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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.

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

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

[page eighteen]

THE CURTIS INSTITUTE OF MUSIC

REQUIREMENTS FOR ENTRANCE

EXAMINATIONS . . . Continued

Piano

Applicants should not be over twenty years of age.

Violin

Applicants should not be over twenty years of age.

[page nineteen]

THE CURTIS INSTITUTE OF MUSIC

REQUIREMENTS FOR ENTRANCE
EXAMINATIONS . . . Continued

Violoncello

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 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

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

Music Criticism

Composition

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.

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 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

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.

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

[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

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.

[page twenty]

THE CURTIS INSTITUTE OF MUSIC

EQUIPMENT— INFORMATION

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.

Qualifications for Audition or Examination

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

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

[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 0
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

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 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 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.

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

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

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

[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

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