Oratorio, the Flemish Schools, the Italian Schools, the German Schools. 

Note 2.. The requirements in Composition are Elements of Music (i year), Orchestration, and 
Dramatic Forms (each r years), and the courses are not considered supplementary but component 
parts of the major course. 



[page thirteen] 



THE CURTIS INSTITUTE OF MUSIC 



MINIMUM COURSE REQUIREMENTS, Continued 



For the Degree Bachelor of Music 

(Solfege : z years 
Counterpoint: i year 
Harmony: i year 
Elements of Music: i year 

Piano 

Organ 

Harp 

Violin 

Viola 

Violoncello 

Double Bass 

Flute 

Oboe 

Clarinet 

Bassoon 

Horn 

Trumpet 

Trombone 

Tuba 

Percussion 



Solftge: 2. years 
Counterpoint: i year 
Harmony: i year 
Elements of Music : i year 
Instrumentation: i year 



Composition See Note z 

Note i. The Elements of Music course includes Acoustics, Theory of Harmony, Theory of Rhythm, 
Form, the Greek System, the Modal System, the Constitution of Polyphonic Forms, the Rise of 
Opera and Oratorio, the Flemish Schools, the Italian Schools, the German Schools. 

Note z. The requirements in Composition are Elements of Music (i year), Orchestration, and 
Dramatic Forms (each i years), and the courses are not considered supplementary but component 
parts of the major course. 

Supplementary Applied Subjects 

(Major courses in Capitals) 

The following are required both, in courses admitting to the Diploma 
and courses admitting to the Bachelor of Music degree, and are taken, 
except as indicated, throughout the entire period. 

Supplementary Piano may be anticipated by examination. 

! Piano: 2. years 
Diction 
Vocal Repertoire 
Languages 

Piano Chamber Music 

Organ Piano 



I page fourteen I 



THE CURTIS INSTITUTE OF MUSIC 



MINIMUM COURSE REQUIREMENTS, Continued 



Sup-plementary Af plied Subjects 

(Major courses in Capitals) 



(Piano: 2 years 
Harp Ensemble 
Orchestra 



Violin 1 „• » 

y Fiano: 2 years 

,r > Chamber Music 

Violoncello q . 

Double Bass J 



Flute .... 

Oboe 

Clarinet . 
Bassoon . . 
Horn .... 



Piano: 2 years 
Woodwind Ensemble 
Orchestra 



Trumpet 'I 

Trombone I Piano : 2 years 

Tuba | Orchestra 

Percussion 



Composition Piano : 2 years 



Public performance, and performance in Casimir Hall, are credited toward graduation. Students 
majoring in Composition receive credit for public or Casimir Hall performance, whether by them- 
selves or by others, of their compositions. 

Attendance is required at all Faculty and certain other recitals given in Casimir Hall. 



[PAOB fifteen] 



THE CURTIS INSTITUTE OF MUSIC 



AWARDS 

THE JOSEF HOFMANN AWARD. Established 
in 1940 in honor of Dr Josef Hofmann, Director 
of The Curtis Institute of Music from 192.7 to 
1938. Presented every third year to that pianist 
who, during this interim, has given signal evi- 
dence of steady growth in the maturing of his or 
her interpretative powers, over and above tech- 
nical proficiency. 

THE CURTIS AWARD. Established in 1940. 
Presented annually to a member of the graduating 
class whose musical and personal qualifications 
render him or her outstanding. 



SPECIAL STUDY AV/ARD FOR VIOLINISTS 
AND PIANISTS 

Violin and Piano students, upon receiving their Diploma, may- 
request one School Year of post-graduate study with the heads of 
their Departments. Acceptance of a student is optional with 
Mr Zimbalist and Mr Serkin, the extra year, if granted, being 
in the nature of a special award for industry and marked progress 
plus exceptional talent. 



[page sixteen] 



THE 



CURTIS 



INSTITUTE 



O F 



MUSIC 



EQUIPMENT 

Instruments 

50 Violins Among them 18 old instruments of 

the Cremona, Venice, and Milan 
Schools, and 16 old instruments of the 
French School 

1 8 Violas Among them 4 old instruments of the 

Cremona School 

14 Violoncellos Among them 5 old instruments of the 

Italian and 4 old instruments of the 
French School 

84 Pianos Steinway: 67 grands, 3 concert grands, 

and 14 uprights 

1 Organs Aeolian-Skinner : a five-manual concert 

(in Casimir Hall) and a three-manual 
practice 

15 Harps Lyon and Healy, including 1. concert 

grands 

13 Double Basses 4 Clarinets 1 Bass Trumpet 

1 Flute 1 Bassett Horn 1 Tenor Trombone 

1 Alto Flute 2 Bass Clarinets 2 Bass Trombones 

2 Piccolos 3 Bassoons 2 Tubas 

3 Oboes 1 Contrabassoon 4 Wagnerian Tubas 
1 English Horn 1 Trumpet 6 Tympani 

1 Glockenspiel 1 Celesta 



[page seventeen] 



THE CURTIS INSTITUTE OF MUSIC 



EQUIPMENT 

Library 

The library of 30,000 volumes (books and music) is housed in the 
main building. Some of the more important sets are the Bach Gesell- 
schaft publications, the collected works of Beethoven, Schubert, 
and Schumann as published by Breitkopf, and the complete works 
of Brahms, Chopin, Handel, Lassus, Mozart, Palestrina, Purcell, 
Schiitz, and Vittoria, many volumes of the Denkmaler deutscher 
Tonkunst, including the Tonkunst in Bayern, a number of volumes 
of the Denkmaler der Tonkunst in Oesterreich, and the works of 
Monteverdi. Twenty-three periodicals are currently received. There 
are also a number of first editions and certain rare manuscripts. 

The library rooms are open during the School Year on Monday 
through Friday from 9:00 A.M. to 5 :oo P.M., on Saturday from 
9:00 A.M. to I :oo P.M. ; during the summer, on Monday through 
Friday from 9:00 A.M. to 4:00 P.M. 



[PAGB eighteen] 



THE CURTIS INSTITUTE OF MUSIC 



EQUIPMENT INFORMATION 

Casimir Hall — Faculty, student, and guest recitals, concerts, lec- 
tures, and Commencement are held in this hall. The Cyrus Curtis 
organ is a five-manual with 65 ranks of pipes, built by Aeolian- 
Skinner. 

Instruments; Practice — On the recommendation of the major teacher, 
and with the approval of the Director, pianos, harps, string, and 
wind instruments are lent students for practice and public use 
without charge. Practice rooms are available at the School. 

Library — The privilege of borrowing books and music is granted 
to all registered students. Students have the use of textbooks 
without charge. 

Cafeteria — Wholesome lunches are served students at cost Mondays 
through Fridays during the School Year, except on holidays. 

Living — The Secretary of Admissions will furnish information re- 
garding rentals and living expenses in Philadelphia. Upon request, 
students are assisted in finding suitable living accommodations. 

Professional Engagements — Students are permitted to accept profes- 
sional engagements with the approval of the Director. 

Tuition — Students are accepted on the Scholarship basis exclu- 
sively. No tuition is charged. 



[PAOB MINETBBN] 



THE CURTIS INSTITUTE OF MUSIC 



ENTRANCE REQUIREMENTS 

Application for Audition or Examination 

Students are accepted only after an audition or the examination 
of original compositions submitted. The qualifications for audi- 
tion or examination are given on the following pages. 

The applicant is required to fill out an application form and to 
give in detail all requested information. The application form 
must be accompanied by an official birth certificate (photostat 
is acceptable), physician's certificate of health, and a recent small 
photograph of the applicant. An applicant enrolled as a student 
at another school of music or studying with a private teacher 
will be considered for an audition or examination only if the ap- 
plication form is accompanied by written permission from the 
school or teacher. 

Auditions are scheduled at the convenience of the Faculty and 
requests for changes in appointments cannot be considered. 

School Year 194 2.- 1943 

Persons wishing consideration for auditions and examinations 
to be held in April-May 1941 are requested to complete and return 
the application form with required supplemental documents not 
later than February 14, 1942. 

All communications should be addressed to 

The Secretary of Admissions 
The Curtis Institute of Music 
Rittenhouse Square 
Philadelphia, Pennsylvania 

[page twenty] 



THE CURTIS INSTITUTE OF MUSIC 



ENTRANCE REQUIREMENTS 

Qualifications for Audition or Examination 

The qualifications for receiving an audition or examination are 
presented here in a general form, allowing the applicant latitude 
in the selection of works to be presented. While the choice of 
composition is important, the manner of performance carries far 
greater weight. 

The final decision as to the suitability of an applicant for ac- 
ceptance rests upon the evidence of talent shown rather than upon 
the degree of advancement already attained. Admission is limited 
to those whose inherent musical gift shows promise of develop- 
ment to a point of professional quality. 

Applicants in any subject may be asked to show the degree of 
their attainments in sight-reading. A supplementary knowledge 
of the piano, or other medium, and of the theory of music, is 
desirable. 

The auditors are not obliged to hear all that an applicant may 
have in readiness nor to comply with requests for criticism of 
applicants not accepted. 

Accompanists are provided. 

VOICE 

Applicants shall submit from memory four items showing the 
character, quality, and personality of voice and singer, selected 



[page twenty-one] 



THE CURTIS INSTITUTE OF MUSIC 



ENTRANCE REQUIREMENTS: Qualifications for Audition or Examination, Continued 

from the standard operatic and oratorio recitatives and arias, and 
from the repertoire of German Lieder, Italian songs of the Seven- 
teenth and Eighteenth Centuries, French songs (whether of the 
'Bergerette' type or of the Nineteenth and Twentieth Centuries), 
and songs of any period in the English language which are of 
artistic merit. At least one item must be submitted in English. 

Clear diction and accurate pronunciation in one foreign language 
will be considered of higher value than a casual and inaccurate 
use of several. 

Age of applicants: preference will be given to girls between seven- 
teen and twenty- two, men between nineteen and twenty-five. 

PIANO 

Applicants shall play from memory : i) a prelude and fugue from 
The Well-Tempered Clavichord or a three-part invention of Bach; 
-l) a Beethoven sonata, complete; 3) two selections — one slow 
and one brilliant — from the works of Chopin. 

Age of applicants: preference will be given to those under twenty- 
one. 

ORGAN 

Applicants shall play from memory: i) a fugue or prelude and 
fugue or a principal movement from a sonata or symphony; z) 
a trio; 3) a scherzo; 4) a slow movement. 



[PAGB twenty-two] 



THE CURTIS INSTITUTE OF MUSIC 



ENTRANCE REQUIREMENTS: Qualifications for AudttioTi or Examination, Continued 

Applicants shall also play the following at the piano: i) a study; 
i) a nocturne or other slow movement. 

Age of applka?2ts: preference will be given to those under twenty- 
one. 

HARP 

Applicants should possess a thorough knowledge of the funda- 
mental principles of contemporary harp playing. A knowledge 
of piano playing is desirable. Applicants shall submit from memory 
two transcriptions from the classics and two works from contem- 
porary literature. 

Age of applicants: preference will be given to those under twenty- 
one. 

VIOLIN 

Applicants under fourteen years of age shall play: i) scales in 
three octaves and double stops; i) Kreutzer etudes; 3) a concerto 
of de Beriot, Viotti, or Spohr. 

Applicants over fourteen years of age shall play: i) all scales in 
fluent tempo and double stops; i) a Bach sonata for violin 
alone; 3) etudes by Dont or Paganini; 4) a concerto of Mozart, 
Spohr, Beethoven, Brahms, Paganini, Mendelssohn, or Goldmark. 

Age of applicants: preference will be given to those under twenty- 
one. 



[PAGB twenty-three] 



THE CURTIS INSTITUTE OF MUSIC 



ENTRANCE REQUIREMENTS: Qualifications for Audition or Examination, Continued 

VIOLA 

Applicants shall play: i) all major and minor scales and arpeggios; 
2) the Kreutzer violin etudes ; 3) the forty-one Caprices of Cam- 
pagnoli, Op. 22; 4) a concerto of Handel-Casadesus, Stamitz, or 
Mozart. 

Age of applicants: preference will be given to those under twenty- 
one. 

VIOLONCELLO 

Applicants shall play: i) all major and minor scales and arpeggios; 

2) an etude or a caprice by Franchomme or Piatti or Duport; 

3) a fast and a slow movement from a Bach suite; 4) a concerto 
from the standard repertoire or a sonata by Beethoven or Brahms 
or a modern composer. 

Age of applicants: preference will be given to those under twenty- 
three. 

DOUBLE BASS 

Applicants shall possess a good ear, sense of rhythm, and the 
ability to read at sight. They shall play: i) all the scales, inter- 
vals, and arpeggios; 2) one movement of a concerto or a sonata. 

Age of applicants: preference will be given to those under twenty- 
one. 

FLUTE, OBOE, CLARINET, BASSOON 

Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read at 



[page twenty-four] 



THE CURTIS INSTITUTE OF MUSIC 

ENTRANCE REQUIREMENTS: Qualifications f Of Audition or Examination, Continued 

sight. They shall play from memory: i) a concert piece; x) a 
movement from a classical concerto or sonata. 

Age of applicants: preference will be given to those under twenty- 
one. 

HORN, TRUMPET, TROMBONE, TUBA 

Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read at sight. 

Age of applicants: preference will be given to those under twenty- 
one. 

PERCUSSION, TYMPANI 

Applicants shall possess a good ear, a keen sense of rhythm, and 
the ability to read at sight, and shall show talent and aptitude 
for the instruments. 

Age of applica?2ts: preference will be given to those under twenty- 
one. 

COMPOSITION 

Applicants shall demonstrate sound workmanship and genuine 
creative ability, and shall submit at least one original composition 
in any classical form. The manuscript must be in the handwriting 
of the applicant. 

Applicants should send their manuscripts by registered mail, 
presenting themselves in person only when so requested. The 
Institute cannot accept responsibility for the return of manuscripts 
unless the necessary postage is enclosed. 

[PAOE twenty-five] 



THE CURTIS INSTITUTE OF MUSIC 



CALENDAR 

1941-1941 

September 19 (Monday) ) Registration of new- 
September 30 (Tuesday) / students 



October i (Wednesday) 1 „ . . /. , , 
/-» u r^u J ^ Registration of old 
October 2. (Thursday) > ^ . 

r-i L ^T- -J ^ students 

October x (Friday) j 



October i (Wednesday) 
2. (Thursda 
3 (Friday) 

October 6 (Monday): First Term opens 

November 27 (Thursday^: Thanksgiving Holiday 

December 22 (Monday^ to "j 
January 5 (Saturday^ > Christmas Vacation 
inclusive J 

January 5 (Monday): Second Term opens 

April: Auditions and examinations begin for enrol- 
ment of new students for the School Year 
194^-1943 

April jj ^Friday') to "i 
April 8 (Wednesday^ > Easter Vacation 
inclusive j 

May 8 (Friday) : Last day of instruction 
May 9 (Saturday) : Commencement 



Faculty and Student Recitals, other Concerts 
as scheduled 



[PAOB twenty-six] 



THE 



CURTIS 



INSTITUTE 



O F 



MUSIC 



Summary of Enrolment by States and Countries 
School Year i^/^i-i^^i. 

(as of June 1, 1941) 

Nebraska x 

New Hampshire i 

New Jersey 7 



Arkansas i 

California ix 

Colorado z 

Connecticut x 

Delaware 3 

Florida x 

Illinois 3 

Indiana i 

Kansas x 

Maryland 3 

Massachusetts 7 

Michigan 6 

Minnesota 6 

Missouri 6 

District of Columbia 



New York X3 

North Carolina x 

Ohio 10 

Oklahoma x 

Oregon i 

Pennsylvania 54 

Texas x 

Virginia i 

Washington x 

West Virginia 4 

Wisconsin x 



Canada 

China 

Cuba 

Roumania 

Switzerland i 



Total Enrolment 178 



[PAOB TWENTY-SBVEn] 



THE 



CURTIS 



INSTITUTE 



O F 



MUSIC 



GRADUATES 

The Eighth Commencement, May ^, 1941 



Batchelder, Wilfred 
Bernstein, Leonard 
Bossart, Eugene 
Brusilow, Nathan 
Caplan, Florence 
Chappell, True 
Coker, Donald 
Cornman, Robert 
Dabrowski, Waldemar 
Elkanova, Annette 
Falkove, Albert 
Goberman, Max 
Goldberg, Philip 
Gomberg, Ralph 
Hall, David A. 
Hendl, Walter 



Hultgren, Donald 
King, James 
Krachmalnick, Jacob 
Larson, Edna 
Luskin, Leo 
Moss, Phyllis 
Pulis, Gordon 
Robertson, Muriel L. 
Sayre, Gordon 
Scott, Roger 
SharofF, Sanford 
Shill, Richard 
Somer, Ruth Hilde 
Stewart, Willie 
Stutch, Nathan 
Worrilow, Helen 
Zazofsky, George 



THE CURTIS AWARD 

Robert Grooters, baritone 



A complete list of graduates through 1940 was published 
in the Catalogue for 1940-41 



[page twenty-eight] 



.•^^^'^C^F^H^ 



" PHH-A