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Volume XI 
Number 1 
October 1. 1974 

design: Sam Maitin 

contemporary photographs: George Kratise 
printing: Consolidated/Drake Press 

.The Curtis Institute of Mus'c 


of Music 



Former issues of Overtones are a partial record of the first sixteen years of 
The Curtis Institute of Music. Of great value for the history of the 
Institute are the programs and press clippings of orchestral concerts, 
opera performances, and recitals given for public audiences or private 
student recitals. To review them is to respect profoundly the work of the 
faculty, students, and the six Directors of the Institute without whose 
leadership and careful use of authority the small music school could not 
have made its unique contribution to American culture. 

Those responsible for the Fiftieth Anniversary issue of Overtones 
wish earnestly to acknowledge the unstinted cooperation they have 
received, and to give appreciation and thanks to: The author of the 
Tribute who requests anonymity; Rudolf and Irene Serkin for being 
themselves; Edith Evans Braun for sharing memories of the first fifty 
years; Francis Bosworth for critical reading of the manuscript; Thelma 
Brunson for endless patience by telephone; John Francis Marion for 
basic research; Barbara Henry as librarian par excellence; Jane Hill 
Meyer for all the help which only she could give; Keo Mittnacht for 
alumni research; Sol Schoenbach and Dean Peter Schoenbach for good 
advice in general and good sense in particular; Nancy Shear who knew 
where to find it; Sumner W. Stevenson for archival documentation; and 
Esther Van Sant for general documentation and research, preparation of 
manuscript, editorial assistance, and for pulling the laboring oar. 

Due to incomplete records, we may have omitted material that 
should have been included in the text. Also, we may have erred in stating 

Nellie Lee Bok 

as fact some things that are not. We apologize and ask those of you who ^ ^^^ ^^^^ g^^. 

can set us straight to do so. We would appreciate your help. October l. 1974 



verwnes first appeared in October. 1929. five years after 
The Curtis Institute of Music opened its doors, and was issued 
thereafter on an irregular basis until April. 1940 when the Sec- 
ond World War forced discontinuance. 

The current issue, the first after a lapse of almost 25 years, 
does not mark the resumption of publication on any regular 
basis, but. instead, commemorates the 50th Anniversary of The 
Curtis Institute of Music and the unique role of its founder. 
Mary Louise Curtis Bok. in the life of The Curtis Institute and 
thereby in the musical life of the past 50 years. 

Overtones was always a "home made" product, written by 
members of the Curtis faculty, edited by Elsie Hutt with assist- 
ance of others on the Curtis staff and owing its special tone to 
Mary Louise Curtis Bok who conceived Overtones and presided 
over the preparation of each issue. Mrs. Bok and her collabora- 
tors aimed for a publication which would inform the Curtis 
family-facultv and students, and the musical world beyond of 
current developments at The Institute. The publication aspired 
to more than mere factual reporting and attempted, as indeed 
the name Overtones suggests, to convey something of the spirit 
and atmosphere of what was then a pioneering undertaking in 
musical education. 

It is eminently appropriate on the occasion of Curtis' 
Golden Anniversary to publish another issue of Overiones and 
thereby to recognize the dedicated individuals who, as mem- 
bers of the musical and academic faculties and of the adminis- 
trative staff, have over the past 50 years contributed so 
significantly to the musical education of thousands of talented 
individuals and to the standing of The Curtis Institute of Music 
as one of the world's outstanding conservatories. 

The word Overiones implies an ever-widening circle as the 
initial sound spreads and enriches itself while still remaining true 
to its source. Certainly, over the years, the notes first sounded by 
musical education at Curtis have spread throughout the United 
States and the world as outstanding men and women who have 
received inspiration and guidance at Curtis have pursued their 
careers as performing artists, composers, teachers and in other 
fields. Curtis takes great pride in the large number of its students 
who have achieved world renown. Equally, Curtis is proud of its 
many students who may not have achieved a similar degree of 
fame but who. in various roles, have brought music, intelligently 
understood and discriminatingly presented, to innumerable 
communities and thereby have helped cheer the heart and raise 
the spirits of countless people. 

As it looks forward to its second half century. The Curtis 
Institute continues committed to the objective of providing the 
finest in musical education and training to truly outstanding 
musical talents. Those whose contribution to Curtis' first half 
century is commemorated in this issue of Overtones have laid a 
firm foundation for future accomplishment. All of us who have 
felt the influence of Curtis and who love music can be grateful 
for their contribution. 

M. Todd Cooke 


The Curtis Institute 

of Music 

a tribute 

For most of its fifty years, every concert, assemblage, and gathering at 
The Curtis Institute was graced by Mary Louise Curtis Bok Zimbalist, a 
presence so evocative and responsive that it Hves in thousands of 
memories across the United States and in other lands where Curtis artists 
make music and fulfill the promise of their unique education. To walk 
into the Institute, to sit in its concert hall or be among its students, is still 
to hear the low speaking voice, to see the smiling eyes slightly slanted in 
mysterious intelligence and wit, to feel oneself in the presence of a loving 
heart and a mind of steel. Ideals are empty matters without the will and 
energy and realism to implement them. Mary Louise Curtis Zimbalist 
possessed those powers beyond the great material inheritance which 
enabled her to use them fully. 

She was so gentle. It would be impossible to imagine her other than 
calm, wise, gracious, understanding, tolerant, a lady of exquisite taste and 
poise: a woman of enormous strength and determination. Her response to 
every interest and occupation was constructive. She loved music; in her 
character, to love meant to build and to serve. She had a sound musical 
education, and her keen mind reflected all her tastes— wide reading, a 
lifelong sense of scholarship, a searching, constantly widening intellect, a 
practical turn of thought beyond philosophical reflection and the gift of 

drawing out the best in people. She grew, and her remarkable sense of 
values grew all the years of her very long life. 

To a fascinating degree. The Curtis Institute personifies the 
character of its founder. She combined a sense of quality, 
uncompromising and austere, with profound generosity and kindliness. 
Ever\' Curtis graduate and student who has passed through the tough 
competitive auditions and exacting disciplines of entrance and study and 
performance, to receive his or her Curtis education tuition-free, has felt 
the two hands of the founder. Her pride in the school, in its students and 
graduates, and the jov she took in them kept her always a vivid 
participant in their lives and careers. Her gift for friendship was wide, 
varied, eagerly shared. She had congenial interests with the likeliest and 
also with quite unlikely people, always encouraging them to be 
themselves. Her vision was grand, but her ways endearing. She was a 
great woman. For her we can quote the son of Sir Christopher Wren, who 
engraved over a door of St. Paul's Cathedral this tribute to his father, the 
architect: If vou seek his monument, look around you. And we add: 
Listen too. For The Curtis Institute, the United States, and many other 
countries echo the creation of the white-haired lady whose wisdom, 
warmth, and strength live on in the world's best music. 




Mary Louise Curtis Bok 

and her father^ 

Cyrus H. A. Curiis. 19:4 


Mary Louise Curtis Bok founded The Curtis Insti- 
tute of Music in 1924 at the age of forty-seven. 
During the forty-six years which followed, it was 
the focus of her life. She endowed it with her vi- 
sion and uncompromising standard— she sustained 
it with her courage and relentless energy. 

When she was eighty-five, she was asked, in 
turn, by three members of the Board of the Insti- 
tute what instructions or advice she would give 
them for the future. To each she resolutely re- 
plied. "I want no changes now. When I am gone, 
the responsibilities must be met by you members 
of the Board." 

"The support and promotion of music and mu- 
sical education" is the declared purpose of the 
Corporation as stated in the Charter of The Curtis 
Institute of Music, signed April 18, 1924. Mary 
Bok hoped to raise the standards of teaching mu- 
sic to assure talented young people the opportu- 
nities they deserved. 

Like her parents, Mrs. Bok had enjoyed music all 
her life. Cyrus Curtis and Louisa Knapp had met in 
Boston when they sang in the choir of the Unitarian 

Church. Soon afterward, he escorted her to a ball 
where Johann Strauss conducted the waltzes. 

On March 10, 1875, Cyrus and Louisa Curtis 
were married. The groom was twenty-five, the 
bride was twenty. Their wordly possessions were 
few, but their treasures were vast: good health, su- 
perior intelligence, the groom's ambition, and the 
bride's intention to be his good helper. 

Mary Louise Curtis was born August 6, 1876 
when the nation was celebrating its centennial. 
Her father journeyed to Philadelphia to see not 
only the festivities but the city. So impressed was 
he that he decided Philadelphia was the place for 
the publishing business he intended to build. The 
Curtis' believed in the future of the nation and 
worked with the zeal of pioneers. Their only child, 
Mary, was also busy... she watched and listened 
and thought her own thoughts. 

Later, she wrote in a short biography of her 
mother: "My parents were devoted to their church 
and were regular in attendance. Father was al- 
ways interested in church music, and many a fine 
choir was brought into being through his efforts. I 

remember so well, sitting in a pew as a little girl 
during the singing of hymns, hearing my father 
sing the baritone part, always correctly in a pleas- 
ing voice, and my mother in her rich contralto 
singing with evident joy and extremely well— so 
well, in fact, that always many of the congregation 
turned around to locate her voice, while 1 (shame 
on me!) shiveringly wavered between a feeling of 
deep mortification that Mother would do anything 
to call such attention to herself and an intense 
pride in her performance!" 

Cyrus Curtis became an important young pub- 
lisher; The Ladies' Home Journal was his first 
great success and his wife. Louisa Knapp Curtis, 
was the first editor. At last they were able to have 
a pipe organ in their house. He urged Mary to 
play the organ as well as the piano. She studied 
music seriously and played well. 

Mrs. Curtis decided Mary should go to a 
boarding school nearby and enrolled her in The 
OgoiUz School for Young Ladies where she spe- 
cialized in music. Later she visited friends in En- 
gland and travelled on the Continent with her 

parents. Meanwhile, Mrs. Curtis had announced 
her retirement from the editorship of the Journal 
but Mr. Curtis insisted she select and train her 
own successor. She chose Edward W. Bok. a na- 
tive of The Netherlands, a young journalist who 
had attracted attention in New York not only for 
his ability as an editor but also for his intuitive un- 
derstanding of advertising. He became Editor of 
The Ladies ' Home Journal at the age of twenty-six. 
In boyhood, both Cyrus Curtis and Edward Bok 
had surmounted poverty and had worked as news- 
boys. The American Dream had been theirs and 
they understood each other. 

Mary Curtis and Edward Bok were married in 
1896, and she began to join in his friendships with 
the men and women of an editor's world. In 1897. 
their first son. Curtis, was born: and a few months 
later Edward Bok introduced his friend, Josef 
Hofmann. to his wife and infant son. In 1905, 
their second son. Cary. was born. For the next five 
years, her world revolved around the activities of 
husband, sons and parents. 

In 1910, Louisa Knapp Curtis died. With star- 
tling keenness. Mary Bok felt the challenges of 
mature life. Her mother, father and husband had 
found work of width and depth. Her world was 
purely personal. 

Cyrus Curtis knew his daughter well. He asked 
his friend. Jennie Fels (Mrs. Samuel Fels). which 
musical activity in Philadelphia might interest 
Mary Bok. Mrs. Fels described the music classes 
in the Settlement Music School on Christian 
Street, and arranged for her to meet the two 
young women who had begun the classes in 
1908-Blanche Wolf (Mrs. Isidore Kohn) and 
Janette Selig (Mrs. Edwin G. Frank). 

There, Mary Bok found work waiting for her. 
When the Settlement was founded for culturally 
deprived children of the neighborhood, music 
proved one of the best ways to reach the children. 
She soon observed that many of the children were 
very talented in music but compelled to give up 
hopes of careers in music because of poverty. 

The Settlement Music School continued to 
grow in cramped quarters. In memory of her 
mother, Mrs. Bok gave funds for a new building at 
416 Queen Street, completed in 1917. By 1923. the 
advanced and talented students showed such 
promise that she decided to create a separate 
school— The Curtis Institute of Music— for those 
who sought professional careers. Johann Grolle, 
Head Worker of the Settlement Music School, was 
the first Director of the Institute. 

The first classes were held October 1, 1924 in 
three properties off Rittenhouse Square which had 
been purchased and altered— The George W. 
Childs Drexel mansion at 1726 Locust Street; the 

Edward A. Sibley house at 235 South Eighteenth 
Street; and the Theodore H. Cramp mansion at 
1720 Locust Street. Edward Bok had purchased 
the Sibley house as a token of his faith in his 
wife's undertaking. She thanked him for his gift 
and added. "But I don't think we will need it." "I 
am sure you will", her husband replied. The 
Cramp mansion is now Knapp Hall, named for 
Louisa Knapp Curtis. Mrs. Bok's mother. 

Mr. Grolle summed up the program— "Always 
we seek to produce the musician rather than the 
mere virtuoso." Having supplied strong leadership 
during the formative first year, Johann Grolle 
transferred his directorship to William E. Walter, 
an experienced business executive. Mr. Grolle 
then devoted all his time to the Settlement Music 
School and Mr. Walter directed the Institute for 
the next two years. 

Between 1924 and 1926, Mrs. Bok formed The 
Advisory Council of The Curtis Institute of Music. 
Its members were Felix Adler. Edward W, Bok, 
Cyrus H. K. Curtis, Carl Flesch, Walter Fischer, 
Ossip Gabrilowitsch, Josef Hofmann, William 
Mengelberg, Marcella Sembrich, Leopold Sto- 
kowski, Ernest Urch of the Steinway Company, 
and Edward A. Ziegler, Assistant General Man- 
ager of the Metropolitan Opera. 

Success came more quickly than had been ex- 
pected. Mrs. Bok had collected a highly qualified 
faculty and the students responded. "One thing I 
have learned," she said, "the talented youngster is 
no slacker." 

By 1926, Louise Lerch, a student of Marcella 
Sembrich at Curtis, had been invited to sign a 
contract with the Metropolitan Opera. 

Dorothy Thompson reported from Salzburg in 
the Public Ledger of August 10. 1926: 'it is 
strange that here in Salzburg. 7500 miles from 
America, where Max Reinhardt's musical and the- 
atrical festival has assembled so much inter- 
national talent and art interest. Philadelphia 
should be on so many people's tongues. However 
much or little may be known about Philadelphia's 
wealth, industries, and commerce, all European 
lovers of art know of The Philadelphia Orchestra, 
the (Philadelphia) Forum (founded by Edward W. 
Bok). and The Curtis Institute." 

By 1927. Leopold Stokowski who was in charge 
of The Curtis Orchestra had enlarged it to eighty- 
three members. 

The student body was collected from thirty- 
three states and eight foreign countries and this 
pattern has been continued. The student body has 
always been international and interracial. 

In the spring of 1927. Mrs. Bok asked Josef 
Hofmann to be the third Director of The Curtis 
Institute of Music. After careful study, they an- 
nounced the following spring that the $500. tui- 
tion fee would be dropped at the beginning of the 
1928-29 season. Each student would thereafter en- 
ter on full scholarship. "Sole requirements for ad- 
mission are that the student shall demonstrate a 
native gift for music, a special aptitude for a cho- 
sen instrument and personal characteristics that 
indicate the possibility of continuous further 

"We only want the best". Mr. Hofmann said. 
"The Curtis Institute of Music has sought the ex- 
ceptional student from the tirst. We want quality 
rather than quantity, and this is merely another 

development along the same line." 

Mary Bok sincerely believed that American 
music and American musicians were necessary for 
the "American process." The endowment which 
she had started in 1924 with a gift of $500,000. 
had been increased bv a gift from her father, but 
mostly by her own gifts. After consultation with 
her sons, she enlarged the endowment to a total of 
$12,000,000. (1927 value). It was then considered 
to be the largest single private fund ever de\oted 
to the advancement of music. 

The San Francisco Bulletin on .August 


commented on the course of events as follows: 
"Realizing that the successful development of a 
musical career depends upon both practical wis- 
dom and artistic idealism. The Curtis Institute 
does more than merely provide its pupils with the 
finest instruction possible. The Curtis Institute is 
still too young an institution to be able to show the 
full results of its policies. Certain of its pupils have 
already won success both on the concert stage and 
in the Metropolitan Opera. But the artistic integ- 
rity of its aims and the practical manner in which 
it is attempting to realize those aims gi\e rise to 
the belief that it will eventually do more than de- 
velop a few successful musicians— that in the not 
too distant future the institution will become an 
important factor in the musical growth of the 
country. Its organization and management might 
well be accepted as a model by similar schools." 

Built on the gardens of the Drexel and the Sib- 
ley houses, a handsome small concert hall was 
readv for use in 1928. It was first named Casimir 
Hall and later renamed Curtis Hall. Cyrus H. K. 
Curtis provided an Aeolian Pipe Organ which cost 



Circa 1925 

$50,000. After forty-six years of use. M. P. Moller. 
Incorporated rebuilt the organ in 1973-74 at three- 
and-a-half times the original cost. 

In 1929, The Curtis Institute of Music and the 
Philadelphia Grand Opera Company affiliated. 
Emil Mlynarski was named the conductor of the 
Philadelphia Grand Opera Company and of the 
orchestra at The Curtis Institute of Music. Leo- 
pold Stokowski was Honorary Musical Director of 
the Philadelphia Grand Opera Company. Plans 
were made for more than thirty performances the 
following season, fifteen of which were heard at 
the Academy of Music. 

Time reported in the issue of March 19, 1931 
that: "Philadelphia has stolen an operatic march 
on Manhattan. While the Metropolitan was lav- 
ishing its resources last week on the revival of 
Pietro Mascagni's sleazy Iris, the enterprising op- 
era company which Mary Louise Curtis Bok fi- 
nances in Philadelphia was absorbed in preparing 
for the most important U.S. Premiere of the sea- 
son (Berg's Wozzeck)." Rose Bampton, Helen Jep- 
son, and Conrad Thibault were three of the many 
Curtis students who took part in the production. 

As one in a series of concerts presented by The 
Curtis Institute of Music at the Philadelphia Mu- 
seum of Art, a secular performance of the Faure 
Requiem for vocal soloists, chorus, organ, and or- 
chestra was given on April 19. 1931. It was at- 
tended by almost four thousand people. The 
soloists were Natalie Bodanya (soprano), Conrad 
Thibault (baritone), and Robert Cato (organist). 
The following year, the program was repeated in 
Carnegie Hall, New York with the addition of the 
first movement of Tschaikovsky's Piano Concerto. 

Jorge Bolet, then a piano student of David Saper- 
ton. was the soloist. 

Winthrop Sargeant wrote in The Nation (April 
6. 1932) regarding the affiliation with the Phila- 
delphia Grand Opera Company as a point in the 
Institute's favor. "America has long been in need 
of some sort of bridge between its music-educa- 
tional institutions and the realities of its profes- 
sional music life. Perhaps one of the greatest 
obstacles to the normal development of competent 
American musicians in the past has been the lack 
of a helping hand at that crucial point when the 
student seeks to feel his way into that ver\ ter- 
rifying world of foreign languages and hew ilder- 
ing competition in which his future is laid. The 
Philadelphia organization is able, in some mea- 
sure, to meet this difficulty by furnishing The Cur- 
tis Institute of Music with a direct outlet." 

Unfortunately this affiliation was dissolved— a 
casualty of the Depression in the early thirties. Al- 
though opera remained important in the curricu- 
lum, productions were on a smaller scale. 

During these vital years in the growth of the Insti- 
tute. Mrs. Bok met great changes in her personal life. 
After serious illness, her husband. Edward W. Bok. 
died in January 1930. Her father. Cyrus H. K. Curtis, 
became gravely ill and she lived in his home to 
supervise his care until he died in June 1933. By 
1935. both of her .sons were married. Her duties first 
as daughter, then as wife and mother, had been 
fulfilled and she was able to give all her time to her 
absorbing interest in music and in her effort to hand 
down through contemporary masters the great tradi- 
tions of the past, to teach students to build on this 
heritage for the future. 

During the school year, she worked at the Insti- 
tute. During the summer months, she lived in 
Rockport. Maine in a house she and Edward Bok 
had built on the shore of Penobscot Bay when 
their sons were boys. In the mantel of the living 
room was curved this inscription by their friend. 
John Burroughs: "1 come here to find myself It is 
so easy to get lost in the world." 

In Rockport. Maine there is rare beauty. Rock- 
port is a small peninsula between Penobscot Bay 
to the east and snug deep Rockport Harbor to the 
west. Cold water laps rocky shores crowned with 
pine and white birch trees. On the horizon to the 
west and north are the se\ en Camden Hills. Motor 
boats for lobster men and sailing boats for sum- 
mer seamen have replaced the clipper ships 
which, more than a hundred years ago. regularly 
left the harbor to sail around the Horn to China. 

In the late 20"s. Mrs. Bok in\ited a few mem- 
bers of the faculty to take advantage of Rockport's 
special summer quality and to teach there some of 
their more gifted students. There were no set rou- 
tines and a student's presence depended on his 
teacher's approval of his work. Those who particu- 
larly helped to build the colony by their interest 
and enthusiasm were Edith E\ans Braun. Josef 
Hofmann. Lea Luboshutz. and Felix Salmond. In 
1928. Carlos Salzedo made his contribution by 
founding The Harp Colony of America in Cam- 
den, the town adjacent to Rockport. For forty-six 
years. The Harp Colony has sustained its high 
standards. At Mr. Salzedo's request. Alice Chali- 
foux (Curtis '34) became Director after his death 
in 1961. She is now assisted by her niece. Jeanne 
Chalifoux (Curtis '51). 

At first, there were no concerts offered to the 
public. In the 30's. The Curtis String Quartet gave 
weekly concerts in Captain Eell's Boat Barn, but it 
soon proved too small for the large audiences. 
World War II reduced the number of students 
who came to Rockport in the summer, but in- 
creased the number of faculty and concert artists 
who visited there. Among them were Elisabeth 
Schumann. Bidu Sayao from Brazil. Genia Neme- 
noff and Pierre Luboshutz. Eleanor and Vladimir 
Sokoloff. and Gregor Piatigorsky. 

In 1938, Josef Hofmann resigned as Director to 
devote more time to concertizing and radio perform- 
ances. For the next year. Mrs. Bok administered the 
school with the competent help of J. H. Mattis. 
Comptroller. In 1939. she appointed Dr. Randall 
Thompson to be the fourth Director of The Curtis 
Institute of Music. .Although Dr. Thompson re- 
mamed onlv two vears. he made great contributions 
to the school. His inauguration of weekly assemblies 
for lectures and recitals is remembered b\ the fac- 
ultv and students then at Curtis. 

In June 1941. Efrem Zimbalist was appointed 
fifth Director of the Institute. Having joined the 
faculty for violin in 1928. he was fully acquainted 
with the school and shared Mrs. Bok"s devotion to it. 

.•\fter the beginning of World War II in Decem- 
ber 1941. the Institute v\as reduced in size by the 
departure to military duty of many students and a 
few members of the faculty. Gradually Mrs. Bok 
and Mr. Zimbalist became convinced that the 
avowed purpose of the Institute could be best 
served by a small student body and special em- 
phasis placed on the teacher-student relationship. 

In Rockport, Maine, on July 6. 1943. Mr. Zim- 

balist and Mrs. Bok were married in a simple cere- 
mony in her home, attended by her two sons, 
Curtis Bok and Can, W. Bok. and their families. 
This marriage also drew into the family circle Mr. 
Zimbalist's children. Maria Zimbalist Bennett, Ef- 
rem Zimbalist, Jr., and stepdaughter, Marcia Dav- 
enport, together with their families. 

In 1949. The Curtis Institute of Music celebrated 
its Twenty-Fifth Anniversary with two e\enings of 
music at the Academy of Music. On Januarv 5. The 
Curtis Symphony Orchestra, with .Alexander Hils- 
berg conducting, played Berlioz's overture. The 
Roman Carnival and Barber's Symphony No. 2 fol- 
lowed by Brahm's Concerto in A Minor for violin 
and violoncello. The soloists were Efrem Zimbalist 
and Gregor Piatigorsky. On January 6. the Opera 
Department presented L'Oracolo by Franco 
Leoni. sung in Italian: "The Letter Scene" from 
Eugen Onegin by Tschaikovsky. sung in Russian; 
and Amelia Goes to the Ball by Gian Carlo Men- 
otti, sung in English. Efrem Zimbalist conducted: 
Elizabeth Westmoreland was Associate Music Di- 
rector: and John W olmut was Stage Director. 

To salute his wife on the approach of her 
eightieth birthday. Efrem Zimbalist had com- 
posed a delightful opera. Landara. Herbert Graf 
staged the all-student production in the Academy 
of Music. The composer conducted the two per- 
formances on April 6 and 9. 1956. Even, student 
in the Institute took part and rehearsals began in 
January. The students had an opportunity to help 
with a fine gift for Mrs. Zimbalist. llona Kom- 
brink (Curtis "58) sang the charming role of Prin- 
cess Landara. a mythical princess in a mythical 

Mary Louise 
and Edward Bok, 1926 

Mary Zimbalist had received many honors, but 
none pleased her more than those two evenings. 

The Curtis String Quartet had left Captain 
Eell's Boat Barn in Rockport for larger quarters in 
the Poconos. In 1960, Lea Luboshutz's grandsons 
Andrew Wolf (Curtis '60). pianist, and his brother 
Thomas, flutist, launched the Bay Chamber Con- 
certs in the Parish House of St. Thomas' Church in 
Camden. A string quartet and Andrew Wolf were 
the regular performers. Players of other instru- 
ments were invited as the programs required. 
There were changes m the personnel of the quar- 
tet almost ever>' season as members moved on to 
other music communities. 

Until her health began to dechne. Mr. and Mrs. 
Zimbahst regularly attended the Bay Chamber 
Concerts. The response of the Rockport audience, 
townspeople and summer visitors to the well- 
trained voung musicians was to her another con- 
firmation of her life work. She was humble in ap- 
praising her own personal work but intelligently 
aware that she had helped greatly to awaken this 
country to the contribution music could make in 
our society. The support and promotion of music 
and music education had been the chartered pur- 
pose of The Curtis Institute of Music. She was nat- 
urally pleased when others shared the same 
enthusiasm. The major American orchestras had 
developed since World War I. and The Curtis In- 
stitute had trained many of the musicians for 
them. Colleges and universities were expanding 
their Music Departments, and. here again, Curtis 
had trained many who held high positions on the 
faculties. Some had gone from Curtis to further 
academic study in major universities and had re- 
ceived graduate degrees, thereby adding advanced 




/ "X 



scholarship to speciahzed musical training and ar- 
tistic ability. 

A partial and incomplete list compiled in 
1973-74 showed that Curtis alumni are teaching in 
at least ninety-six institutions of higher education. 
Of these, fifty-six have the rank of university and 
eighteen are music schools and conservatories. 
Foundations and individuals have been offering 
awards, grants, and scholarships to students of the 
arts as well as sciences and Curtis alumni have 
been receiving their share. 

The National Broadcasting Company had com- 
missioned Gian Carlo Menotti (Curtis '34) to 
write a short opera for radio in 1939 and one for 
television in \95\—Amahl and the Night Visitors. 
This Christmas story has become an annual tele- 
vision production in the ensuing years. Menotti is 
described in Baker's Biographical Dictionary oj 
Musicians, Fifth Edition: "As a composer, he is 
unique on the American scene, being the first to 
create American opera possessing such an appeal 
to audiences as to become established in perma- 
nent repertory." For seventeen years, he has 
worked to develop The Festival of Two Worlds at 
Spoleto in his native Italy. The purpose of the Fes- 
tival is to bring together young musicians of Italy 
and the United States. 

With the sponsorship of the United States State 
Department, Jeanne Behrend (Curtis '34) made a 
concert tour of South .America in 1945-46. She 
later directed the Philadelphia Festival of Western 
Hemisphere Music in 1959-60. 

Having hoped for the time when .Amcrican- 
born-and-trained musicians could fill the highest 
musical posts. Mary Zimbalist was gratified when 

Leonard Bernstein (Curtis "41) was appointed Mu- 
sic Director of the New York Philharmonic in 
1958. She could not foresee that he would be com- 
missioned to compose a work for the opening of 
the Kennedy Center for the Performing Arts in 
Washington. D.C. His Mass, a theatre piece, was 
performed there on June 28. 1973. 

Samuel Barber (Curtis 34) was commissioned to 
compose an opera for the opening night of the new 
Metropolitan Opera House in Lincoln Center. His 
opera was Anthony and Cleopatra performed Sep- 
tember 16. 1966. The Metropolitan Opera had pro- 
duced his tirst opera Vanessa with libretto by Gian 
Carlo Menotti on January 15. 1958. 

Nino Rota (Curtis '35) returned to his native 
Italy after his graduation in composition and 
wrote music for the Italian cinema. In Hollywood, 
he composed the music for many productions in- 
cluding the award-winning The Godfather. 

From her first experience with talented chil- 
dren and adolescents at The Settlement Music 
School. Mrs. Zimbalist was aware not only of their 
individual differences and backgrounds, but of 
their varied tastes and ambitions. At the Institute, 
she hoped they would learn the techniques and 
acquire the knowledge and have the experiences 
needed by the young professional musician. She 
knew personally as many students as opportu- 
nities permitted and continued the friendships. Es- 
pecially she trusted them to discover their own 
musical strength and to continue to grow. 

Mrs. Zimbalist recognized the special contribu- 
tions to music made by church musicians, teach- 
ers, musicologists, and composers as well as by 
performing artists, and knew graduates of Curtis 

Mary Bok's younger son, 

Cary IC. 'Bok, 

on Penobscot Bay, 

Summer 1934 

were working in each group. 

So long as she was able to attend the gradu- 
ation ceremonies, she spoke to each class. Whimsi- 
cally, she described to them a boy who threw a 
pebble in a pond and watched with surprise as the 
ripples grew larger and larger until they reached 
the shore. She urged the graduates to recognize 
the power of an individual's influence in any com- 
munity—be it a small town, a great university, or 
an audience world-wide. 

Efrem and Mary Zimbalist came to Rockport 
each summer. He enjoyed teaching a few violin 
students as well as his usual practising and com- 
posing. She often sat on the terrace, listened to his 
playing, and looked at Penobscot Bay or talked 
with a visitor. 

One summer day she said to a friend. "People 
have often said to me— 'You must love music more 
than anything." I enjoy music, but it is nature that 
means most to me. When I was a little girl, my 
father and I often talked with Walt Whitman. 
Over the years since, I have read and reread his 
Leaves of Grass. I like his response to nature." 

On another summer day. Eugene Ormandy 
surprised her with a telephone call from Portland, 
Maine and praised the fine organ he had just 
heard there in the City Hall auditorium. It had 
been given by her father. Mrs. Zimbalist remem- 
bered the organs her father had given with joy to 
churches and schools. She felt that there was one 
more gift she could make for her father— The 
Cyrus H. K. Curtis Memorial Organ— for the 
Academy of Music in Philadelphia. It was ready 
for use in September 1960. The rigid restrictions 
laid down by the old building itself required the 

most versatile of instruments. It was constructed 
by the Aeolian-Skinner Company in five portable 
units plus a portable console and may be used as a 
full organ or a baroque organ using but two units. 

Mrs. Zimbalist was often asked what the 
"H. K." in her father's name stood for. She replied 
that when he was eight years old. his parents 
added to his name, Cyrus, the name of their 
friend, Herman Kotzschmar. because the little boy 
so loved the organist and the organ that he spent 
hours sitting in the empty church listening to his 
.friend practice. 

Twelve honors and degrees were awarded 
Mary Curtis Bok Zimbalist. Her private response 
was always the same; "All 1 have done is to give 
away money my father earned." Her first Honor 
was from the Polish Government in 1931— The 
Chevalier's Cross, Order of Polonia Restituta. 
Subsequent Honors were: Doctor of Humane Let- 
ters from the University of Pennsylvania in 1932; 
Doctor of Music from the University of Pennsyl- 
vania in 1933; Doctor of Music from Williams 
College, Williamstown, Massachusetts in 1934; 
Knight's Cross (first class), the Austrian Order of 
Merit in 1935; Gimbel's "Woman of the Year" 
Award in December 1935 (She shared the evening 
with Eleanor Roosevelt who was also honored.); 
National Institute of Social Sciences awarded her 
a Gold Medal "in recognition of the distinguished 
service rendered in behalf of the musical life of 
America" and "for giving genius a chance for dis- 
tinguished service to humanity" in 1937; Doctor 
of Literature from Colby College, Waterville, 
Maine in 1940; Doctor of Humane Letters from 
Temple University in 1947; Distinguished Daugh- 
ter of Pennsylvania in 1949; Doctor of Music from 

Mary Curtis Zimbaiist 

wattzing with her son, 

Curtis Bok, at the 

President's Party 1950 

Mary Curtis and Efrem Zi/nbalisf, 1956 

Combs College of Music. Philadelphia in 1959: 
and in 1963, when she was too frail to go to Bruns- 
wick. Maine from Rockport, a Doctor of Humane 
Letters from Bowdoin College was conferred upon 
her in her own living room. Bowdoin was in the 
169th year of its history. Only on one other occa- 
sion had a degree been awarded away from the 
campus. That was in 1824 when the Marquis de 
Lafavette was unable to attend the commence- 
ment in Brunswick to receive an Honorary De- 
gree. Doctor of Laws. 

Marv Curtis Zimbalist had patiently endured 
declining strength for five years. She died quietly 
Januarv 4. 1970 at the age of ninety-three. 

Manv tributes to her were sent to the family and 
to The Curtis Institute of Music from grateful stu- 
dents and personal friends in all walks of life: musi- 
cians, artists, authors, neighbors— people who knew 
in some wav her kindness and her joy of being. 

One middle-aged man graded himself below 
average in music but excellent in managing a tea 
cup— thanks to the Wednesday teas at the Institute 
and to the ladv who made him forget how awk- 
ward he felt. 

Anna Moffo remembered Mrs. Zimbalist's ap- 
proval of her efforts to form a Student Council. 
Mary Zimbalist always wanted to help each stu- 
dent in every way she could. 

Sam Barber said: "Rather than recall Mary 
Zimbalist as a philanthropist and social benefac- 
tor. 1 prefer to think of her as a life-long friend 
who never failed me." 

Virginia Bird Martin, a writer and a painter, 
wrote: "The first time we met Mary Zimbalist was 
in the livina room of her home. 1 knew I was in the 

presence of a lady. She was not much taller than L 
but I was never with her without a feeling of look- 
ing up. Her intense brown eyes took me in and she 
saw me exactly as I was. She stood erect and had a 
proud walk as though she were captain of her 
team— which she jolly well was." 

Mrs. Martin continued: "One of our saddest 
days was when we attended her funeral in Phila- 
delphia. When we walked into that nobly large 
church we sat in the very last pew and watched 
the sad-faced people filling it who were there for 
the same reason we were. Because we loved her. 
The Curtis String Quartet played some of her fa- 
vorite music. Not all of the music was sad. She 
wouldn't have liked that because she wasn't a sad 
person. She had an unbeatable joy of living." 

Everyone at Curtis seemed to have remem- 
bered the President's Party ushering in the Christ- 
mas season: skits, costumes, and the president 
. . . waltzing. 

The founder 

and president 

as graduates 

remember her 

Rudolf Serkin 
and Eugene Ormandy 
honoring Mary Curtis 
Zimbalist's eightieth year 

Poets to Come 

Poets to come! orators, singers, musicians to come! 

Not to-dav is to justify me and answer what I am for. 

But YOU, a new brood, native, athletic, continental, greater than before known. 

Arouse! for you must justify me. 

I myself but write one or two indicative words for the future, 

I but advance a moment only to wheel and hurry back in the darkness. 

I am a man who, sauntering along without fully stopping, turns a casual look upon 

you and then averts his face. 
Leaving it to you to prove and define it. 
Expecting the main things from you. 



IVaIr WhUman. 1819-1892 


Johann Grolle, Director 1924-1925 

From an early age. Johann Grolle studied violin at the Amsterdam 
Conservatory and won the Queen's Scholarship. He was soon engaged to 
play under such conductors as Willem Mengelberg and Richard Strauss. He 
came to the United States when he was twenty and became a member of 
the first violin section of The Philadelphia Orchestra. 

In 1908. the Music Department of the College Settlement on 
Christian Street became the Settlement Music School located nearby on 
Queen Street. Mr. Grolle became interested and volunteered to teach there. 
The following year he was named Head Worker and carried that title and 
responsibility for forty years. 

Mary Louise Curtis Bok was President of the Settlement Music School 
from 1912 to 1925. Plans for The Curtis Institute of Music developed from 
her observations and experience of the work at the Settlement Music 
School. During the first year of the Institute (1924-25), Johann Grolle 
served as its first Director, to help in its firm establishment. A man of 
intelligence and vision, he dedicated his life to music education. Both the 
Settlement Music School and The Curtis Institute of Music pay him tribute. 

William E. Walter, Director (1925-1927) 

William E. Walter was a former music critic and manager of the Detroit 
Symphony Orchestra. He was also a part of the management of the Boston 
Symphony Orchestra before he came to The Curtis Institute of Music as its 
second Director in 1925. 

Mr. Walter provided the transition from Mr. Grolle to the 
directorship of Josef Hofmann. He resigned in 1927 to become business 
manager of the St. Louis Symphony Society. 

Josef Hofmann, Director 1927-1938 

Today Josef Hofmann is a legend. For thirteen years, he was Director of 
The Curtis Institute of Music. His genius was unique not only as a 
performer and teacher, but also as an analyst of the talents and abilities 
of others. 

Abram Chasins. one of his students who is now both pianist and 
author, wrote: ". . . he revealed a rigidly disciplined mind, an intense 
concentration, and a fierce passion for separating opinion from fact, truth 
from half-truth." 

Josef Hofmann was born in Podgorze. near Cracow. Poland, in 1876, 
the child of professional musicians. He began his musical studies at the age 
of four under the tutelage of his father and sister. His development was so 
phenomenal he made his debut a year later. Three years later. Anton 
Rubinstein had heard him play and predicted a career of exceptional 
brilliance. When he was nine, Josef made his first tour of Germany, France. 
England, and Scandinavia. In 1887, he appeared for the first time in the 
United States and played forty concerts. Four years later, he became the 
only private pupil of Anton Rubinstein. 

Hofmann's performances were touched with a special magic. In 1894. 
he returned to Europe to concertize in Germany and England: in 1896. he 
performed in Russia; and in 1898. at the age of twenty-two. he returned to 

the United States. 

Josef Hofmann came to The Curtis Institute of Music in 1924 to teach 
piano and in 1927. he was appointed its third Director. 

The University of Pennsylvania gave Josef Hofmann the honorary 
degree. Doctor of Music, in 1933. Two years later, the Polish government 
bestowed upon him the Order of Polonia Restiiuta in the rank of 
Commander. The presentation took place before a distinguished audience 
in the Ministry of Education. 

To honor him on the occasion of his Fiftieth Anniversary as a concert 
pianist, a special concert was given on November 28. 1937 by The Curtis 
Institute of Music Orchestra at the Metropolitan Opera House in New 
York. Fritz Reiner conducted and began the program \\ ith the Academic 
Festival Overture. He ended it with Chromaiicon by Michel Dvorsky, whom 
everyone knew to be Josef Hofmann. This concert remains as one of the 
most moving occasions in the annals of American musical history. 

Mr. Hofmann retired as Director in September 1938 to devote all of 
his time to coricertizing and to radio performances. The students whom he 
taught at The Curtis Institute of Music attest to his genius as a teacher, and, 
through them, his spirit li\es on. 

Randall Thompson, Director 1939-1941 

Randall Thompson became the fourth Director of The Curtis Institute of 
Music in 1939. His background was entirely different from that of his 
predecessors. He had taught previously at Harvard, Wellesley, Juilliard, 
and the University of California at Berkeley. His influence was felt 
especially in Academic and Theory studies. Born in New York in 1899. he 
received his Bachelor of Arts degree from Harvard. FoUowing his 
graduation, he studied composition with Ernest Bloch in New York in 
1920-21 and received his Master of Arts degree from Harvard the following 
year. He was a Walter Damrosch Fellow in musical composition at the 
American .Academy in Rome (1922-25) and a Guggenheim Fellow (1929- 
31). In 1933. he was awarded the honoran, degree of Doctor of Music by 
the University of Rochester, and was already recognized as one of the 
country's most promising young composers. 

Under a grant from the Carnegie Corporation in 1933, Randall 
Thompson made a survey of music study in thirty colleges of the United 
States for the Association of American Colleges and his findings were 
published in his book College Music. 

By the time he was appointed Director of the Institute, he had 
composed his first two symphonies, some shorter orchestral and choral 
works, as well as some chamber music. His string quartet. The M'iiid in the 
Willows, was performed at the Harvard Tercentenary. To his credit were 
the scores of two musical comedies. The Straw Hal and Grand Street Follies. 
During his tenure at Curtis. The Philadelphia Orchestra 
performed his Second Symphony. 

It was at the beginning of his second year as Director that 
Dr. Thompson composed his Alleluia for performance at the Dedication of 
The Berkshire Music Center, where it has been sung annually ever since. 

Dr. Thompson believed a well-rounded cultural background was 
essential for every music student's best development and to this end. he 
inaugurated weekly assemblies of the entire student body to hear lectures 
and recitals. At the first of these assemblies, he led the entire group in 
singing Bach chorales and works by Mozart and Palestrina. 

In an article written bv Randall Thompson for Overrones, he 
commented that on its fifteenth anniversary he found the Institute "full 
grown, known from coast to coast and in foreign lands, its teachers devoted 
and loyal, its students hard at work, its graduates hallmarked." 

Efrem Zimbalish Director 1941-1968 

Efrem Zimbalist"s life is so entwined with The Curtis Institute of Music that 
it is difficuh to consider one without the other. He joined the faculty in 
1928. alreadv a world-famous violinist. His love of his instrument and of 
music was transmitted to his students through forty years as a teacher and 
twentv-se\ en years as Director. 

Efrem Zimbalist was born in 1889 in Rostow-on-Don. Russia. There 
his father was his first teacher and at the age of nine, he played in the local 
opera house. Later, he was admitted to the Imperial Conser\ ator) of Music 
in St. Petersburg and became a pupil of the great Leopold .Auer. The year 
Efrem Zimbalist began to teach at The Curtis Institute of Music ( 1928) was 
the same year Professor .Auer became the leader of the Curtis violin faculty, 
a position he held until his death in 1930. 

During his many tours of the Far East. Mr. ZimbaHst introduced 
Western music to the Orient. This may explain the number of Asian 
students who have come to the Institute through the years. Many of them 
became his own students. 

His farewell appearance at Carnegie Hall, New York, took place on 
November 14, 1949. The concert was attended by an audience which had 
come to pay homage to a master, often called the violinists" violinist. 
Philadelphians remember his farewell concert with The Philadelphia 
Orchestra at the Academy of Music on February 15. 1950. He had played 
his first concert in Philadelphia in 1912. 

In 1941, Efrem Zimbalist became fifth Director of The Curtis Institute 
of Music. By that time, the national emergency had reduced the size of the 
student body and faculty. Not only was he able to bridge those difficult 
years, but the Institute emerged more solidly-based and marked its first 
quarter centur)' with authority and confidence. 

Mr. Zimbalist's career as a violinist tended to overshadow his other 
talent, composing. His symphonic poem, Daphnis and Chloe, was 
performed by The Philadelphia Orchestra with Leopold Stokowski 
conducting in January 1932. and his Concerto in C-Sharp Minor for violin 
and orchestra was played by the same orchestra in 1943. Lee Luvisi, a 
Curtis graduate and later a member of the faculty, was soloist at the 
premiere of Mr. Zimbalist's Piano Concerto in E-Flat with Alexander 
Hilsberg and the New Orleans Philharmonic in that city on February 19. 
1959. with the composer and Rudolf Serkin present. Mr. Luvisi 
subsequently performed the same work with Eugene Ormandy and The 
Philadelphia Orchestra on April 12, 1960 at the Academy of Music in 
Philadelphia. Other works by Mr. Zimbalist are his opera Landara: his 
operetta Honeydew; a Suite of Six Dances based on folk melodies 
Sarasaieana; a symphonic work An American Rhapsody: and many songs 
and pieces for violin and piano. 

Vladimir Sokoloff. his accompanist for many years, describes hmi as a 
man of erudition and taste, great warmth, humanity and compassion and as 
an incomparable raconteur. These same qualities are the ones students and 
faculty recall on the Fiftieth Anniversary of the Institute he loved and 
served faithfully and well. 

R lido If Serk in , Director. 1 968- 

Rudolf Serkin is recognized as one of the world's great musicians and an 
outstanding pianist. Respected as an artist, one of the most profound and 
exciting interpreters of our age. he is also recognized as a man who devotes 
a considerable portion of his time and energy selflessly to others. 

Mr. Serkin was born in Eger. Bohemia (now Czechoslovakia) in 1903 
and educated in Vienna, where he studied piano with Professor Richard 
Robert. Also in Vienna, he studied music theory and composition with 
Joseph Marx and later with Arnold Schoenberg. At the age of twelve, he 
made his debut with the Vienna Symphony. 

In 1920. he met Adolf Busch. an event which was to mark a turning 
point in his life and career, as Busch was to become his mentor, friend and 
eventually his father-in-law. He credits Busch. Arnold Schoenberg. Arturo 
Toscanini and Pablo Casals as being his greatest musical influences. .Mr. 
Serkin's Berhn debut followed, under the aegis of Adolf Busch. and among 
those present on that occasion were Artur Schnabel and Albert Einstein. 
Appearances throughout Europe followed, in solo, concerto and chamber 
music recitals, appearing with Busch in a series of sonata recitals for violin 
and piano and with the Busch Chamber Players in the Bach suites and 
Brandenburs concertos. 

In 1927, the Serkin and Busch families settled in Basel, Switzerland. 
Mr. Serkin made his first appearance in the United States in 1933 with the 
Busch Quartet at the Elizabeth Sprague Coohdge Festival at the Library of 
Congress. His formal debut in New York, with Toscanini and the New York 
Philharmonic, followed in 1936. He has toured the United States annually 
since 1934 and has made regular tours of Europe, appearing in recital, with 
chamber ensembles, and with all the major orchestras. In addition, he has 
played in South America, Iceland, Israel, India and the Far East, and has 
participated regularly in the Casals Festivals since 1950. 

Rudolf Serkin's association with The Curtis Institute of Music began 
in 1939 when he joined the Piano Department. In 1968. upon the 
retirement of Efrem Zimbalist, he became the sixth Director. In addition to 
his teaching and administrative duties at Curtis, he is a founder. President 
and Artistic Director of the Marlboro Festival 
and School of Music in Vermont. 

In 1963, President John F. Kennedy named him a recipient of the 
Presidential Medal of Freedom. President Lyndon B. Johnson presented 
the medal to him after President Kennedy's death. He is a Fellow of the 
American Academy of Arts and Sciences, a Member of the National 
Council on the Arts and has received honorary degrees from Harvard 
University, Williams College. Temple University, OberUn College, 
University of Rochester and the University of Vermont. 

Rudolf Serkin. after a thirty-five year association with The Curtis 
Institute of Music, has endeared himself to all who have been associated 
with him. Perhaps no one could have put it more succinctly and gracefully 
than Mary Curtis Bok Zimbalist, Founder of The Curtis Institute of Music 
and his friend of many years. Near the end of her long and productive life, 
she wrote ". . . and, definitely, any place where Rudi has been 
is the better for his having been there." 

Incorporators and Former Members 
of the Board of Directors 
The Curtis Institute of Music 

Mary Louise Curtis Bok Zimhalist 




President Emeritus 


Died- January 4, 1970 



Cyrus H. K. Curtis 




Died-June 7, 1933 

Curtis Boli 






Died- May 22, 1962 





Philip S. Collins 






Died-June 24. 1943 


J 940- 1943 

Jennie M. Fels 




Died- May 4. 1943 

Samuel Barber 



Cary W. Bok 



Died-December 29, 1970 







Helene Boericke Bok 



Edith Evans Braun 



Truman Henson 



Died-January 9, 1968 

Josef Hofmann 



Jay H. Mattis 





A ssistant Secretary 





1 96H Pension Trust 


George P. Orr 




Efrem Zimbalist 



The Board of Directors 

The Curtis Institute of Music, 1974-1975 

M. Todd Cooke 

William Carson Bodine 

Sumner W. Stevenson 

Robert P. Hauptfuhrer 

Boyd T. Barnard 
Peter A. Benoliel 
A. Margaret Bok 

Nellie Lee Bok 

John de Lancie 

Gay Elliot Scott 

Rudolf Serkin 




acting President 


1968 Pension Trust 



1968 Pension Trust 




1968 Pension Trust 


1968 Pension Trust 














The Curtis Institute of Music Faculty , 1924—1974 

Name Subject 


Name Sultject 


Aldrich, Perlev Dunn 



Aldwell. Edward 



Andoga. Victor 

Vocal Coach 


AronofT, Max 



Auer, Leopold 



Bachaus, Wilhelm 



Bachmann. Edwin 



Bailiy. Louis 

Viola and Chamber Music 


Barber. Samuel 


Madrigal Choru-s; 
Supplementary Piano 


Dagmar Rybner 

Vocal Coach 


Barclay. John 

Vocal Coach and English 


Behrend. Jeanne 

Supplementary Piano 


BengLsson. Erling 



Berkowitz. Ralph 



Bert. Berthe 



Bimboni. Alberto 

Opera Coach 


Bly. Edith Wells 

Supplementary Piano 


Boeckmans. Marcel H. 



Bolet. Jorge 

Supplementary Piano 


Bolotine. Leonid 



Bonade. Daniel 



Bonelli. Richard 



Boyle. George 



Boyle, Pearl 

Supplementary Piano 


Braun. Edith Evans 

Elements of Music 


Brees. Anton 



Britt, Horace 



Brodsky, Jascha 

Violin and Chamber 


Brodsky. Vera 

Two-Piano Repertoire 


Buchman. Carl 



Cahier. Mme. Charles 



Cailliet. Lucien 



Carlyss, Gerald 



Casiello. Marianne 



Caston. Saul 



Chambers. James 

French Horn 


Chasins, Abram 

Supplementary Piano 


Chilkovksy, Nadia 



ChotzinofT. Samuel 

Music Criticism 


Cohen. Isidore 

Chamber Music 


Cole. Orlando 



Colucci. Matthew Ph.D. 



Connell. Horatio 



Conradi. Austin 



Coryell. Marian 

Supplementary Piano 


Costello. Marilyn 



Cox. Mary Anthony 



Dalley. John 

Chamber Music 


Deak. Stephen 



de Gogorza, Emilio 



de Lancie. John 

Oboe and Woodwind 


de Luca. Giuseppe 


Died before 
he began 
to teach 

de Montoliu. Placido 

Eurhythmies and 

Platform Deportment 


de Pasquale. Joseph 
de Santis. Louis 



del Negro. Ferdinand 

Bassoon and 


Diller. Angela 



Dippel. Andreas 

Operatic Training 


Dodson, Glenn 



Donatclli. Philip 



Douty. Nicholas 

Oratori<i and 


Drummond. Ethel S. 

Theory and 

Supplementar)' Piano 


ElTron. David 



Elo. Reiko 



Eto. Toshiya 

Violin and String 


Farnam. Lynnwood 



Feuermann. Emanuel 



Fields. Eleanor 

Supplementary Piano 


Fink. Myron 

Theory and Composition 


Name Subject 


Name Subject 


Flagello, Nicholas 



Jones. Mason 

French Horn and Brass 


Flesch. Carl 




FonarofT, Vera 



Kaufman, Harry 




Kincaid, William 

Flute and Woodwind 


Marion Szekeley 




Frantz. Florence 

Assistant in Piano 


King, Samuel Arthur 

Platform Deportment 


Fugmann. Andreas 

Opera Coach 


Kovar. Simon 



Fulton. Thomas 



Krauss. Samuel 



Galamian. Ivan 



Krell. John 



Galimir. Felix 

Chamber Music 


Krzywicki. Paul 



Gari. Giulio 



Kullman. Charles 



Gerhard. Charles 



Lallerstedt. Ford 



Germani. Fernando 



Lambert. Alexander 



Giannini. Vittorio 



Landowska. Wanda 

Harpsichord and Lecturer 


on Ancient. 17th and 

Gigliotti. Anthony 



18th Century Music 

Gittelson. Frank 



Laredo. Jaime 



Goldovsky. Boris 

Opera Coach 


Lawrence. Lucile 



Graf. Herbert 



Lee. Syh'ia 

Vocal Repertoire and 




Euphemia Giannini 

Voice and Italian 


Lert. Ernst Joseph 
Maria. Ph.D. 


Operatic Acting 


Grubh. Thomas 

Vocal Coach in French 


Levin. Robert D. 

, Theory 



Levin. Sylvan 

Opera Coaching. 


Grupp. David 



Accompanying and 

Guetter, Walter 



Assistant Conductor 

Gusikoff. Charles 

Trombone and Brass 



Levine. Joseph 

Supplementary Piano 
and Opera Class 


Guth. Otto 



Levine. Rhoda 

Opera and Drama— Dance 


Hageman. Richard 

Vocal Coach 


Lewis. Richard 


Harms. William 

Supplementary Piano 


Liebling, Estelle 

Lipkin. Seymour 

Littletield. Catherine 



Harrison. James 





Harshaw, Margaret 





Hartzer. Richard 



Loeb. David 



Head. Marion 



Longy. Renee 



Heifetz. Ruvin 



Lotz. Paul 



Heliner. Eugene 



Luboshutz. Lea 



Hilsberg. Alexander 

Violin and Conductor of 


Luvisi. Lee 



Macatsoris. Chris 



Hinger. Fred 



Mc Lane. Ralph 


Hot'mann. Josef 



Makanowitzky. Paul 



Hodge. Muriel 

Supplementary Piano 


Mann. .Alfred 



Hoibv. Lee 



Mario. Queena 



Hollingsvvorth. Stanley 

Theory, Solfege and 
Opera Coach 


Martin. Louis 



Martinu. Bohusla\ 



Horner. Anton 

French Horn 


Massena. Martha 

Horszowski. Mieczyslaw 




Supplementary Piano 


Irons. Diedre 

Supplementary Piano 



Jacobinoff. Sascha 



McCurdy. Alexander 



Jaflfe. Charles 

Chamber Music 


McGinnis. Robert 



Johnson. Gilbert 



MeiflT. Albert 



Name Subject 


Name Subject 



Composition and 


Rudolf. Max 

Opera and Orchestra 


Gian Carlo 

Dramatic Forms 


Ruhrseitz. Esther 

Voice and Coach 


Meredith, Eleanor 



Ruhrseitz. Kurt 

Vocal Coach 


Mertens. Georges 

Opera Coach 


Rulau. Ellen 



Miller. Frank 

Violoncello Class 


Rupp. Franz 

Coach and Vocal 


Mitchell. Ercelle 

Supplementary Piano 



Mlynarski, Emil 

Orchestra and 


Salmond. Felix 



Conducting Class 

Salzedo. Carlos 



Moiseivitsch. Benno 



Saperton. David 



Morris. Reginald O. 

Composition and Theory 


Scalero. Rosario 



Morrisett. James S. 

Supplementary Piano 



Munz. Mieczyslaw 



Schneider. Mischa 

Chamber Music 



Schoenbach. Sol 



Nazarevitsch. Xenia 

Supplementary Piano 



Ninomiya. Yumi 



Coach— Woodwind 


Norden. Lindsay 



Schorr. Friedrich 



Ormandy. Eugene 



Schulman. Leonard 



Paget. Ethel M. 

Supplementary Piano 


Schumann. Elisabeth 



Panitz. Murray W. 



Schwar. Oscar 

Double Bass 


Parme. Fred 



Scott. Roger 
Sembrich, Marcella 


Pastor. Freda 

Supplementary Piano 




Penha. Michel 



Serkin. Rudolf 



Petit. Annie 



Sharlip, Benjamin 
Shumsky, Oscar 
Simons. Gardell 

Chamber Music Coach 


Piatigorsky. Gregor 





Pons. Max 





Popper. Felix 



Singher, Martial 
Smith. Henry Charles 

Voice and Opera 
Trombone. Tuba 


Portnoy. Bernard 




Press. Michael 



and Brass Ensemble 

Primrose. William 

Viola and Chamber Music 1942-51 

Smith. Joy Pottle 

Supplementary Piano 


Rachlin. Ezra 

Supplementary Piano 


Smith. Lawrence L. 

Opera Department 


Smith. William R. 



Reimesch. Ilsa 

Accompanist and Coach 


Soffray. Anne-Marie 

Theory and Solfege 


Reiner. Fritz 

Orchestra and 



Conducting Class 

SokolotT. Eleanor 

Supplementary Piano 


Reisenberg, Nadia 

Supplementary Piano 




ResnikolT. Vera 

Supplementary Piano 


Sokolofl'. Vladimir 

Supplementary Piano. 
Accompanying and 


Reynolds. Veda 




Rich. Martin 



Soyer. David 



Rich. Thaddeus 

Assistant Conductor 


Steinhardt. Arnold 

Chamber Music 


of Orchestra 



Riedel. Karl 

Opera Coach 


Stewart, M. Dee 



Robinor. Genia 



Stewart. Mrs. Wood 



Rochberg. George 

Form and Analysis 


Stiihr, Richard 



Rod/inski. Artur 

Orchestra and 


Stokowski. Leopold 



Conducting Class 

Stroumillo. Olga 

Piano Assistant 


Rose. Leonard 



to Mme. Vengerova 

Rosenek. Leo 

Vocal Coach 


Sumsion. Herbert 



Rosenthal. Moriz 



Svecenski. Claire 

Supplementary Piano 


Rubanotl'. .Iiiscph 

Vocal Coach 


Svecenski. Louis 

Chamber Music 


Name Subject 

Tabuteau. Marcel 

Taylor. Deems 

Thompson. Oscar 

Thompson. Randall 

Torchinsky, Abe 

Torello. Anton 

Torello. Carl 
Tree. Michael 

Trepel. Shirley 

Triggs. Harold 

Tuttle. Karen 

van Emden. Harriet 

Vauclain. Constant 

Vengerova. Isabelle 

Vogelgesang. Frederick 

vonWymetal. Eric 

vonWymetal. Wilhelm 

Walther. Madeleine 

Watson. Mary E. 

Weaver. John 

Wedge. George 


Whiley. Helen W. 

Wightman. Florence 

Wilson. Steuart 

Winslow. Helen 
Wolmut. Hans Ph.D. 

Yannopoulos. Dino 

Zaninelli. Luigi 

Zarzeczna. Marion 

Zechiel. Ernest 

Zetlin. Emanuel 

Zimbalist. Efrem 

Oboe and Woodwind 


Professional Criticism 



Double Bass 

Double Bass 

Chamber Music 



Two-Piano Repertoire 



Theory and Composition 



Assistant in Operatic 

Operatic .Acting 

Supplementary Piano 

Music Director— 
Opera Department 

Vocal and Opera Coach 
and Repertoire 


Voice. Vocal Ensemble 
and Repertoire 




Supplementary Piano 





































Faculty for A cademic Studies 

Name Subject 


Name Subject 


Adler. Lawrence 

Head of .Academic 


Alw\ ne. Horace 

Histop. of Music 


Aeuilar. Karen 
'^ Mar> Ph.D. 

English Literature and 
English Composition 


.\uker. Hazel 



Ballv. Georges 



Battin. Isaac L. 



Beck. Jean B. Ph.D. 

French and History of 


Bourdin-Bacher. Marie 



Boyd. Morrison 

Histor\ of Music 


Brecht. Harold 

Elementary French 


Connelly. Lawrence 



Corv^in. Marion 



Daudon. Rene J. 



de Bros. Esther 

German Diction 


de Montoliu. Placido 

Spanish and Italian 



di Blasi. Maria Rota 



de Blasi. 
Sebastiano Ph.D. 



Ealer. Sarah Jane 



Eastman. Katherine 



Emgarth. .Annette H. 



Englander. Lester 



Fernberger. Samuel 



Field. Eleanor 



Finn. Caesar 

■Applied .Aesthetics 


Fitzpatrick. Eleanor 



Gaujot. Marguerite 



Gardiner. Walter 



Gerassi. Stepha 

German and Russian; 
Russian Literature 


Gerson. Robert 

English Diction 


Gregoretti. .Anna 

Italian Diction 


Euphemia Giannini 

Italian Diction 


Hadley. Katharine 



riarbeson. William Page 

English Composition. 
Literature and Poetrv 


Harley. Katharine 



Harris. Stephen B. 



Hart. Deborah 



Kina. Gordon C. 



King. Samuel .Arthur 

English Diction 


Klarmann. .Adolf Ph.D. 

Great Books 


Kormi. Iraj 



Krause. Katherine C. 



Lenrow. Elbert 



Ludwig. Elizabeth S. 



McLaughlin. Nancy 



Mauclair. Blanche 



Mayo. Elton B. M.D. 



Motten. Louise 



Nichols. Roy F. Ph.D. 

World History- 


Nolan. Patrick J. 

English Composition 


Pavicic. Nick J. 



Padow. Phyllis 



Pechin. Marguerite 



Rantz. Jock 

English Diction 


Therese Casadesus 



Saumelle. Minna 

Special Diction for 


Peter J. Ph.D. 

Portuguese and Spanish: 
20th Centur\ Latin- 
.American Literature 


Seiver. Lawrence 



Siena. Daniela 

Italian Diction 


Shaffer. Esther 



Shryock. Richard 

World History 


Man Q. Ph.D. 



Singher. Margareta 

French Grammar and 


Summers. Helen 



Tabuteau. Louise .Andre 

French Grammar and 


Turk. Martha 



Vittorini. Domenico 

Italian and Italian 


von Gronicka. Hilda 

German Diction 


Wallace. Robert 



Wehr. Mentzer 



Hermann J. Ph.D. 



Wesner. Map. B. 



Wittman. Jean Frois 



Woldin. Richard 



Wolfson. Nessa 

English for foreign 


The Curtis Institute of Music Administrative Staff, 1924-1974 


Grolle.Joluum 1924-25 

Walter. William E. 1925-27 

Hofmann, Josef 1 92 7-38 

Thompson. Randall 1939-41 

Zimbalist. Efrem 1941-68 

Serkin. Rudolf 1968- 


Spofford. Grace H. 1924-31 
Bellamann. Henry 1931-32 

Dean and 



Schoenbach. Peter J. Ph. D. 1 9 73- 

and Artistic 

Checchia. Anih 




Eastman. Hiram W . 1925-35 
Mattis.JayH. 1936-68 
Stevenson. Sumner W. 1968- 


Adler. Laurence 

A llan. Caroline M. 

Balcom, Margaret 

Barr. A nne \f. 

Barth. Joan 

Bauer. Dorothy 

Begley. Muriel D. 

Benkert. Margaret 

Bet:. Marie 

Borda. Edith K. 

Bowman. Dorothy Lynch 

Brunson. Thelma W. 

Burton. Frances 

Camp. Marjorie M. 

Carlton. William C 

Chamberlain, Inger- Marie 

Colgan, Alice E. 

Copley. Richard 

Corliss. Reginald S. 

de Montoliu. Placido 

Demurest. Charles 

Dickey. Josephine 

Driesbach. Martha E. 

Druian. Phyllis Rugg 

Dungan. Harriet P. 

Eichman. Marian D. 

Erichson. Elizabeth E. 

Ferguson. Howard T. 
Fickes. A nne M. 


Fisher. Maude 



Frederick. Emma Mae 



Gardner. Ruih P. 



Gibson. I irginia 



Good. Dorothy A. 



Gotlobe. Jack L. 



Grady. Sheila 



Haddad. Sonya 



Hangliier. Sell 



Harmaala. John 



Harris. Goejfrey 



and 1935-36 


Harnnan. Elizabeth R. 



Henry. Barbara D. 



Henshaw. Harold C 



Hess. EUzabeth H. 



Hettinger. Sarah 



Hewes. Irene Hale 



Hocker. C. David 



Holmes. Patricia 



Hoopes. Helen 



Hopkins. Patricia K. 



Hulbert. Hilda 



Hutt. Elsie 



Johnson. Sigrid C. 



Jones. Doris 



Jones. Helen 


and 1972- 

Jones. Mary E. 



Kardon. Donald 



Keenan. George 


Kendall. Janet 


Saborsky. Elsie 


Kerner, Helen D. 


and 1943-47 

Lenrow. Elbert 


Saille. Ella 


Llenellvn. Daniel A/. 


Saperton. David 


Lockhart. Florence 


Schilder. Rosalind 


Luck. Andrei' 


Schlegal. Jeanne E. 


Limquest. Mignon 


Sha\y. Madge 


Lytle. Maud Louise 


Shear. Nancy 


McCallip. Emily 


Shusier. Ethel E. 


McKnight. Catherine 


Simek. Jean Moore 


Malleti. Laura 


Smith. A nne O. 


Mann. A If red 


Speiser. Henriette 


Mapes. Gordon 


Squire, Helen C. 


and 1955-73 

Stoer. Margaretta 


Martinis. Louise 


Stokes. Katharine 


Mayer. Elinor 


Strasser. H illiam 


McClelland. Jim 


Suter. Hilda 


Meyer. Jane Hill 


Swartz. Anne 


Mittnaclu. Keo 


Swenson. Elizabeth Zandt 


Myers. Charles E. 


Swenson. Margaret G. 


Nice. Ethel Kingslev 


Taynton. Jesse 


and 1931-57 

Troll, Eda 


Nimis. Adela 


Troll. Lara M. 


Pearson. Evelvn 


Vertner. Jeannette 


Perry. Thomas D. Jr. 


Week ley. Shirley 


Phillips. A ndrew 


White. Josephine 


Press. Dinorah 


Winn. Margorie 


Raymond. Emil 


Woods. W. Creary 


Rinehart. Lois 


Yoshida. Marie 


Robbins. Abigail R. 


Zimbalist. Efrem Jr. 


Zitzelman. .Martha 






During the second academic year (1925-26). Mrs. Bok turned her attention 
to the estabUshment of the Library. Following the advice of Dr. William N. 
C. Carlton of Williams College, an excellent basic collection of books and 
music was purchased during the next five years. The Library has grown to 
approximately 50.000 volumes in 1974. 

The Library is made up of many collections. The largest of these. 
35.000 volumes, is music for performance and study, including the complete 
works of twenty-five composers as well as authoritative editions of the 
works of the standard repertoire. The orchestral collection contains over 
600 sets of parts and orchestrations for about fifty operas. As a supplement 
are books and periodicals for reading and reference. 

During the summer of 1929. a victrola and duo-art piano, along with 
records and piano-rolls, were added to the Library. The piano-rolls have 
been kept, but there is. at present, no piano on which to play them. The 
record collection has grown steadily to a total of 1800 78"s and nearly 2000 
LP's. These include recordings of Curtis performances made from 1936 to 
1941. During the war years, recording was curtailed. During the 1968-69 
academic year, recording of all events in Curtis Hall was resumed. From 
that date, tapes have been made and are kept in the Library. In the spring 
of 1973. the Opera Department began video-taping operas it produced. The 
enlarged library facilities in Knapp Hall will include equipment for viewing 
these tapes and cases for special exhibits. The listening facilities have been 
considerably expanded. In addition to 'urntables and tapedecks with 
earphones, there is a sound-proofroom equipped with speakers. 

The Library is steadily increasing its services for current information. 
In addition to periodicals, there is a large collection of pamphlets and 
brochures about contests, competitions, festivals, summer activities, concert 
schedules of major organizations from all over the world, publishers" 
catalogs, etcetera. There is also a special board listing auditions and job 
opportunities. This material is in constant use by students and faculty. 

The treasures of the Library are the "Special Collections" which 
Curtis has taken the responsibility to preserve for future generations. 
Mrs. Zimbalist took a special interest in this part of the Library and her 
gifts over the years were extensive. These gifts have included musical 

manuscripts, letters, early printed books, and first editions. The oldest item 
in the collection is the organ tablature. the Praeludia of Adam Ileborgh, 
written in 1448. and believed to be the earliest book of organ music with 
pedal parts. Perhaps the most beautiful of the manuscripts is the holograph 
score of Bach's Cantata No. 180, Schinucke dich o Hebe Seele. This 
particular manuscript was used as the basis for the Bach Gesellschaft 
edition of the cantata published in 1888. also owned by the Library. 
Another rare manuscript is that of a Te Deum of Liszt, dated May 1867. 
There are also manuscripts and letters of Barber. Brahms. Menotti, Mozart, 
Schubert, and Schumann. Printed books include the 3rd edition of Pietro 
Aron's Toscaiiello in Musica (1529). an important early theory book, and 
the Carmina of Augurellus (1491) which contains the earliest illustration of 
a viola da gamba. Just a sampling of the important first editions given to 
the Library by Mrs. Zimbalist are a score of Wagner"s Die Feen. in an 
edition privately printed by the King of Bavaria about 1872; a piano-vocal 
score of Gluck's Orfeo ed Euridice. published in Paris by Chambon in 1764; 
the first edition of the complete set of Bach's Brandenburg Concerti, printed 
in 1850 by Peters of Leipzig; and a set of orchestral parts of Beethoven's 
Symphony No. 9. published by Schott in Mainz. 1826. 

In 1930. Mrs. Bok purchased for the Library the Burrell Collection 
of Wagneriana, at that time the most important group of unedited and 
unpublished Wagner documents in existence. There are over 800 items, 
including letters, documents, biographical material, drawings, portraits, 
and manuscripts. 

.Another interesting and \aluable collection of music was presented to 
The Curtis Institute in 1935 b\ the trustees of the Drexel University and the 
heirs of Charles H. Jarvis. It contains some 1700 volumes, chiefly 1 9th 
Centurv imprints of chamber music, piano, and violin music. Also included 
are sets of the Breitkopf edition of the complete works of Mendelssohn and 
Mozart and some valuable early Handel editions. The rare material is 
housed in a separate "Special Collections Room." 

The Library is the richer for collections of music, manuscripts, and 
memorabilia from former faculty members: Lynnwood Farnam. .losef 
Hofmann. William Kincaid. Carlos Salzedo. .Anton Torello. 
and Efrem Zimbalist. 

Through the years, scrapbooks and clipping files have been 
maintained v\hich pro\ ide a fascinating record of Curtis itself, its faculty. 
students, and indeed of the musical life of this country. 

The librarians who have carried on the work of servicing these 
collections are: Marjorie Wynn ( 1927-35): Sarah Hettinger (1935-42); 
Phyllis Druian (1942-47): Elizabeth Hartman (1947-54): Jack Gotlobe 
(1954-61); Gordon Mapes ( 1962-73); and Barbara Henr>'(1974- ). 

New Library facilities will make all of this material more accessible 
and easily usable, not only for Curtis students, faculty, and alumni, but 
also for the scholarly community in general. This is as it should be. for a 
description of the Library made in 1939 by Dr. Otto E. Albrecht is as apt 
today as it was then: "Its treasures . . . are so rich and varied that even a 
scholar with no classes to attend or practicing to do would require a long 
time adequately to investigate them." (Overtones, December, 1939) 


Marcella Sembrich and Emilio de Gogorza, distinguished members of 
the MetropoHtan Opera, were the leading instructors in voice during 
the first years. They were assisted by Horatio Connell. Mme. Charles 
Cahier. and Harriet van Emden. In 1932. illness forced Mme. 
Sembrich to retire. Queena Mario of the Metropolitan Opera 
succeeded her. Mr. de Gogorza retired in 1940. 

The Institute has always attracted some of the finest vocal 
teachers and coaches in the world. Guiseppe de Luca. who had been 
engaged to teach in 1950. died before he could assume his post. 
Richard Bonelli. also of the Metropolitan, accepted his duties. 
Among others who have taught in the Voice Department are; Marion 
Szekely-Freschl, Euphemia Giannini Gregory, Margaret Harshaw, 
Charles Kullman, Estelle Liebling. Friedrich Schorr, Elisabeth 
Schumann, and Martial Singher. 

Among the vocal coaches have been: Alberto Bimboni, Richard 
Hageman, Sylvan Levin, Joseph Levine, Martin Rich, Leo Rosenek 
(for lieder), Franz Rupp (for lieder), Max Pons, Vladimir Sokolofl', 
and Elizabeth Westmoreland. 

A search of the archives of the Metropolitan Opera reveals the 
names of twenty Curtis students who have become members. Of these 
twenty, five have studied voice at Curtis with Euphemia Giannini 
Gregory, who has given Curtis forty-seven years of devoted teaching. 

Since 1970. in addition to Euphemia Gregory, the instructors in 
voice have been Guilio Gari, Margaret Harshaw, and Ellen Rulau. 

Guiho Gari has had a long and respected career in the 
Metropolitan Opera and in the New York City Opera Company. 

Ellen Rulau came to the Institute from the Manhattan 
School of Music. 

Margaret Harshaw, a native Philadelphian, has had a fine career 
in the Metropolitan Opera where she has sung leading contralto roles 
in Wagnerian operas, and, later, leading soprano roles. She has also 
been heard in other opera roles both abroad and in this country. In 
addition to her work at Curtis, she has been a Professor of Music at 
the University of Indiana since 1962. 

Voice Repertoire and InlerpreUilion are currently taught by 
Sylvia Lee and Vladimir Sokoloff. Sylvia Lee, formerly assistant to 
Max Rudolf in Cincinnati, came to Curtis in 1970 when Mr. Rudolf 
began to enlarge the Opera Department. Presently, she teaches Vocal 
Repertoire and Interpretation exclusively for opera. Vladimir 
Sokoloff. a graduate of Curtis, has been a member of the faculty since 
1938 as a teacher of supplementary piano, as accompanist, and as 
vocal coach. He is now instructor in Vocal Repertoire and 
Interpretation exclusively for art songs. 

Curtis Students Who Have Become Members of the MetropoUtan Opera , 1924-1974 

Name Date of Debut 

Alarie. Pierette 

Bampion. Rose 

Berini. Mario 

Blegen, Judith 

Bodanva. Natalie 

Boucher. J. Ronald 

Di Giuseppe, Enrico 

Giiarrera. Frank P. 

Jepson. Helen E. 

Kirk, Florence 

Kraft. Jean 

Lerch. Louise 

Mac Waiters, Virginia 

Marlowe, Anthony 

Mittleman, Norman 

Moff'o, A nna 

Petina. Irra 

Troxell, Barbara 

Uppman, Theodore 

Valente. Benita 

Decembers, 1945 
November 28, 1932 
November 28, 1946 
September 19, 1970 
May 11. 1936 
September 16, 1966 
June 20, 1969 
December 14. 1948 
January 24. 1935 
November 29. 1944 
February 7. 1970 
November 10. 1926 
June 10. 1953 
January 1. 1940 
October 28. 1961 
November 14. 1959 
December 28. 1933 
December 28, 1950 
November 18. 1953 
September 22. 1973 


Oscar— Ballo en Maschera 
Laura— La Giaconda 
Faust— Faust 

Papagena—The Magic Flute 
Micaela— Carmen 
Scarus— Anthony and Cleopatra 
Alfredo— La Traviata 
Escami Ho— Carmen 
Helene—In the Pascha 's Garden 
Donna Anna— Don Giovanni 
Flora— La Traviata 
Countess— Rigoletto 
A dele— Die Fledermaus 
Sailor's voice— Tristan and Isolde 
Herald— Lohengrin 
Violetta—La Traviata 
Schwertleite—Die Walkiire 
Inez— II Trovatore 
Pelleas—Pelleas el Melisande 
Pamina—The Magic Flute 

Curtis Voice Teacher 


Conncll and Mario 

de Gogorza 





Bonelli and Gregory 


de Gogorza and Sembrich 



Connell and de Gogorza 

Bonnelli and Singher 


van Emden 




Opera At The Curtis Institute of Music opera has always been an integral 

Department part of the students' training in Voice. Marcella Sembrich and Emilio 

de Gogorza, both internationally acclaimed, brought to their students 
a knowledge and love of opera resulting from their highly successful 
careers. Beginning in 1931, Boris Goldovsky, a graduate of the 
Institute and son of Lea Luboshutz, coached until 1937 when he went 
on to build his own opera company. 

As early as May 12, 1929, a student production of D'Albert's 
Tieftand was presented in two performances at the Academy of Music. 
Artur Rodzinski conducted and Wilhelm vonWymetal staged the 

When the Institute affiliated with the Philadelphia Grand Opera 
Company in the 1929-30 season, the Department was directed by 
Emil Mlynarski with Wilhelm vonWymetal as stage director. During 
this period, Curtis students participated in the following productions 
of the opera company: The American premiere of Eugene Gossens' 
one act opera Judilh (December 26, 1929), Pagliacci, Cavalleha 
Rusticana. Le Jongleur de Notre Dame, Aida, Die Enlfuhrung aiis dem 
Serail, and the American premier of Alban Berg's Wozzeck conducted 
by Leopold Stokowski on March 19, 1931. 

The students were fortunate in having Leopold Stokowski with 
his vital interest in the Institute, anxious to give them the opportunity 
to participate in his productions of opera with The Philadelphia 
Orchestra. Excellent performances in April 1930 of Schonberg's Die 
Glitckliche Hand were given at the Metropolitan Opera House in 
Philadelphia and later at the Metropolitan in New York. Sylvan 
Levin, a graduate of The Curtis Institute and a fine conductor, 
rehearsed the cast for Mr. Stokowski. 

In 1930-31, more than twenty students appeared in twenty 
operas, playing 100 roles of which six were leading ones. 

The arrangement between The Curtis Institute of Music and the 
Philadelphia Grand Opera Company ended during the depression of 
the early 1930's. Emil Mlynarski retired in May 1931. Fritz Reiner 
succeeded Mlynarski in the Opera Department and was also 
Conductor of the orchestra. 

In the Academy of Music, Fritz Reiner conducted the 
performances of// Barbiere di Siviglia in 1935, and on April 1, 1937 
the world premiere of Gian Carlo Menotti's first opera, Amelia Goes 
to the Ball, together with Le Pauvre Matelot by Darius Milhaud. 

The Philadelphia Opera Company, founded by Sylvan Levin 
and David Hocker in 1937. provided more Curtis students with 
experience in a professional opera company. Among its productions 
was the world premiere on stage of another opera by Gian Carlo 
Menotti, The Old Maid and the Thief. The roles of the old maid and 
the thief were sung by Gabrielle Hunt and Robert Gay. Miss Todd 
was sung by Hilda Morse. All three were Curtis students. This comic 
opera, commissioned by The National Broadcasting Company, was 
first performed on the radio April 22. 1939. 

John Wolmut. previously stage director of the Philadelphia 
Opera Company, joined the opera department at Curtis in 1942-43 
and continued until 1950. Dr. Herbert Graf who fled from Europe in 
1934. became head of the department in 1950 and remained in that 
post until 1960 when he resigned to become head of the Zurich Opera 
Company. During his years at Curtis, he was also stage director of the 
Metropolitan Opera. 

As part of the commemorations of the Institute's twenty-fifth 
anni\ ersary. Efrem Zimbalist conducted an evening of opera at the 
Academy of Music on January 6. 1949. John Wolmut was the stage 
director and Elizabeth Westmoreland was the associate music 
director. The operas were: Menotti's first opera. Amelia Goes to the 
Ball; Leoni's L 'Oracolo: and "The Letter Scene" from Eugen Onegin 
by Tschaikovsky. 

In 1956. Herbert Graf staged Efrem Zimbalist's opera. Laiidara. 
It was composed as an eightieth birthday gift for Mary Curtis 
Zimbalist and two all-student performances were conducted by the 
composer in the Academy of Music. 

In 1958. Dr. Graf staged Puccini's Sour Angelica and Gianni 

Martial Singher. the former Metropolitan Opera baritone, 
became head of the Opera Department when Herbert Graf left in 

1960. Mr. Singher inaugurated the practice of presenting scenes from 
operas, and. on occasions, whole acts from standard repertory as 
experiences in opera training. These were given as opera class 
productions within the limitations of Curtis Hall, a small concert 
auditorium, until the workshop was constructed above Curtis Hall. In 

1961. Mr. Singher staged Cosi Fan Ttitte. II Barbiere di Siviglia in 
1963, and La Boheme in 1964. Three Curtis graduates, now members 

of the Metropolitan Opera, had their first training for opera with 
Martial Singher; Judith Blegen, Norman Mittleman, and Benita 

In 1970. Rudolf Serkin invited Max Rudolf, then conductor of 
the Cincinnati Symphony Orchestra, to enlarge the training for 
careers in opera. Students under twenty-six years of age who had 
previously studied elsewhere were admitted to Curtis for additional 

Mr. Serkin and Mr. Rudolf collected a strong faculty and staff. 
The success of the plan was apparent from the beginning. 

Under Mr. Rudolfs direction, Wolf-Ferrari's The School for 
Fathers w&s presented in 1971. It was followed by Handel's Rodelinda 
and a spectacular performance of Richard Strauss' Ariadne auf Naxos 
in 1973. That same year, Mr. Rudolf returned to the MetropoHtan 
Opera to continue his work there. 

In September 1973. Dino Yannopoulos accepted the 
responsibility as head of the Opera Department and continued as 
stage director. Under his leadership. Stravinsky's The Rake's Progress, 
Mozart's The Abduction from the Seraglio, and Donizetti's Don 
Pasquale were produced. These seldom-performed operas-each a 
masterpiece in its own right— were given at the Walnut Street Theatre. 
Philadelphia, with the Curtis Symphony Orchestra in the pit. These 
productions made a contribution to the musical experience of the 

During the 1973-74 year, four operas of the regular repetoire 
were produced in the Curtis Studio: Tosca. Barber of Seville, 
Rigoletto. and Traviuia. 

Since 1970. few changes have been made in the Opera 
Department's personnel. For 1974-75. the faculty includes: Dino 
Yannopolis (Head of the Opera Department and Stage Director); 
David Effron (Principal Conductor of the Opera Department); 
Margaret Harshaw (Vocal Instructor); Otto Guth (Instructor in 
charge of the Special Studies Program of the Opera Department); 
Thomas Fulton (Assistant Conductor and Coach); Chris Macatsoris 
(Coach); Felix Popper (Coach): Rhoda Levine (Drama and Dance 
Instructor); Anna Gregoretti (Italian Diction); Thomas Grubb 
(French Diction); Esther de Bros (German Diction); Anthony 
P. Checchia (Artistic Coordinator and Manager). 

Piano At The Curtis Institute of Music, the study of piano has received great 

emphasis. Josef Hofmann was the leader of the piano facuhy from 
1924 until his resignation in 1938. From 1927 to 1938. he was also the 
Director of the Institute. 

Mr. Hofmann. a recognized master of the keyboard, was 
particularly distinguished for his teaching. He initiated and 
encouraged the superior quality of the program which has been 
carried on by such fine teachers as Wilhelm Bachaus. Jorge Bolet. 
George Boyle. Berthe Bert. Abram Chasins. Austin Conradi. Harry 
Kaufman. Alexander Lambert (until his death in 1929). Lee Luvisi, 
Benno Moisevitch. Mieczyslaw Munz, Nadia Reisenberg. Moriz 
Rosenthal. David Saperton. and Isabelle Vengerova. During the first 
year of the school. Angela Diller. the founder of the Diller-Quaile 
method, was also a member of the faculty: and Wanda Landowska 
taught the harpsicord (1925-28). 

Rudolf Serkin joined the piano faculty in 1939. combining, like 
so many master teachers at the Institute, extensive concertizing with 
brilliant teaching. In 1968. Mr. Serkin added to these activities the 
duties of Director of the Institute. 

In addition to the Director, the present faculty includes 
Mieczyslaw Horszowski. Seymour Lipkin. and Eleanor Sokoloff. Even 
before his New York debut at the age of fourteen. Mr. Horszowski 
had made a number of concert tours of Europe. His international 
reputation as pianist and teacher is of the highest order. Mrs. Sokoloff 
is a graduate of The Curtis Institute and was a student of David 
Saperton. Mary Bok arranged for Eleanor and her husband. Vladimir 
Sokoloff (also a Curtis graduate and a student of Kaufman) to study 
two-piano repertoire with Harold Triggs and Vera Brodsky. Seymour 
Lipkin, also a graduate of Curtis, studied with David Saperton. Jorge 
Bolet. Mieczyslaw Horszowski. and Rudolf Serkin. 

Organ Attention to the organ at The Curtis Institute of Music reflects a 

special interest shared by the founder and her father. Cyrus H. K. 


Lynnwood Farnam. the first instructor, was a distinguished 

Canadian organist and teacher. He had established his work on a firm 

basis before his untimely death in 1930. Dr. Clarence Dickinson 

taught the organ students for the remainder of the term, and 

Fernando Germani was appointed to the faculty at the beginning of 

the 1931-32 academic year. 

On the recommendation of Leopold Stokowski. an early 
addition to the study of organ and composition was the study of 
campanology at the Bok Singing Tower in The Mountain Lake 
Sanctuary. Lake Wales. Florida. Anton Brees. the Belgian 
carillonneur. taught the course from 1929 until 1933. .'\mong his 
students were Lawrence Apgar. Samuel Barber. Robert Cato. 
Alexander McCurdy. Jr.. Gian Carlo Menotti. Remy Mueller. Nino 
Rota, and Carl Weinrich. 

In 1933. the teaching of organ and carillon was suspended. Two 
years later, when .Me.xander McCurdy. Jr.. a student of Lynnwood 
Farnam, became instructor in organ, it was decided not to reinstate 
the study of carillon. In addition to the mastery of the organ. 
Dr. McCurdy trained his students to be choirmasters: encouraged 
them to study voice: coached them to conduct from the console: and 
taught them anthem and oratorio accompaniments. 

Alexander McCurd) was also organist and choirmaster at the 
First Presbyterian Church in Philadelphia for forty-four years and 
taught for twentv-five years at Westminster Choir College in 
Princeton. New Jersey. 

Dr. McCurdy continued in his position until 1972 when his 
student. John Wea\er. assumed the post. Mr. Weaver is continumg 
the breadth of instructions de% eloped by Alexander McCurdy. He is 
also organist and choirmaster of the Madison .Axenue Presbyterian 
Church. New York City. 

Violin Carl Flesch was instructor of Violin at Curtis from 1924 to 1928. One 

of the world's foremost teachers and performers, he set the tone for 
the equally distinguished artists who followed. 

Leopold Auer. who taught Efrem Zimbalist. Jascha Heifetz, 

Mischa Elman. and Toscha Seidel. came to the Institute in 1928 and 
remained until his death in 1930 at the age of eighty-five. Mr. Auer's 
long and distinguished career endeared him to students and audiences 
the world over. 

Efrem Zimbalist joined the violin faculty in 1928 and taught for 
forty years. Although he accepted the duties of Director of the 
Institute June 1. 1941. he continued to teach and to compose until his 
retirement in May 1968. 

During the first ten years, other members of the violin faculty 
were: Vera FonaroflT, Frank Gittleson, Richard Hartzer, Sacha 
Jacobinofl". Michael Press, and Emanuel Zetlin. Lea Luboshutz taught 
from 1927 until her retirement in 1947. Alexander Hilsberg joined the 
department in 1930 and remained for twenty-three years. For one 
season (1936-37). Ruvin Heifetz. father of Jascha. 
also taught at Curtis. 

In addition to the years of teaching Efrem Zimbalist gave to 
students of violin, their opportunities have also been increased by 
Ivan Galamian who joined the faculty in 1944 and continues to teach. 
Mr. Galamian has great skill in developing the best in each student 
while correcting his difficulties. Mr. Galamian was born in Tahrig. 
Persia in 1906: graduated from The Moscow Philharmonic Institute in 
1922: and then studied with Lucien Capet in Paris in 1923-24. He 
gave recitals in France and Germany before emigrating to the United 
States. He is presently on the staff' of the JuiUiard School of Music as 
well as The Curtis Institute of Music. 

Oscar Shumsky. a student of Efrem Zimbalist, was graduated 
from Curtis in 1936. and returned to teach from 1961 to 1965. 

In addition to Ivan Gamamian. there are currently four other 
teachers of the violin— all graduates of The Curtis Institute of Music. 

Jascha Brodsky, student of Efrem Zimbalist, joined the faculty 
in 1956. He has played first violin in the Curtis String Quartet since 
1932. Jaime Laredo joined the faculty in 1971. He studied with Mr. 
Galamian. Yumi Ninomiya Scott, w ho has played second violin in the 
Curtis String Quartet since 1969. began to teach the following year. 
She studied with Mr. Galamian and Paul Makanowitzky. Arnold 
Steinhardt, also a student of Ivan Galamian and a member of the 
Guarneri Quartet, graduated from the Institute in 1959. He joined the 
facultv for Chamber Music in 1968 and for violin 1972. 

Viola During the 1924-25 season, Louis Svecenski was appointed to teach 

viola. Louis Bailly arrived shortly afterward to become a force at The 
Curtis Institute. Mr. Bailly was the instructor of viola and leader of 
chamber music from 1925 to 1941. William Primrose joined the 
faculty in 1942 and remained until 1951. 

Karen Tuttle became Mr. Primrose's assistant even before her 
graduation from Curtis, succeeded him in 1951, and taught for 
four years. 

The present faculty for the viola are graduates of The Curtis 
Institute. Max Aronoffwas the first student to enter the building the 
day the first classes began. He taught from 1929 to 1943 and rejoined 
the faculty in 1956. Mr. Aronoff is a founding member of the Curtis 
String Quartet. As founder of The New School of Music, he has 
divided his time between teaching and training string players for 

Joseph de Pasquale (Curtis '42) joined the faculty of the 
Institute in 1964. He had studied with Aronoff", Bailly and Primrose 
and was formerly principal violist in the Boston Symphony Orchestra. 
He is now principal violist with The Philadelphia Orchestra and a 
member of the de Pasquale Quartet. 

Michael Tree joined the faculty in 1968 and is a member of the 
Guarneri Quartet. Mr. Tree also was graduated from The Curtis 
Institute of Music, where he studied violin with 
Lea Luboshutz and Efrem Zimbalist. 

Violoncello During the first season, the instructors in violoncello were Horace 

Britt and Michael Penha, the solo violoncellist of The Philadelphia 
Orchestra. At the beginning of the second season { 1 925-26), Felix 
Salmond, the London-born graduate of the Royal College of Music 
joined the faculty and continued to teach until his resignation in 1943. 
For several years he was assisted, in turn, by his students, Stephen 
Deak, Leonard Rose, and Orlando Cole. Felix Salmond was not only 
one of the most distinguished violoncellists of his time, but as a 
teacher at both The Curtis Institute and the Juilliard School of Music, 
he had an unequalled influence on a generation of highly-gifted 

Emanuel Feuermann joined the faculty in 1941. What was 
expected to be long tenure was cut short the first season bv his tragic 

death in 1942 at the age of thirty-nine. His career was short, but he is 
placed among the greatest of all string players. 

Mr. Feuermann was succeeded by another great violoncellist, 
Gregor Piatagorsky. who remained with the Institute until 1951 when 
the demands of his concert schedule forced him to resign. His place 
was taken by a graduate of the school, Leonard Rose, then beginning 
his own distinguished solo career. Like Felix Salmond, he was also 
teaching at Juilliard. In 1953. he was joined by Orlando Cole. Because 
of the pressures of concertizing, he resigned in 1963, and Mr. Cole 
assumed the faculty post. 

Orlando Cole has been associated with The Curtis Institute from 
its first year, as a student and then as a teacher with the longest tenure 
among the instructors of violoncello. He is also a founding member of 
the Curtis String Quartet. Mr. Cole has had the pleasure of seeing his 
son, David, graduate as one of his students. 

Previously a student of Emmet Sargent and Emanuel 
Feuermann. David Soyer was appointed to the faculty for violoncello 
in 1968. Mr. Soyer is also the "cellist of the Guameri Quartet. 

Double Bass From 1926 to 1942 and from 1947 to 1948, Anton Torello taught 

double bass at The Curtis Institute of Music. His tenure as principal 
double bass player of The Philadelphia Orchestra was longer, from 
1914 to 1948. Carl Torello (Curtis 35) also a member of The 
Philadelphia Orchestra from 1934 to the present time, was a substitute 
for his father. Anton Torello from 1942 to 1947. Roger M. Scott 
(Curtis "41 ) has been principal double bass player of The Philadelphia 
Orchestra since 1948 and has been on the faculty of The Curtis 
Institute of Music during this same period. 

They have had the distinction of being among the first 
performers and teachers in the country to stress the solo qualities of 
their instrument. 

Individual and class instruction with participation in solo, class, 
chamber music, opera, and orchestra performances have provided 
their students with experience in many kinds of playing. This multi- 
faceted approach has resulted in the development of a significant 
number of nationally recognized instrumentalists and teachers who 
have continued this long tradition of fine musicianship. 

Hai'p Carlos Salzedo taught harp at The Curtis Institute of Music from 1924 

until his death in 1961. He was graduated from the Bordeaux 
Conservatory and from the Paris Conservatory, where he won first 
prize both for harp and piano. 

Salzedo was brought to this country by Gatti-Casazza and 
Toscanini to be solo harpist at the Metropolitan Opera. After several 
years, he left the opera company and became a leading soloist both in 
this country and abroad before he began his illustrious teaching. He 
was the first to bring attention to and respect for the harp from 
conductors and musicians. Very little had been composed for the harp 
before his time, and Mr. Salzedo composed and transcribed, with 
impeccable taste, many works constantly performed in the harp 
repertoire today. Mr. Salzedo designed and supervised the 
construction of his own harp, which has become a model for 
contemporary harps. Carlos Salzedo was a master teacher who not 
only passed on the traditions of great music but added to them and 
taught his students to be fine performers as well as master teachers. 
His work at The Curtis Institute and the work of his students world- 
wide have created a new chapter in the history of an old instrument. 

Edna Phillips, a student of Carlos Salzedo and a graduate of the 
Institute, was the first woman Co become a member of a major 
orchestra in this country. Leopold Stokowski invited her to join The 
Philadelphia Orchestra as first harpist in 1930. After a brilliant career, 
she left the Orchestra in 1946. 

Mr. Salzedo established The Harp Colony of America at 
Camden, Maine where students from all over the world come to study 
during the summer. He appointed Alice Chalifoux, first harpist of The 
Cleveland Orchestra, to carry on his work there. Miss Chalifoux 
arrived in Camden a few days after his sudden death. The Colony has 
now completed its forty-third year and continues successfully. Alice 
Chalifoux is assisted in teaching at the Colony by her niece, Jeanne 
Chalifoux. Both artists were students with Carlos Salzedo at The 
Curtis Institute from which they graduated in 1934 and 1951, 

Marilyn Costello, first harpist of The Philadelphia Orchestra 
and a graduate of the Institute, currently teaches harp at her alma 
mater as successor to Mr. Salzedo. 

Flute William Kincaid, generally recognized as the outstanding flutist of his 

time, was the first instructor of flute at The Curtis Institute of Music. 
He had been a student of the renowned French flutist. George 
Barrere, and had joined The Philadelphia Orchestra in 1921 as solo 
flutist. Mr. Kincaid taught from 1924 until forced 
by ill health to retire in 1967. 

Mr. Kincaid selected John Krell, a Curtis graduate and member 
of The Philadelphia Orchestra, to succeed him. Mr. Krell resigned 
from the Institute in 1971 to write Kincaidiana— 
A Flute Player's Notebook. 

In 1970, Murray Panitz was named solo flutist of The 
Philadelphia Orchestra and was invited to teach at the Institute. 
Mr. Panitz had studied with Joseph Mariano, an early graduate of 
Curtis, who is now on the faculty of the Eastman School and who was 
formerly principal flutist of the Rochester Philharmonic Orchestra. 

A large number of solo flutists in leading orchestras throughout 
the United States are former Curtis students of 
Mr. Kincaid and his successors. 

Oboe Marcel Tabuteau, a graduate of the Paris Conservatory, first played 

the English Horn in the New York Symphony (the present 
Philharmonic) under Walter Damrosch. In 1907, he became solo 
oboist at the Metropolitan Opera under Toscanini and in 1915, he 
joined Stokowski and The Philadelphia Orchestra. In 1925, he came 
to The Curtis Institute to teach oboe and to develop a woodwind 
ensemble, which he led until his retirement in 1954. 

Twelve years after the founding of the Institute, about seventy- 
five percent of the woodwind sections of American orchestras were 
made up of former Curtis students. Tabuteau had created a school of 
oboe playing that set new standards. It brought renown to himself and 
great opportunities to his students. 

John de Lancie succeeded Marcel Tabuteau as first oboist with 
The Philadelphia Orchestra and as instructor of oboe at The Curtis 
Institute of Music. He had entered the school in 1936 to become 
Mr. Tabuteau's student and was graduated in 1940. In 1950. he 
helped organize The Philadelphia Woodwind Quintet. In 1965, he 
succeeded William Kincaid as director of the Woodwind 
Ensemble at The Curtis Institute. 

Clarinet At The Curtis Institute of Music, the study of the clarinet has been 

greatly influenced by Daniel Bonade who taught eight years: 1924-28. 
1931-33. and 1940-42. He was succeeded by Lucien Cailliet (1928-30); 
Louis de Santis (1930-31), Robert McGinnis (1934-40), Bernard 
Portnoy( 1943-47). Ralph MacLane (1947-51), 
and Anthony Gigliotti (1951- ). 

Mr. Gigliotti (Curtis '47) has played with The Philadelphia 
Orchestra for twenty-five years and is its solo clarinetist. Since 
woodwind instruments are really an extension of the human voice, 
the direct relationship between singing and playing is taught by 
Mr. Gigliotti. Precise physiological terms have replaced vague 
terminology in teaching the concepts of breath 
control and tone production. 

Long hours spent by Mr. Gigliotti in helping his students with 
faultv or inadequate equipment have resulted in improvements on the 
clarinet, ligature, and mouthpiece. Mr. Gigliotti is a consultant to the 
Selmer Instrument Company, and helped to develop the Series lOG 
clarinet which he plays in The Philadelphia Orchestra. 

Former students of the clarinet at Curtis occupy important posts 
from Israel to Hong Kong as well as in the United Stales. 

Bassoon J. Walter Guetter. the first instructor of the bassoon at Curtis 

(1925-32). was a member of the illustrious family of Guetter and 
Moennig, makers of string and wind instruments for centuries. He 
brought to the first students a nobility of tone and phrasing that is still 
a model for bassoonists who treasure the Victor 78's made under 
Stokowski's direction. During the periods 1928-39 and 1944-46, Mr. 
Guetter's assistant, Ferdinand Del Negro, also taught 
bassoon and contrabassoon. 

Simon Kovar taught the bassoon at Curtis from 1939 to 1942, 
the year in which the entire Wind Department was discontinued 
because of the war. 

Sol Schoenbach, a student of Simon Kovar, who had been 
appointed to The Philadelphia Orchestra in 1937, joined the Curtis 
facultv in 1943, and in 1944 found himself in the same infantry 
regiment with one of his students. 

Ferdinand Del Negro again taught from 1944 to 1946 when 
Mr. Schoenbach returned from the war to The Philadelphia Orchestra 

and to the faculty of The Curtis Institute of Music. 

Sol Schoenbach left The Philadelphia Orchestra in 1957 to 
become Executive Director of the Settlement Music School where he 
continues with outstanding success. 

In response to the many technical problems that bassoonists 
have to cope with, Mr. Schoenbach introduced such additions to the 
instrument as a high E key. coupHng of low E/F. low C#/D# trill 
and other improvements. These could not have been accomplished 
without the expertise of W. Hans Moennig. For his students. Sol 
Schoenbach has written several bassoon works, a Solo Book, an 
editing of Weber's Concerto in F. a transcription of RaveVs A Iborado 
del Grazioso, 10 Vilvaldi Bassoon Concerti with piano 
accompaniments realized by William Winstead. a Curtis graduate, 
and a book of 20th Century Orchestra Studies. 

Because of their training and talent, graduates in bassoon at the 
Institute continue to fill chairs (in most instances, the first chair) of 
orchestras around the world and to teach in universities and 
conservatories throughout the United States. 

Horn Anton Horner, a member of The Philadelphia Orchestra, taught horn 

at The Curtis Institute of Music from 1924 to 1942. James Chambers, 
one of his students, taught during World War II. In 1946, another of 
his students. Mason Jones, succeeded Mr. Chambers and continues in 
that position. During these years. Mr. Jones has also been principal 
horn player of The Philadelphia Orchestra. 

Both Mr. Chambers and Mr. Jones followed their celebrated 
teacher's concept of tone production-sonorous, with emphasis on 
legato phrasing. Mr. Horner was the first American player to take part 
in the development of the silver double horn, which combines two 
single horns into one instrument. Both Mr. Chambers and Mr. Jones 
use the silver double horn. 

Since 1967, Mason Jones has taught the brass ensemble. He has 
also introduced horn ensemble sessions which are extremely 
important because most classical horn writing is in four-part 
harmony. He also collects and plays antique horns. 

Graduates of the Curtis have dominated the Horn Section of 
The Philadelphia Orchestra for decades, and their influence has been 
felt in other major orchestras. 

Trumpet Saul Caston set the high standard of musicianship for students of the 

trumpet whom he taught at The Curtis Institute of Music from 1924 
to 1942. 

Mr. Caston shared with the men who followed him. namely. 
Samuel Krauss ( 1947-68) and Gilbert Johnson ( 1969- ) the 
distinction of occupying the first desk of the Trumpet Section of The 
Philadelphia Orchestra. 

Samuel Krauss learned from his Supplementary Piano lessons 
with Martha Massena and William Harms. Josef Hofmann's idea of 
practicing sustained notes and trills. He adapted them in his own 
practice and teaching to good effect. 

Gilbert Johnson stresses not only musicianship and technique, 
but ensemble playing within the group of trumpet players. 

The standard set by Mr. Caston has continued to be the 
hallmark of the trumpet faculty. Curtis graduates in Trumpet are 
distinguished members of fine orchestras and successful teachers. 

Trombone since 1924. plaving the trombone and tuba has been taught by the 

and Tuba following instructors: Gardell Simons (trombone) 1924-30: Paul Lotz 

(trombone) 1925-26: Philip DonateHi (tuba) 1928-42: Charles 
Gerhard (trombone) 1931-42: Charles Gusikoff (trombone and brass 
ensemble) 1947-66: Henry Smith (trombone, tuba, and brass 
ensemble) 1966-67: M. Dee Stewart (trombone) 1967- : Abe 
Torchinsky (tuba) 1967-72: Glenn Dodson (trombone) 1969- : and 
Paul Krzywicki (tuba) 1972- 

The instruction on these instruments includes not only private 
lessons, but a weekly class as well. Initiated by Mr. Stewart, the class 
covers the entire standard orchestral literature and explores the 
sizable listing of trombone ensemble literature. Compositions and 
arrangements for trombone ensembles with pubhcation possibilities 
are explored. Also studied is the orchestral literature for tenor tuba 
and bass trumpet. 

Important posts occupied by former Curtis students of the 
trombone and the tuba range from solo instrumentalists with the La 
Scala Opera Orchestra and The Columbia Symphony Orchestra 
(Bogota) to first chairs of fine orchestras in this country and teaching 
positions in a variety of educational institutions. 

Percussion The highly respected and beloved Oscar Schwar taught the percussion 

instruments at The Curtis Institute from 1925 until 1942. Members of 
the audiences of The Philadelphia Orchestra do not forget the rapt 
attention he gave the conductors and the joy he showed when he 
played his tympani. 

Like Mr. Schwar, his successors at The Curtis have been 
principal percussionists of The Philadelphia Orchestra. He was 
followed by Leonard Schulman (1947-50); David Grupp (1950-53); 
Fred Hinger (1953-68). The current instructor, Gerald Carlyss, was 
appointed in 1968. Like Mr. Schwar, he plays the tympani with 

In his teaching, Mr. Carlyss emphasizes musicianship and 
playing musically as well as the techniques of teaching percussion 
instruments. He gives careful attention to full utilization of the 
particular sound of each specific instrument and to the blending of 
that sound with ensembles or the entire orchestra. 

Instruction in maintaining and repairing the numerous 
percussion instruments used in the modern orchestra is also an 
integral part of his teaching. 

1 heory and During the first two years. Rosario Scalero taught not only 

Composition composition and history of music but also theory. Angela Diller. 

founder of the Diller-Quaile School and Method, taught piano as well 
as theory for the first year. Renee Longy and Anne-Marie Soffray 
came to teach solfege. Their years of teaching developed scores of 
devoted and grateful students. Renee Longy taught until 1941; 
Mr. Scalero retired in 1946; and Anne-Marie Soffray continued to 
teach until her death in 1957. 

By the third year, interest had grow n in the courses which 
comprise Music Theory. They are theory fundamentals, counterpoint, 
solfege. analysis (music from the ninth to the twentieth century), and 
twentieth centurv music. So Mr. Scalero could concentrate on 
teaching composition. Reginald Owen Morris was appointed to the 
faculty for Music Theory. Mr. Morris had received his training at the 
Roval College of Music. London and then taught harmon\ and 
composition there. He was assisted in 1926-28 by Herbert Sumsion; 
then by Ernest Zechiel in 1928-33. In 1939. Richard Stohr from 
Vienna became instructor in theory with Constant Vauclain who had 
just graduated from Curtis and showed consummate ability to teach 
composition as well as theory. Mr. Vauclain remamed 
on the faculty until 1963. 

George Rochberg taught form and analysis at Curtis from 1948 
to 1954 and then began to teach at the University of Pennsylvania. 
Luigi Zaninelli (Curtis '55) taught theory for two years and was 
succeeded bv Dr. Matthew Colucci who remained 
al the Institute until 1971. 

Rudolf Serkin increased the emphasis given to theorv by Mary 
Bok. and selected Robert Levin, a student of Nadia Boulanger. to 
assist in this endeavor ( 1968-73). 

During the current year, the teachers of theory are; Edward 
Aldwell. Ford Lallerstedt. David Loeb. and Annie Petit. 

Gian Carlo Menotti taught composition from 1941 to 1955 and 
continued alone after Mr. Scalero retired in 1946. He was succeeded 
by Bohuslav Martinu. who remained one year. 

Vittorio Giannini was instructor from 1956 to 1960. Illness 
forced him to take a leave of absence for three years and Constant 
Vauclain took over his work. Mr. Giannini remained only one year 
after his return and resigned in 1964. Nicholas Flagello 

taught until 1965. 

Currently, compositon is taught by Myron Fink, who also 
teaches at Hunter College. 

As instructor of composition from 1924 to 1946, Rosario Scalero 
exerted great influence. He had studied with Eusebius Mandyszewski, 
a student of Johannes Brahms and had won the Distinguished 
Academicians Award at the Royal Academy of St. Cecilia in Rome. 
He was also a founder of the Societa de Quartetto. Demonstrating the 
attributes Mrs. Bok wished in the faculty, he was a scholar, untiring as 
a teacher, and demanding, yet respectful of individuality. 

Many of his students have not sought the career of the 
composer, but have become musicologists or distinguished teachers. 
Among those who have composed, there is wide variety. 

Samuel Barber taught composition and Madrigal Chorus at 
Curtis from 1938 until 1946, and since then has concentrated on 
composing songs, chamber music, symphonies, and operas. His 
second opera. A nilwnv and Cleopatra, produced in 1966. 
was his Opus 40. 

Marc Blitzstein's The Cradle Will Rock was a success on 
Broadway and was followed by Regina, an operatic version of Lillian 
Hellman's The Little Foxes. 

Edith Evans Braun both composed choral music and taught 
Elements of Music at the Institute from 1944 to 1969. 

Lukas Foss succeeded Schoenberg as professor of composition 
at the University of California at Los Angeles and taught there for ten 
years. As Conductor and Music Director of The Buflalo Phiharmonic 
Orchestra, he has strongly supported composers of the avant-garde. 
His own compositions are award-winning and in the contemporary 

Robert Kelly combines composing with teaching compositon at 
the University of Illinois at Urbana-Champaign. 

Gian Carlo Menotti is internationally known for his operas, his 
librettos, and the unique productions of his own works. 

George Rochberg's compositions have been widely played, and 
at the University of Pennsylvania he was chairman of the Department 
of Music (1960-68) and now continues as professor of music. 

Nino Rota has become one of the leading composers for the 
Italian and American cinemas. 

Constant Vauclain is an associate professor in the Department 
of Music at the University of Pennsylvania. 

Two students of conducting have gone on to win acclaim as 
composers. Leonard Bernstein studied solfege with Renee Longy 
(Miquelle), orchestration with Randall Thompson, and conducting 
with Fritz Reiner. Vincent Persichetti, who also studied conducting 
with Fritz Reiner, has been chairman of the Composition Department 
at the Juilliard School since 1963. 

Mary Bok tried to provide talented teachers for talented 
students. She worked to train not only performing artists but teachers 
and composers as well. She believed the future of music obviously 
required the study and teaching of composition. 

Supplementary This exceptional course is required of all students excepting those who 

Piano are accepted as piano majors. The purpose of this requirement is to 

develop general musicianship in those who sing or play other 

During the first twenty years of the Institute, instructors 
included Jeanne Behrend ( 1936-43). William Harms ( 193 1-40), and 
Vera Resnikoff (1925-32 and 1938-40). all students of Josef Hofmann; 
Eleanor Sokoloff (1936-49). a student of David Saperton: and 
Vladimir Sokoloff (1938-46 and 1948-68) who studied accompanying 
with Harry Kaufman. Mr. Sokoloff was asked especially to teach the 
organ students. 

The four instructors who now give this important course are 
graduates of Curtis. Martha Halbwach Massena. a student of 
Josef Hofmann. began to teach and to accompany even before her 
graduation. Freda Pastor, a student of David Saperton and Harry 
Kaufman, joined the faculty in 1937. Marian Zarzeczna has taught at 
Curtis since 1962. She studied with Mieczyslaw Horszowski. Diedre 
Irons, who studied with both Mr. Horszowski and Rudolf Serkin. has 
been teaching supplementary piano since 1969. 


The student orchestra of The Curtis Institute of Music is well known 
and its relationship with The Philadelphia Orchestra is now a half- 
century old. Prior to the founding of the Institute. The Philadelphia 
Orchestra drew its musicians from Europe, seldom from America. 
Now, American orchestras are almost entirely American-trained. 
Before 1930, American students went to Europe for study; now it is 
not necessary. The Institute played a major role in this change. 

In his monumental study of the growth of the symphony 
orchestra in America, Orpheus in the New World. Philip Hart writes: 
"Many elements have gone into the making of the Philadelphia 
sound— the acoustics of the Academy of Music, the selection of superb 
individual virtuosos (sic) and their blending into the ensemble, and a 
tradition of instrumental quality fostered by a symbiotic relation 
between the orchestra and The Curtis Institute of Music." 

He elaborates on this theme— speaking of the harmony this 
relationship has developed within The Philadelphia Orchestra itself. 
"This cohesive esprit de corps" he writes, "has been fostered by the 
fact that over sixty percent of them had studied with current or past 
members of the orchestra, either privately or at The Curtis Institute of 
Music, a circumstance contributing to the orchestra's artistic quality 
and continuity. 

From the first planning The Curtis Institute of Music, Mrs. 

Bok had sought advice of Leopold Stokowski. Mary and Edward Bok 
had been his friends at least eight of the ten years he had then been 
conducting in Philadelphia. Some of the results of this friendship are 
described in a letter to Cary Bok from Orville" Bullitt, written in 1967 
when Mr. Bullitt was Chairman of the Board of Directors of The 
Philadelphia Orchestra. 

"Mr. Bok who always gave anonymously and was the 
'unknown donor.' in 1916 pledged that he would make up the 
annual deficit of the Orchestra each year until an Endowment 
Fund was raised. This deficit ran as high as $54,000 a year. 

"Mr. Stokowski once told me of his first meeting with your 
Father. When Stokowski came to Philadelphia he was not 
permitted to rehearse in the Academy, but had to crowd the whole 
Orchestra into a small room. He felt that such conditions were 
impossible and that he could never develop a great Orchestra. He 
recalled that one night a stranger came to his dressing room after 
the concert and said, i understand you have no good place for 
rehearsals. My name is Edward Bok.' From then on your Father 
was a tower of strength to Stokowski. He made arrangements that 
the Academy would allow at least one rehearsal before a concert 
and. finally, talked them around to letting all rehearsals be held 
there. Mr. Bok then guaranteed the deficit, but told Mr. Stokowski 
that that was not a permanent solution for the Orchestra's problem 
and that we should have at least a $2,000,000 Endowment Fund, 
the drive for which he proceeded to organize. "I have often heard 
this account, but I suppose there are few now left who know about 
it, but in Stokowski's words, 'we would not have had the great 
Philadelphia Orchestra without Mr. Bok.' " 

Leopold Stokowski's interest in youth and education were 
naturally well received by Mary Bok. As first conductor of the student 
orchestra, he chose Michael Press (1924-25) and Thaddeus Rich 
(1925-26) to be associate conductors. 

Teaching the various instruments were: Daniel Bonade 
(clarinet); Saul Caston (trumpet): Philip Donatelli (tuba); William 
Guetter(ba.ssoon): Anton Horner (horn); William Kincaid (flute): 
Oscar Schwar (tympani and battery); Gardell Simons (trombone); 
Marcel Tabuteau (oboe); and Anton Torello (bass). As a teaching 
procedure. Mr. Stokowski asked these instructors to sit beside their 

students and to participate in the rehearsals. 

The Curtis Symphony Orchestra met for the first time on 
November 14, 1924 with Leopold Stokowski and Michael Press 
conducting. The orchestra gave concerts in Carnegie Hall. New York; 
Symphony Hall. Boston; The Lyric Theatre. Baltimore: and 
Constitution Hall. Washington, D. C. The young orchestra 
participated in many coast-to-coast broadcasts with the Columbia and 
National Broadcasting Company networks. 

During 1927-28. .Arthur Rodzinski, assistant conductor of The 
Philadelphia Orchestra, became conductor of The Curtis 
Symphony Orchestra. 

When Emil Mlynarski succeeded Mr. Rodzinski in 1929, 
members of the orchestra took part in the productions of the 
Philadelphia Grand Opera Company. 

In 193 1. Mr. Mlynarski was succeeded by Fritz Reiner who 
directed the orchestra until 1941. The brilliant work of Fritz Reiner 
was most regretfully discontinued during the academic vear of 
1942-43 when many students joined the Armed Services. This 
interruption of the orchestra's development lasted five years. 

During his ten years at the Institute. Fritz Reiner gave 
instruction in conducting to students who have gone on to varied 
careers. Only a few can be listed at this time because of the 
incompleteness of our records: 

Leonard Bernstein. Conductor Laureate of the New York 
Philharmonic: the late Saul Caston. Assistant Conductor of The 
Philadelphia Orchestra under Stokowski and later Conductor of the 
Denver Symphony Orchestra: Lukas Foss, Music Advisor and 
Conductor of the Kol Israel Orchestra and former Conductor of The 
Buffalo Symphony Orchestra from 1962 to 1970: Boris Goldovsky. 
President of the Goldovsky Opera Institute and commentator on the 
Metropolitan Opera weekly broadcasts; Walter Hendl served as 
Conductor of the Chicago and Dallas Symphony Orchestras and as 
Director of the Eastman School of Music: Sylvan Levin, formcrlv 
Staff" Conductor for The Mutual Broadcasting System, New York; 
Joseph Levine. .Assistant Conductor of the Honolulu Symphonv 
Orchestra and The Ballet Theatre and formerly Conductor of the 
Omaha Symphony and Assistant Conductor of the Seattle 
Symphony; Alfred Mann, Conductor of The Bach Choir in 

Bethlehem, Pennsylvania: Seymour Lipkin, Music Director of the 
New York City Center Jeffrey Ballet Company and Music Director of 
the Huntington, Long Island Symphony; Howard Mitchell, former 
Conductor of the National Symphony Orchestra, Washington, D. C; 
Vincent Persichetti, Head of the Composition Department at the 
Juilliard School of Music; Ezra Rachlin, formerly Chief Conductor of 
the Queensland (Australia) Symphony Orchestra; Louis Vyner. Music 
Director of the Reading and the Lancaster (Pennsylvania) Symphony 
Orchestras; and Hugo Weisgall. with wide experience in conducting 
in Europe and presently Associate for Education at the Lincoln 
Center for the Performing Arts, New York. 

Others who studied after the Reiner era and became conductors 
are: Ling Tung graduated in violin and is now Conductor of The 
Philharmonia Orchestra and Director of the Grand Teton Music 
Festival, Jackson Hole, Wyoming. Thomas Schippers, Music Director 
of the Cincinnati Symphony Orchestra and guest Conductor at the 
Metropolitan Opera studied organ with Alexander McCurdy at the 
Institute. Jose Serebrier was named Associate Conductor of the 
American Symphony Orchestra when he was twenty-three years old 
by Leopold Stokowski and was named Composer-in-Residence of the 
Cleveland Orchestra by George Szell from 1968 to 1970. 

At the end of the war years, Alexander Hilsburg who was the 
Assistant Conductor of The Philadelphia Orchestra and its 
concertmaster, was appointed Conductor of The Curtis Symphony 
Orchestra. Mr. Hilsberg had been a student of Leopold Auer at the 
St. Petersburg Conservatory from where he graduated in 1917. He 
resigned his position in 1953 to become Music Director of The New 
Orleans Philharmonic Symphony Orchestra. Many graduates of The 
Curtis Institute played with Mr. Hilsberg in New Orleans and went on 
to positions in major orchestras. 

William Smith, Assistant Conductor of The Philadelphia 
Orchestra, succeeded Mr. Hilsberg as Conductor of The Curtis 
Symphony Orchestra. 

One of Rudolf Serkin's first decisions in 1968 was to invite 
Eugene Ormandy to conduct The Curtis Orchestra and to supervise 
the training program. Mr. Ormandy's generous acceptance began a 
brilliant new era in the history of The Curtis Orchestra. Mr. Ormandy 
occasionally invites guest conductors to lead the orchestra. William 

Smith rehearses the students in a weekly session. 

On February 4. 1973. The Curtis Symphony played in the 
Academy of Music with Maestro Ormandy conducting and the 
Director of the Institute, Rudolf Serkin, as soloist. It was an historic 
and triumphant occasion. 

James Felton of The Evening Bulletin, February 5, 1973, wrote: 
"The school fielded a group of young players to the size of a full 
modern symphony orchestra. This was the unknown quantity. Just as 
interesting was the fact that Eugene Ormandy, conductor of The 

Philadelphia Orchestra, had put his prestige on the line to lead it It 

was immediately clear that Ormandy has shaped an orchestra of 
amazing professional playing. The group is nothing less than a junior- 
league version of The Philadelphia Orchestra itself. The uncanny 
balance of precision and passion that is Ormandy "s great gift, was 
extended from his world-famous orchestra to the Curtis musicians." 

David Effron joined the Opera Department in 1970. He leads 
The Curtis Orchestra in reading and studying the standard repetoire 
as well as conducting public concerts. Mr. Effron continues as 
principal conductor of the Opera Department. 

At present, the faculty for Orchestra is: Eugene Ormandy, 
David Effron, and William Smith. 

Graduates and Former Students Who Are Members of Major Orchestras for 1973-74 Season 

Orcltestra Principals Total Number Orchestra Principals Total Number 

Baltimore Symphony 

Boston Symphony 

The Buffalo Philharmonic 

Chicago Symphony 

Cincinnati Symphony 

The Cleveland 

The Dallas Symphony 

Denver Symphony 

Detroit Symphony 

The Houston Symphony 

Kansas City Phi 

Los Angeles Philharmonic 
















7 and Conductor 






















8 and Associate 

Montreal Symphony Orchestra 
National Symphony Orchestra 
New Jersey Symphony Orchestra 
The New Orleans Philharmonic- 
Symphony Orchestra 
New York Philharmonic 
The Philadelphia Orchestra 
The Pittsburgh Symphony Orchestra 
Rochester Philharmonic Orchestra 
Saint Louis Symphony Orchestra 
San Francisco Symphony Orchestra 
Seattle Symphony Orchestra. Inc. 
The Toronto Symphony Orchestra 
Utah Symphony 
Metropolitan Opera Orchestra 



























Chamber Equally important to faculty and students, and enjoyed by all. 

Music Chamber Music has been a fundamental part of training and 

education at The Curtis Institute of Music. From the first semester 
until the week of graduation, the opportunities for students to 
perform with others are limited only by time and floor space. Each 
year these opportunities have been increased and more appreciated. 

Ensemble playing of the quality expected at Curtis not only 
requires mastery of the instrument by the student but also self- 
mastery. It is a rigorous training. At the Institute, ensembles have 
been developed for the strings, woodwinds, and the brasses. Within 
the instrumental sections such as harp and trumpet, there are 
ensembles wherever the literature provides interesting compositions. 
Both instructors and students have arranged music 
for their ensembles. 

Louis Bailly (violist) directed the Chamber Music Department 
from 1925 to 1941. Before coming to the Institute, he had been violist 
for seven years in the Flonzaley Quartet. Grove's Dictionary of Music 
and Musicians (Edition of 1942) says of the Flonzaley Quartet: 
"Founded in 1902, this distinguished ensemble was recognized 
everywhere for the finish, brilhance, and beauty of its tonal quality." 
Mr. Bailly conveyed to his students the discipline and tradition of 
which he had been a part. In 1928 he began a highly successful series 
of concerts at the Philadelphia Museum of Art, which featured 
premieres and works of unusual interest. 

A discussion of ensemble playing cannot be complete without 
reference to the art of accompanying. Harry Kaufman (1925-41) 
taught accompanying and many of his students have achieved 
positions of prominence. Ralph Berkowitz accompanist for 
Piatigorsky; Joseph Levin accompanist for Szigetti; and Vladimir 
Sokoloff for Zimbalist show that accompanying is a speciality of its 
own and requires more than the usual skills demanded 
for ensemble playing. 

The String Ensemble 
In 1926, four faculty members— Carl Flesch (first violin), Emanuel 
Zetlin (second violin). Louis Bailly (viola), and Felix Salmond 
(violoncello)— gave a series of concerts. They were called 
The Curtis Quartet. 

A student group was formed in 1927 called The Swastika 
Quartet. It took the name of the residence of Mary and Edward Bok 
in Merion, Pennsylvania where the first concerts were given. The 
house had been called "Swastika" in the early years of the century by 
their friend. Rudyard Kipling, in recollection of a drawing of that 
ancient symbol made by Rudyard Kipling's father. 

The Swastika Quartet made its New York debut in 1928 and 
also gave concerts in Boston and Chicago. The members were Gama 
Gilbert (first violin). Benjamin Sharlip (second vioUn). Max Aronoff 
(viola), and Orlando Cole (violoncello). Gama Gilbert withdrew and 
Jascha Brodsky became first violinist in 1932 when the name was 
changed to The Curtis String Quartet. The Quartet performed in 
London at the Silver Jubilee of King George V and 
Queen Mary in 1935. 

Jascha Brodsky, Max Aronoff, and Orlando Cole have 
continued as members of The Curtis String Quartet. The second 
vioUnist is now Yumi Ninomiya Scott. 

William Primrose took Louis Bailly's place as coach 
of Chamber Music in 1941. 

Jascha Brodsky returned in 1955 to teach violin and to coach the 
string ensembles. With the increasing interest in Chamber Music, this 
faculty has been enlarged and now includes Jascha Brodsky, Isidore 
Cohen, Felix Galimir, Mischa Schneider, Arnold Steinhardt, 
and Michael Tree. 

The Woodwind Ensemble 
As first director of the Woodwind Ensemble, Marcel Tabuteau greatly 

enjoyed this opportunity. As an artist and a master of his instrument, 
his reputation was estabhshed. As a learned musician, a 
disciplinarian, an inspiring teacher, and a wit, Tabuteau became an 
abiding influence on Curtis students of woodwind instruments. 

In 1950, The Philadelphia Woodwind Quintet was organized by 
Burnett Atkinson (flute), John de Lancie (oboe), Anthony Gigliotti 
(clarinet). Sol Schoenbach (bassoon), and Mason Jones (horn). Three 
of the original members continue to play in the Quintet. Mr. Atkinson 
was succeeded first by William Kincaid, then by Robert Cole. The 
present flutist is Murray Panitz. Sol Schoenbach was succeeded by 
Bernard Garfield. All the present members are principals in The 
Philadelphia Orchestra. The recordings of The Philadelphia 
Woodwind Quintet are collectors" items. 

When Marcel Tabuteau retired in 1954, William Kincaid 
directed the woodwind ensemble with his own usual success and 
ebullience until his retirement in 1965. 

John de Lancie became the third director. By continuing in 
Curtis Hall the exciting concerts conducted by Tabuteau and Kincaid. 
Mr. de Lancie now adds his own quality to a unique tradition. These 
annual concerts mark a high point in each school year. At the 
beginning of the academic year 1974-75. Sol Schoenbach was 
appointed coach of the Woodwind Ensemble and shares the 
responsibility for this ensemble with John de Lancie. 

The Brass Ensemble 

Teaching by example has no where been more evident 
than among the brass players. 

The Philadelphia Brass Ensemble is a well established musical 

group. A large majority of its members have been and now are not 

only members of the faculty and former students at The Curtis 

Institute of Music but also members of The Philadelphia Orchestra. 

The albums of recordings made by these artists widen the 

appreciation and knowledge of their special contribution 

to the world of music. 

To record antiphonal music by Gabrielli. the virtuoso brass of 

The Philadelphia, Cleveland, and Chicago orchestras were brought 

together. Nineteen men assembled to make the historic recording 

without a previous meeting, and some of them without previous 

personal acquaintance. Of the nineteen, eight were trained at The 

Curtis Institute (Glen Dodson. Arnold Jacobs. Gilbert Johnson, 

Mason Jones, Seymour Rosenfeld, Henry Charles Smith, M. Dee 

Stewart and Thomas Wohlwender); and six were members of the 

Curtis faculty (Glen Dodson, Gilbert Johnson. Mason Jones, Henry 

Charles Smith. M. Dee Stewart, and Abe Torchinsky). Of the faculty 

members, five had been trained at Curtis. 

Currently, Brass Chamber Music is taught by Gilbert Johnson 

and Brass Ensemble by Mason Jones. 

A endemic Academic studies were required from the very beginning because the 

Studies philosophy behind the program at the Institute was to produce the 

musician educated in the humanities as well as music. 

The faculty was drawn from the University of Pennsylvania, 
Bryn Mawr College. Princeton University and other 
distinguished institutions. 

Among those in the Academic Department in the first years 
were: Lawrence Adler (Director); William Page Harbeson (English): 
Gordon C. King (Comparative Literature): Elton Mayo (Psychology- 
Methods of Work): and Jean Frois Wittman (French). Three 
professors from the University of Pennsylvania also taught languages: 
Jean B. Beck (French); Hermann J. Weigand (German); and 
Domenico Vittorini (Italian). Dr. Vittorini. who first served on the 
faculty from 1925 to 1928, is well remembered for his lectures on the 
Italian Renaissance ( 1939-5 1 ). Both Samuel Arthur King and Minna 
Saumelle taught diction. Dr. King's readings of the English classics 
have become a lasting memory for those who were privileged 
to hear him. 

There were lectures on comparative arts by Huger Elliott of the 
Metropolitan Museum of Art; Professors Edward B. Hill. Department 
of Music at Harvard University; Frank J. Mather, Director of Fine 
Arts at Princeton University; and Horace Alwynne, Department of 
Music at Bryn Mawr College. 

During the 1926-27 school year, William Lyon Phelps of Yale 
University and Fiske Kimball, Director of the Philadelphia Museum 
of Art, delivered a series of lectures. Wanda Landowska, the 
distinguished harpsichordist, lectured on Style and Interpretation of 
Old Music, analyzing the principles of the great masters of the 
seventeenth and eighteenth centures. Other lecturers included: Dr. 
Roy F. Nichols, later to win the Pulitzer Prize for history; Olin 
Downes, music critic; and Olga Samaroff Stokowski, pianist, author, 
and teacher at the Juilliard. Nadia Boulanger paid a memorable 
week's visit and lectured on "The Little Organ Book of 

Johann Sebastian Bach." 

During the years 1939-41. great emphasis was put on academic 
studies by Randall Thompson. Sir Thomas Beecham. the British 
conductor, was one of the great lecturers during 
Dr. Thompson's directorship. 

Walter Hampden and Eva LeGalliene impressed students of 
another decade by their readings of English classics. 

Academic studies presently offered are: Languages and Diction 
(French. German. Italian. Portuguese. Russian, and Spanish): English 
Literature and English Composition; Latin-American Literature; 
Russian Literature; and Ancient and Medieval History. An expansion 
of this curriculum is being considered. 

Tutoring is provided for the few students who have not 
completed their secondary education before entering the Institute. 

The tutors are Michael Barad. Iraj Kormi. and Phyllis Padow. 
Mary Karen Aguilar. Ph.D. teaches English literature and 
Composition; Stepha Gerassi teaches Russian literature and Ancient 
and Medieval History. Teaching Languages and Diction are Maria 
Rota Di Blasi. Esther de Bros. Therese Casadesus Rawson, Anna 
Gregoretti. Thomas Grubb. and Peter J. Schoenbach. Ph.D. Dean 
Schoenbach also gives a course in Twentieth Century 
Latin-American Literature. 

Honorary Degrees Awarded by The Curtis Institute of Music and Commencement Speakers 

Honorary Doctorates 







Marcella Sembrich 
Leopold Godowsky 

Wiktor Lahunski 

Frederick E. Hahn 

Sidney Homer 

Samuel Barber 
Gian Carlo Menoiri 

Eugene Ormandy 
Rosario Scalero 

habelle Vertgerova 
Carlos Salzedo 

John N. Burk 

Rudolf Serkin 

A lexander Hilsberg 

A lexander 
McCurdy, Jr. 

William Kincaid 

Marcel Tabuteau 

Ivan Galamian 





Ediih Evans Braun 
Viiorrio Giannini 
Constant V'auclain 

Vladimir Sokoloff 
Lea Luboshutz 

Leo Rosenek 


Sol Schoenbach 
Pablo Casals 

Max Rudolf 
M St is lav 

Commencement Speakers 






Thomas Sovereign 

W lady si aw 

The Right Reverend 
Joseph M. 

Walter Damrosch 

The Reverend 
Joseph Fort 

Frank A ydelotte 

Curtis Bok 

Samuel Barber 

The Reverend 
Frederick R. 


1948 Olin Downes 

1949 Harold E. Stassen 

1950 Henry S. Drinker 

1951 Owen J. Roberts 

1952 Gerald F. Flood 

1953 Virgil Thomson 

1954 Catherine Drinker 


1 955 Carlelon Sprague 


1956 Paul Henry Lang 

1957 Nellie Lee Bok 

1958 Curtis Bok 

1959 Alfred Williams 
J 960 Polycarp Kusch 

1961 Loren C. Eiseley 

1962 George P. Orr 

1963 Samuel Barber 

1964 I. M. Levitt 

1965 Gian Carlo Menotli 

1966 Robert W. 


1967 Donald Barnhouse 

1968 Gian Carlo Menotti 

1969 Richard F. Sterba, 



1971 Frederick Dorian 

1972 Willo von Moltke 

1973 Sir Ernst Gomhich 

1974 M.Todd Cooke 

Awards, Competitions and Grants Won by Graduates 
and Former Students of The Curtis Institute of Music 

Artist Presentation 
Society A ward 

1949-50 Eloise Wells Polk 
1951-52 Leslie Pamas 
1953-54 liana Kombrink 

Broadcast Music, 
Inc. A ward 

1 953 Michael Kassler 

1 955 Michael Kassler 

1 956 Jose Serebrier 
1956 Michael Kassler 
1 95 7 Michael Kassler 

Chopin Scholarship A warded 
by the Kosciuszko Foundation 

1953 Harrie! Shirvan 

The Coleman Chamber 
Music Association A ward 

1952 Richard C. Lesser 
1 960 John Steele Killer 
1973 Anthony La Marchina 

The Composer In Performance 

(New York Slate Council 
on the Arts) 

Lukas Foss 
Ned Rorem 
Jose' Serebrier 

Concert Artists 
Guild, Incorporated 

1955 Stanley Babin 

1957 Hyman Bress 

1964 Winifred Del lore 

1964 Jean Kraft 

1966 Mertine Johns 

1967 Jerome Rosen 

1972 Marioara Trifan 

1973 David Shifr in 

1974 Sandra Miller 
1974 Deborah Carter 

Concours International 

D 'Execution Musicale Geneve 

(Geneva International Competition for Musi- 
cal Performance) 

James Loomis 

Leslie Pamas 

Paula Sylvester 

John Koljonen 

Mme Kvung Sook Koljonen 

Richard Giangiulio 

Janice Redick 



Concours Clara 
Haskil, Lucerne 

(Internationale Musikfestwochen Luzern) 
(Only two awards given to date) 
1973 Richard Goode 

The Dallas News 
G.B. Dealey A wards 

1962 James Maiirer 

1973 Eiigen Sarbu 

1974 PiotrJanowski 
The Ford Foundation 

Opera Singers Fellowship 
1962-64 Enrico Di Giuseppe 
1962-64 Ilona Kombrink 

Concert Artists Fellowship 


Jacob Lateiner 


Seymour Lipkin 


Leonard Rose 


Gary Graffman 


Jacob Lateiner 


Oscar Shiimsky 


Abbey Simon 


Claudeile Sorel 


Charles M. Castleman 


Richard Goode 


Lynn Ilarrctl 

Composers Fellowship 

1959 Lukas Foss 
1962 Ned Rorem 

1969 Gian Carlo Menolli 
1969 Lukas Foss 

Opera Commissions 

7960 Ned Rorem 

1960 LeeHoiby 
1960 Hugo Weisgall 
I960 Marc Blitzstein 
I960 Ned Rorem 
1960 Samuel Barber 

Travel Award 

Hugo Weisgall 

Young Conductors Grant 

1962 Robert La Marchina 

1 964 Jose Serebrier 

Recording— Publication Grant 

1969-72 Ned Rorem 

1969-72 Lukas Foss 

1969-72 Hugo Weisgall 

1969-72 Hugo Weisgall 

1969-72 George Rochberg 

1969-72 Lukas Foss 

1969-72 George Rochberg 

Fulhright Graduate 

Study Scholarships 

1949-50 Gary Graffman 

David Hoy t Kimball 

1950-51 Shirlee Emmons Baldwin 

Lukas Foss 

William Home 

George Rochberg 

Leo Smit 

John Edmunds 

Jesse Arthur Ceci 

Ned Rorem 

195 J -52 Grace Marie Carlino 

Litkas Foss 

James Rankin Loomis 
1952-53 Lee Hoihv 

Rudolph Kren^er 
1954-55 Eleanor Lipkin 

Marion Zarzeczna 

Herbert Baumel 

A una Moffo 
1955-56 Laila J. Slorch 

Eleanor Lipkin 

Anna Bessel 

Herbert Baumel 

Suzanne Caum 

Howard Mitchell 

Charles Turner 
1956-57 Anna Bessel 
1957-58 George T. Walker 
1958-59 Charles Joseph 
1958-59 Barbara J. De Pasquale 

H illiam J. De Pasquale 
1960-61 Dorothy Reichenberger 

Lukas Foss 

Walter Hautzig 

Ravmond J . Hemingway 

Ann F. Heiligman 

Howard Mitchell 
1961-62 Halter Hautzig 

Barry N. Hanner 

Susan C. Willoughby 

Howard Mitchell 
1962-63 RhodaL Rhea 

Jacques Singer 

Lloyd C Geisler 
1963-64 Donald E. Blakeslee 

Dean //. Miller 

Rhoda Rhea 

John E. Wiseman 
1964-65 Lynn H. Blakeslee 

Susan C. Leider 

William M. Capps 

Rhoda Rhea 

Cherry Rhodes 

Judith Blegen 

Barbara Haspel 

Frank W. Ell 


36 Barbara Haspel 

Cherry Rhodes 

1966-67 Richard C Giangiulio 

Helen J. Hall 

Roger Drew Blackburn 

David Mark Kadarauch 

1967-68 Walter L. Hillsman 


69 Richard Michael Dolph 

Walter L. Hillsman 

David Mark Kadarauch 

Richard E. Luby 

Katherine E. Stone 

Susan Winterbottoni 

1969-70 Roger Drew Blackburn 

David Mark Kadarauch 

1970-71 Benjamin W. Harms 

Claudia Maria Hoca 


72 Sally O'Reilly Wirtel 


73 Edward James Crafts 

Emily C Rawlins 

Sally O'Reilly Vlirtei 


74 James Jones 

Guggenheim Fellows 


Samuel Barber 


Samuel Barber 


Samuel Barber 


Lukas Foss 


Lukas Foss 


Gian Carlo Menotti 


Gian Carlo Menotti 


Leo Smit 


Hugo Weisgall 


Hugo Weisgall 


Hugo Weisgall 


George Rochberg 


George Rochberg 


Ned Rorem 


Gregory Tucker 


Jose Serebrier 

(Western Hemisphere Fellow) 


Jose Serebrier 


Lee Hoiby 

1958 Stanley Hollingsworth 

1958 Vincent Persichetti 

1968 Vincent Persichetti 
1973 Vincent Persichetti 

1969 John Edmunds 

1969 George T. Walker 

Hochschule Fiir Musik und 
Darstellende Kunst in W ien 

(Vienna International 
Music Competition) 

7967 Lynn Blakeslee 

1970 David Kadarauch 

Internationaler Musik wettbewerh 
der Rundfunkanstalten der 
Bundesrepuhlik Deutschland 

(Munich International 
Music Competition) 

7956 JoelRyce 

1957 Leslie Parnas 

7966 Cherry Rhodes 

1967 John West 
1972 Patricia Stasis 

International Piano 
Festival and Competition 

(University of Maryland) 

797i Heide Rice 

The Johann Sebastian Bach 
International Competitions 

1964 Michele Levin 

1968 Claudia Maria Hoca 
1968 Kiyoko Takeuti 

The Kate Neal Kinley 
Memorial Fellowship 

1961-62 Roger Lee Drinkall 

Kousseritzky Memorial Prize 

1971 Thomas Michalak 

Kurt Herbert Adler A ward 

(Merola Opera Program) 

7972 Calvin Simmons 

The Leventritt 
International Competition 

1940 Sidney Foster 
1943 Eugene Istomin 
1949 Gary Graffman 

1957 Anton Kuerti 

1958 Arnold Steinhardt 

Marian A nderson 

1944 Louise Parker 

1944 Goldie Theresa Green 

1947 Helen Colbert 
1949 Edith Evans 

1951 JanGbur 

1952 Shirlee Emnums 
1969 Otoniel Gonzaga 
1972 Earl Grandison 

1972 Robert Calvert 

Melchior Heldentenor 

(Only two awards given to date) 

William Cochran 

San Francisco 
Opera A ud it ions 

(Merola Opera Program) 

1974 Laura Woods 

Midland- Odessa 
Symphony & Chorale, Inc. 
National Young Artists 

1 968 Bryan Epperson 

Minna Kaufmann Rudd 
Performance A wards 

Syble Young 

Ellen Phillips 
1974 Andrea Powe 
1974 Claudia Visca 

National Institute 
of Arts and Letters 

1945 Gian Carlo Menotti 

1946 Marc Blitzstein 

1948 Vincent Persichetti 
1954 Hugo Weisgall 
1957 Lee Hoiby 

1957 Lukas Foss 

1962 George Rochberg 

1968 Ned Rorem 

1973 George Rochberg 

Walter W. Saumburg 
Foundation Winners 

1931 Edwimi Eiistis 

1936 Benjamin deLoache 

1937 Jorge Bolet 
1939 William Home 

1939 Zadel Sokolovsky 

1 940 A hbev Simon 
1940 Harry Cvkman 
1942 Annette Elkanova 

1947 Abba Bogin 

1948 Paul Olef sky 

1948 Theodore Lettvin 

1949 Lome Mil n roe 
1952 Diana Steiner 

1954 Jules Eskin 

1 955 Ronald Leonard 

1956 iVavne Connor 

1956 Donald McCall 

1957 Michael Grebanier 

1958 Elaine Lee 
1960 Joseph Silvers! ein 
1974 Andre Michel Schub 

Prix De Rome 

(Rome Prize Fellowships) 

1937 Samuel Barber 

1950 George Rochberg 
1952 Lukas Foss 

1958 Stanley Hollingswonh 

Pulitzer Prizes in Music 

1935 Samuel Barber 

1936 Samuel Barber 
1950 Gian Carlo Menotti 
1955 Gian Carlo Menotti 

1958 Samuel Barber 
1963 Samuel Barber 

Concours Musical 
Reine Elisabeth 

(Queen Elisabeth International 
Music Competition) 

Grand Prix— Prix de la 
Reine Fabiola 

1959 Jaime Laredo 
Prix Du Comte de Lanoit. 
Medaille d' Argent 

1959 Joseph Silverstein 

I960 Lee Luvisi 

1963 Arnold Sleinhardt 

Prix De La Province de Brabant. 
Medaille d'Argent 

1964 Anion Kuerti 
Prix De La Ville de Bruxelles. 
Medaille d'Argent 

1963 Charles Casileman 
1967 Hidetaro Suzuki 
Prix De Monsieur Desprechms. 
Medaille de Bronze 

1952 Theodore Lettvin 
1959 Shmuel Dov Ashkenasi 

1967 Nicolas Chumachenco 

Medaille de Bronze 

1971 Geoffrey Michaels 
1963 Hidetaro Suzuki 
1959 Gerard Kantarjian 

Rachmaninoff Competition 

(Only time held in the United States) 

1948 Seymour Lipkin 

The Rockefeller 
Foundation Fellows 

(Composer-m-Residence Grants) 

1968 Jose Serebrier 

1 969 Jose Serebrier 

International Competition 

1962 Shmuel Ashkenasi 
1 962 Leslie Parnas 
1962 Susan Starr 

The Van Clibum 
International Quadrennial 
Piano Competition 

1962 Arthur Fennimore 

1962 Arthur Fennimore 
Commissioned Work Award 

1962 Lee Hoiby 
Commissioned Work 

1969 Crist ina Ortiz 
First Prize 

1969 Crist ina Ortiz 

Schumann Award 

Young Artists A wards 

(Worcester. Massachusetts) 

1965 Varoujan Kodjian 

Young Artists ' Competition 

(The Flint Institute of Music 
and St. Cecilia Societv) 

1972-73 Stewart \ewbold 

Young Concert A rtists 

(New ^ork) 

796/ Richard Goode 

1961 Shmuel Ashkenasi 

1962 Ruth Laredo 

* At water Kent A ward 

Agnes Davis 
Carol Deis 
Benjamin deLoache 
Wilbur Evans 

* Beams Prize 
Columbia I niversity 

1928 Samuel Barber 

1931 Hugo Weisgall 

1933 Sanuiel Barber 

1936 Jeanne Behrend 

1931 Berenice Robinson Morris 

Itwo awards j 

* Carl J. Lauber 
Prize for Composition 

1933 Roland J. Leich 

Gian Carlo Menotti 

* George Gershwin 
Memorial A ward 

George Rochberg 

Post Competition 

1957 Susan Starr 

1 958 Shmuel A shkenasi 

1960 Lynn Harrell 

1964 Young L'ck Kim 

1965 Mari Tsumara 
1969 Daniel Heifetz 

*New York Music Critics 
Circle A wards 

1944 Leonard Bernstein 

1946 Samuel Barber 

1955 Gian Carlo Menotti 

1958 Leo Smit 

1961 Lukas Foss 
1964 Samuel Barber 
1964 Lukas Foss 

* Discontinued— No longer giivn. 

Graduates of The Curtis Institute of Music, 1924-1974 

Adier. James— Piano— '73 

Alarie. Pierrette (Simoneau)— 
Voice— "45 

Albinson, Patricia (Fawcett)— 

Alexander. Philip— Oboe— '66 

Alexander. Richard— Organ— '68 

Allen. Margaret (Young)— French 

Alligood. James— Tuba— '67 

Almstead. Gordon— Voice— '49 

Altenburg. Peggy (Albreeht)— 

Alter, Lawrence— Clarinet— '47 

Altman. Benjamin— Violin— '42 

Alvarez. Marina (Escalante)— 
Harp— '66 

Amansky. Selma (Caston)— 
Voice— '34 

Amtmann, Christof— Piano— '74 

Angell. Cecilia (Francis)— Voice— 

Angelucci. Ernani— French 

Angelucci. Rhadames— Oboe— '36 

Apgar. Lawrence— Organ— '34 

Araujo. Manuel— Trumpet— '56 

Arben. David— Violin— '54 

Arian. Edward— Double Bass— '44 

Arico. Fortunato— Cello— '61 

Armitage. Charles— Organ—'68 

Aronoff. Max— Viola & Chamber 
Music— '34 

Asen, Simon— Viola— '36 

Ashby. John— Trombone— '72 

Ashkenasi. Shmuel— Violin— '63 

Atkinson, Burnett— Flute— '39 

Austin. Arthur— Clarinet— '74 

Avsharian. Charles— Violin-'64 

Bacharach. Charles— 
Composition— '39 

Bailifl'. Jill (Reyes)-Harp-'5 1 

Baker. Julius— Flute— '37 

Baker. Walter-Organ-'38 

Bampton. Rose (Pelletier)— 
Voice— '34 

Barber. Samuel— Composition— 

Barnes. Elizabeth (Keller)- 
Piano— '61 

Barozzi. Adine (Krauss)— 
Chamber Music & 
Violoncello— '35 

Barron. Richard— Bassoon— '38 

Baskin. Theodore— Oboe— '73 

Basler. Kathleen— Voice— '63 

Batchelder. Wilfred*-Double 

Batkin. Lilian (Freneut)— Piano- 


Baum. Carol— Harp— '53 

Bauman. Perry— Oboe— '42 

Baumel. Herbert— Violin— '42 

Beamer. Irene— Voice— '34 

Beard. Henry— Organ— '40 

Beck. Barbara— Violin— '68 

Behrend. Jeanne (Mac Manus)— 
Piano & Composition— '34 

Benfield. Dorothy (Koenig)— 
Voice— '43 

Bengtsson. Erling— Violoncello— 

Benner. Jules— Tympani and 
Percussion— '49 

Benner. Raymond— Double 

Bennett. Elizabeth 

(Clendenning)— Violin— '58 

Bennett. Harold-Flute-'36 

Berg. Jacob— Flute— '53 

Bergey. Milton*- Flute— '57 

Bergstrom, Paul-Orchestra-'38 

Berkey. Nadia (Marks)-Harp— 

Berkowitz. Paul— Piano~'72 

Berkowitz. Ralph- 
Accompany ing— '35 

Berman. Grace (Bramson)— 


Bernstein. Leonard— 
Conducting— '41 

Bernstein. Norman— Trombone— 

Berry, Sanford— Bassoon— '5 1 

Berry. Weldon— Clarinet— '69 

Bertolami. Viviane(Kirkwood)— 

Berv. Harry— French Horn— '35 

Berv. Jack— French Horn— '35 

Bessel. Annamaria— Voice— '55 

Bettelli. Aldo-Clarinel-'59 

Betts. Kendall-French Horn-'69 

Bickford. Anne-Viola-'48 

Bielski. Noah*-Violin-'40 

Bigham. James— Organ— "68 

Binz. Ralph— Trombone— '35 

Bitter. John— Conducting— '35 

Black. Margery (Samarotto)— 
French Horn— '56 

Black. William-Double Bass-'56 

Blackburn. Roger— Trumpet— '69 

Blakeslee. Donald— Tuba— '63 

Blakeslee, Lynn (Calleo)— 
Violin— '64 

Blegen. Barbara (Brown)— 
Piano— '65 

Blegen. Judith (Singher)— Voice— 

Bloom. James*— Violin— "34 

Bloom. Robert— Oboe— '35 

Blum. Eleanor (Sokoloff)- 

Blumfield. Coleman— Piano— '56 

Bobbett. Valerie (Gardner)— 

Bodanya. Natalie (Gorman)— 
Voice— '34 

Bogin. Abba— Piano— '49 

Bolet. Jorge— Piano— '34 

Bolotine. Leonid— Violin— '35 

Bolluch. Morris-Trumpet— "42 

Bomar. Ann— Voice— '47 

Bonnevie. Robert— French 

Boodley. Pamela— Voice-'68 
Bossart. Eugene— 
Accompanying— '4 1 

Boswell. Guv*-Trombone— '35 

Bottalico. Rosemarie (Orner)— 

Bouchard. Rene— Voice— '50 

Bouchett. Richard— Organ— '61 

Bouleyn. Kathryn— Opera— '74 

Bourns. Sue (McCall)— Bassoon— 

Bowling. Glen— Trumpet— '63 

Bowman, Carl— Bassoon— '35 and 
Conducting— '39 

Bracken. Nancy— Violin— '73 

Bradley. Elizabeth (Dixon)— 
Voice— '45 

Brady, Alice (Spears)— Voice— '66 

Bram. Thiiring— Conducting— '73 

Brandon. Theodora— Voice— '49 

Brant. Blanche(Sharon)— Piano— 

Braun. William— Organ— '67 

Braverman. Bella (Bookbinder)— 


Braverman, Gabriel— Viola— '34 

Brennand, Thomas— Double 

Bass— '66 
Bress. Hyman— Violin— '5 1 

Brewster. Stevens— Double Bass— 


Briggs, John— Music Criticism— 

Brill, Toba(Winer)-Piano-'49 

Briselli, Iso— Violin— '34 

Brodsky. Jascha— Violin & 
Chamber Music— '34 

Broer. Kathleen (Hamill)- 

Brown. Alfred-Viola-'52 

Brown. David— Piano— '67 
Composition— '73 

Brown. George— Viola— '39 

Brown. Peter— Organ— '70 

Brunner. Miriam— Composition— 

Brusilow, Nathan— Clarinel-"4 1 
Bryson. Tim— Tuba— "71 
Buchman. Carl— Conductina- "37 

Buck. Dorolhs (Almslead)- 

Voice-"50 ' 
Buck. Margen (Latiolais)— 

Double Bass-"52 

Buck. Ralph-Trumpel-'60 

Budde. Marie*-Opera-"34 

Burg. Abe*— Violin— "34 

Burgess. Gary— Opera-'74 

Burgess. Marv— Voice— "63 

Burke. Elizabeth (Roth)-Harp- 

Burkhart. John-Trombone-"36 

Burns. William-Double Bass- 

Burton. Blanche (L>ies)-Piano- 

Cadek. Jerrie ( Lucktenberg)- 


Caldwell. James— Oboe— •61 

Calhoun. Nancy (Heuermann)- 

Voice— "56 
Call. Majorie— Harp— '37 
Calleo. Patrick— Voice— '67 

Campbell. Carol ( Vanderveer)— 

Campione. Carmine— Clarinet— 

Canale. Orlando— Composition— 

Canthelm. Ronald-Double 


Cantwell. Gregory —Voice— "73 
Opera— "74 

Caplan. Florence (London)— 
Piano— '41 

Capps. William— French Horn— 

Cardwell. Janet— French Horn— 

Carh.irt. Ruth (Putnam)-Voice- 

Carlino. Grace (Mitchell)— 


Carmen. Owen— Violoncello— "74 

Carol. Norman— Violin— ^47 

Carter. Daniel— French Horn— "66 

Carter. Deborah (Smith)— Flute— 

Carter. James— Viola— ^72 

Caruso. Francesco— 
Composition— '43 

Carw ithen. Robert— Organ— '58 

Castagnetta. Grace-Piano— "35 

Castleman. Charles-Violin— "63 

Gaston. Saul*— Conducting-'35 

Cato. Robert-Organ -^34 

Cauler. Ehvood-French Horn— 

Caum. Suzanne (VVilkie)— Voice— 

Cerone. David Violin— '62 

Cerulli. Robert-Double Bass- 

Chalifoux. .Alice (Rideout)— 

Chalifoux. Jeanne (Goddin)— 


Chambers. James— French 

Chapman. Keith— Organ-'68 

Chapman. Lucy— Violin— '72 

Chapo. Eliot— Violin— '67 

Chappell. Jeffrey— Piano— '74 

Chappell. True(Sackrison)— 
Violoncello— '41 

Chenette. Stephen-Trumpet-'56 

Cherkasskv. Shura— Piano— '35 

Cherr). Kalman— Percussion— '58 

Chieffo. Eugene-Oboe— '71 

Childs. Mark-Viola-'69 

Christman. Corkey— Harp— '62 

Chumachenco. Nicholas— 
Violin— '67 

Churchill. Wainwright. III*- 
Composition— '45 

Ciccarelli. .Anthonv-Clarinet- 

Clauser. Donald-Viola— '67 
Clearfield. El\ in— Clarinet— '37 
Clough. Evans— Voice— '68 
Cochran. John— Voice— '68 

Codd. Margaret (Goldovsky)— 
Voice— '34 

Coffey. John-Trombone-'45 

Cohen. Frances (Woodhams)- 

Cohen. Thelma(De Scheurer)- 


Coker. Donald- Voice-'4 1 

Cole. David-Violoncello-'67 

Cole. Frank* — Bassoon-'47 

Cole. Howard— Trombone— "40 

Cole. Orlando- Violoncello & 
Chamber Music— '34 

Cole. Robert-Flute-'49 

CoUis. James— Clarinet— '35 

Colvig, David-Flute-'48 

Conant. Katherine*- 
Violoncello— '34 

Conner. Wayne— Voice— '57 

Cook. Randall-Oboe-'74 

Cooper. Allen— Composition-'6 1 

Cooper. Barbara (Moscow)— 
Voice— '50 

Cooper. Jack— Trombone— "57 

Cooper. Richard— Trumpet— '68 

Cornman. Robert— Piano— '41 

Comwell. Susan (Kiefner)— 

Cossum. Sarah— Viola— '52 

Costello. Marihn 

(Dannenbaum)— Harp— ^49 

Crafts. Edward— Voice— '68 

Craighead. David— Organ-'46 

Cresswell. Rowland*— Chamber 
Music- "35 

Crockett. John— Bassoon— "6 1 

Crosbv. Carole (Wickless)— 

Csonka. Margarita 

(Montanaro)— Harp— '63 

Cummins. Richard— Organ— '61 

Cusimano. Jesse— Violin— '49 

Cuyugan. Fides (.Asensio)- 
Voice— '55 

Dabrowski. Waldemar— 
Conducting— "40 

.Accompanying- '41 

Dallev. John— Violin— '57 

D'.Amico. Nicholas— Tympani & 
Percussion— '53 

Daniels. Charlotte (Harris)— 
Voice— '36 

Daniels. David— Voice-'50 

Dansereau. Aline (Corradi)— 

Darden. Charles— Conducting— 


Darian. Anita— Voice— '49 
Darne. Richard— Organ— '64 

Davenport. Mary— Voice— '43 
Davies. Marion— Violoncello— "45 
Davis. Agnes*— Voice-"34 
Davis. Miles— Double Bass-"74 
Davis. Robert-Trombone-"5 1 

Dean. Kalhryn— Voice— '35 

Dean. Ruth (CIark)-Harp-'45 

de Blasiis. Virginia— Violin— "35 

de Bros. Philippe-Opera-'74 

Decker. George— Organ— "64 

De Granda. ."Mvaro- Violin— ^60 

De Haven. James— Voice— '65 

Deis, Jean— Voice— '55 

de Lancie. John— Oboe— '40 

de Loache. Benjamin— Voice— '34 

de Long. Alfred— Voice— '35 

del Rosario. Nena (Villaneuva)— 
Piano— '56 

de Machula. Tibor— Violoncello— 

Demarest. Charles— 
Composition— '34 

de Palma. .Attillio-French 

de Pasquale. Francis*— 
Violoncello— "46 

de Pasquale. Joseph— Viola— ^42 

de Sanzewitch. Tatiana— Piano— 


Dew. Robert-Violin-'55 

Diamond. Paceli ( Bloom)- 

Di Bonaventura. .Anthony— 

Di Fazio. Louis— Flute— '50 
Dinkin. Alvin*-Viola-'36 

Disslv. Esther (Carter)-Voice— 

Dodson. Glenn— Trombone-'54 

Doleonos. Joan (Gross)— Piano— 

Dolph. Richard— French Horn— 

Donato. Vincent-Voice-'5 1 
Doster. Lanny-Trumpet-'68 
Drinkall. Roger-Violoncello-'68 
Druian. Rafael-Violin— '42 
Duchow. Marvin— Composition- 

Duer. Ir\ in-Tympani & 

Percussion— "42 

Duff. Cloyd— Tympani & 

Percussion— "38 
Dupre. .Anna (Griffith )-T\mpani 

& Percussion— '60 
Earnest. Christopher-French 


Eastman. Julius— Composition— 

Eby. Daniel— Voice— "66 

Edelman, Douglas— Trombone— 

Edwards. Artemus— Bassoon— "60 

Edwards. Harriet (Crossland)— 

Edwards, Stephen— Double 

Eger. Joseph-French Horn— "43 
Eichen, Bernie— Violin-"48 
Eicher. Bruce— Organ— '58 

Eiermann. Oscar- 
Accompany ing— '39 

Eifert, Otto— Bassoon-'52 

Elbeck, Lance— Violin— '70 

Elkanova, Annette (Block)— 
Piano— '41 

Ell. Frank-Clarinet-"63 

Elliott. Barbara ( Bailev)-Piano- 

Ellis. Robert-Organ-'48 

Elster. Reinhardt— Harp-'37 

Emde. James-Tuba-'40 

Emery. Kenneth-Flute-'43 

Eney, Cynthia (Hoebel)-Organ— 

Eney. Gilbert— Double Bass— '35 

Englander. Lester— Voice— "38 

Ensher. Phyllis (Peters)— Harp— 


EppinolT. Jacqueline (Bassis)— 
Violoncello— '5 1 

Escalona. Rosita (Nin)-Piano— 

Eto, Reiko— Accompany ing -"59 

Eto. Toshiya-Violin— "52 

Eustis. Edwina(Dick)-Opera& 
Voice— "35 

Evans. Edith-Voice-'48 

Evans. Edith (Braun)— 
Composition— "34 

Evans, Wilbur— Voice— "35 

Ewan, Vernon— Tympani & 
Percussion— "62 

Fairweather. James— Trumpet— 

Falcone, Mary Lou— Voice— '66 

Falkove. Albert-Viola— '41 

Fawcett. Herbert- Bassoon— '59 

Fawcett, James-Viola— "58 

Feinglass. Joel— Bassoon— '55 

Fennimore. Arthur— Piano— "61 

Fera. Dominick— Clarinet— "52 

Ferguson. Paull— Viola— "35 

Ficaro. Beatrice— Voice— "47 

Field, Jane (Kitt)-Viola-"64 

Fields, Eleanor (Holden)— 

Finckel. Christopher- 
Violoncello— "71 

Finn. Caesar*— Composition— "35 

Fintz, Jeanne— Harp— "5 1 

Fischer, Joseph— Trumpet— '40 

Fisher, Susan (Clickner)— Voice— 

Fisher, Zoe (Schafl'er)— French 

Fleisher, Martin— Oboe— "39 

Flissler, Eileen— Piano— "43 

Flynn, Martha (von Llffel)— 
Voice— "43 

Follingstad, Karen (Fagen)— 

Foss, Lukas— Composition & 
Conducting— "40 Piano— '42 

Foster. Sidney-Piano-'38 

Francis, James— Viola— '72 

Frank. Bernard- 
Accompany ing— '35 

Frank, Joseph-Opera-"74 

Frank. Philip-Violin— '34 

Frank. Sherman— Piano— "48 

Franklin. Roberta (Mittleman)— 

Frantz. Florence (Snyder)— Piano 
& Accompanying— "34 

Frantz, Leonard*— Viola— '58 

Eraser, Florence*— Piano— "34 

Frazier, Elin— Trumpet— '64 

Frengut, Leon*— Viola— ^35 

Frerichs, David*— Tympani & 
Percussion— ^62 

Fries. Robert— French Horn— "57 

Frisina, David— Violin— '36 

Fulton. Thomas— Conducting— 


Garabedian, Paul- 
Composition— '45 

Garcia-Renart. Marta (de 

Garlichs. Ann-Violin-"57 

Garstick, George— Trombone— 

Gaudette, John— Bassoon— "69 

Gay. Janet ( Peterson)— Clarinet— 

Gbur. Jan— Voice— "50 

Gee, Harry— Clarinet— "49 

Gegenheimer, Claribel 
(Thompson)— Organ— "38 

Geisler, Lloyd-Trumpet-"35 

Geist. Judy— Viola— "73 

Gennusa, Ignatius— Clarinet— "45 

Genovese, Alfred— Oboe— '53 

Genovese, John*— Clarinet— "50 

Gerhart, Pamela (Gearhart)— 

Gering, Lois (Jungas)— Organ— 


Gershman, Paul— Violin— '34 

Geshicter, Cecille (Sharlip)— 
Piano— "36 

Giacobbe, Stellario*— Viola— "35 

Giangiulio, Richard— Trumpet— 

Gibson, William— Trombone— '39 

Gigliotti. Anthony— Clarinet— "47 

Gilbert. Charles— English Horn— 

Gilbert. Gama*— Violin & 
Chamber Music— "34 

Gillam. Jeanne (Donato)— 

Gindin, Samuel-French Horn— 

Givens, John— Bassoon— '57 

Glaze, Martha Lee— French 

Goberman. Max*— Conducting— 

Gobrecht, Edward— Bassoon— "50 

Gold, Barbara -Piano— '74 

Gold, Dale-Double Bass-'67 

Goldberg, Philip*-Viola-"41 

Goldovsky, Boris-Conducting— 

Goldstein. Nathan— Violin-"47 

Gomberg. Celia (Newman)- 

Gomberg. Harold— Oboe— "35 

Gomberg. Leo*— Trumpet— "40 

Gomberg. Ralph— Oboe-"41 

Gomberg, Robert— Violin— '35 

Goode. Richard-Piano-'64 

Goodman. Richard-Piano— '36 

Gordon. Hershel-Violoncello— 

Gordon, Ruth (Brassil)-Voice— 

Gorodetzer. Harry— Violoncello- 

Gorodetzer. Samuel— Double 

Gottlieb. Victor*— Violoncello— 


Gowen. Lloyd— Flute— "54 

GrafTman. Gary— Piano— "46 

Gralnick. Isidore*- Violin— "39 

Granger. Walter— Voice-'72 

Gratch. Olga(Corelli)- 
Composition— "46 

Gravagno. Emilio— Double 

Gray. David— French Horn— "64 

Gray. John— Violoncello— "35 

Grebanier. Michael— 
Violoncello— "58 

Green. Goldie (Coleman)— 

Greenberg, Jules— Tympani & 
Percussion— "51 

Gregori, Robert— Voice— '57 

Griffin, Charles— Viola— '67 

GrifRng, Laura (Churchman)— 

Griszmer, Ruth (Pfaff)-Violin- 

Grobani. Benjamin- Voice— '35 

Grooters. Robert-Voice— "40 

Grossman. Arthur— Bassoon— "55 

Gruenebaum. Fred— Oboe— "62 

Gruhn. Esther— Violoncello— "43 

Guarrera. Frank— Voice— '49 

Hagge, Howard— Trumpet— '67 

Halbwachs, Martha (Massena)— 

Hale, Leonard*-French Horn- 

Hall, David-French Horn-"4l 

Hall, Helen-Violin & 
Accompanying— "34 

Hall, Nancy (Chumachenko)— 
Violoncello- "66 

Hamel, Doris (Eicher)-Organ- 


Manner. Barry— Voice— "60 

Hanson. Maricarol- 

Hanson. Suzanne (Poole)— 

Harada. Hiroyuki— Piano— "74 

Harbert. James-Trumpel-"54 

Harbert. Nancy (Ellsworth)— 

Harbold. Lynn— Tympani& 
Percussion— '59 

Harmaala, John-Trumpet— '36 

Harms. Benjamin-Tympani & 

Harms. William— Piano— "34 

Haroutounian. William— Violin- 

Harphman, George— 
Violoncello— '69 

Harris, Katharine (van 
Hogendorf")— Voice— '42 

Harris. Robert— Voice— '49 

Harrop. Estelle (Cremers)— 

Hartenberger. John— Tympani & 
Percussion— "66 

Hartman. Robert— Clarinet— "35 

Haspel. Barbara (Ciolli)-Voice— 

Hautzig. Waller~Piano-'43 

Hayes. Patsy (Wallers)- 

Head. Marion ( Brodsky)— 

Headman. Melvin* -Trumpet— 

Healy. Daniel-Voice-'34 
Heaton. Nancy (Simon)— Violin- 

Heifetz. Daniel -Violin-'71 

Heiligman. Ann (Saslav)— 

Heinbaugh. Marshall— Voice-'48 

Heintz, Frank-Bassoon— "67 

Heller. Alexander-Bassoon— "74 

Helmer. Eugene— 

Hemingwav. Raymond— Orean— 

"58 ' ■ 

Hendl. Walter-Conducting-"41 

Hennagin. John-Composition— 

Hester. Byron— Flute-'52 
Hillsman. Walter— Organ-'64 
Hines. Ruth (Gardner)-Organ- 

Hinshaw. Paul-Voice— "54 

Hirsh. Norma ( Barsky)-Voice— 

Hoca. Claudia— Piano-"70 

Hockstad. Paul-Flute-'47 

Hodge, Dorothy (Polk)-Viohn- 

Hodge. Muriel (Sabina)— Piano <& 
Composition— '35 

Hoelscher. Ulf-Violin-'66 

Hoffman. Elaine (Watts)— 
Tympani & Percussion-'54 

Hoiby. Lee— Composition-"52 

Hois. Charles— Trumpet— "50 

Holdeman. Charles— Bassoon— 

Holden. Thomas— French Horn— 

Holesovsky. James— Violoncello- 

HoUier. Stanley -Composition— 


Hookins. Ardelle ( Bowers)— 

Hooper, Ann Marie (Harrison)- 

Hooton, Cynthia (Montoolh)— 

Horle, Henriette (Wiley)— Voice- 

Horn, William-Piano-'70 

Hottman, David— Voice— '61 

Hough. James— Bassoon-'70 

Howatt. Patricia (Barham)- 

Voice— '65 
Howland. Anne(Knudsen)— 


Hreachmack. John*-Flute— '35 

Hull. Joan ( Lippincott)— Organ- 

Hultgren. Donald— Voice- "41 

Humeston. Edward— 
Violoncello— "64 

Hustis. Gregory— French Horn- 


Hyatt. Mary Sue— Voice-"73 

Hvun. Hai-eun (Cha)-Violin- 

Ibach. Isabel -Harp-"36 

Ilku. Julius— Double Bass— "54 

llvonen, Jouko— Violin— '5 1 

Ippolito. Carmela*-Violin "34 

Irons, Diedre(Gold)-Piano "68 

Irons, Florence (Brown)- Voice— 

Ishikawa, Michi (Tashjian)— 

Istomin, Eugene— Piano— "45 

Jacobs. Arnold— Tuba— "36 

Jacobs. Evelyn— Viola— '65 

Jaffe. Charles-Violin-'35 

Jaimes. Judil(de Abend)— 

Janowski. Piotr— Violin-'74 

Janson, Glenn— French Horn— 

Janssen. Roger-Trombone— '65 

Jepson, Helen (Dellera)— Voice— 

Jernigan. Melvyn-Trombone- 

Jirak, Josephine*— Voice— '35 

Joanou, Amalia (Canzoneri)— 


Johns, Julia (Flier)— Voice~'46 
Johnson. Britton— Flute— '40 
Johnson. Kay— Violin— '73 

Johnson. Merton— French Horn- 


Johnson. Sune-French Horn- 

Johnston, Mary— Voice— '45 

Jonas, Linda— Flute- '67 

Jones, Jennifer— Voice— '73 

Joseph. Charles— Violin— '46 

Judd. Patricia (Stone)— Voice-'54 

Just, Linda (Montoya)— Violin — 

Kadarauch, David— Violoncello— 

Kahan, Jose— Piano— '54 

Kahn, Gordon— Viola— '35 

Kakei. Ryoko— Violin— '67 

Kalam. Tonu— Conducting— '73 

Kang. Dong-Suk-Violin-"74 

Kanlarjian. Cierard-Violin-"58 

Kanter. Richard-Oboe-'57 

Kaplan. Sol— Piano& 
Composition— '38 
Conducting— '39 

Karayanis. Plato-Voice-'56 
Kasen. Andrea (Grunberger)— 

Kashy. Jean-Louis-Flute '60 

Kasow, Norman — Bassoon— '49 

Kaslle, Leonard— Composition— 

Kaufman. Zelik*— Violin— '40 

Keene. James— Violin— '61 

Kelly. John— Trombone— '68 

Kelly, Robert— Composition— '42 

Kemper, Steven- Piano— "74 

Kendall, Gary— Opera— '74 

Kendrick, Virginia (Clarke)— 
Voice— '35 

Kennedy, Alice (Mendelssohn)— 
French Horn— '69 

Kennedy, Thomas— Violin-'63 

Kent, Douglas— French Horn- 

Kern, Peter-Flute-'62 

Kessissoglu, Vivienne (Bono)— 

Kelchum, Janet ( Lawrence)— 

Khursedji. Hilla-Piano-"72 

Kilburn. Nicholas-Bassoon-'55 

Kim. Dukju (Chang)-Piano-'67 

Kim, Young Uck-Violin-'70 

Kimball, David— Composition— 

Kindt, Allen-Piano-"6 1 

King, James-Clarinet-'4 1 

King, Jasper— Voice— '58 

Kishikawa. Ayako— Violin— '53 

Kitt. Lome— Clarinet -'63 

Kleinman. Marlene ( Malas)- 

Klenz. WiUiam-Orche.stra-'38 

Klinger. Carol (Brusilow)- 

Kodjian. Mihran-Violin-'63 

Kodjian. Varoujan -Violin— '57 

Koester. Robert-Trombone-'70 

Koljonen. John— Clarinet-'66 

Koljonen. Venda (Weber)— 

Kombrink. llona-Voice-"55 

Korn. Michael-Organ-'69 

Koucky, Marilyn ( Meyer)- 

Krachmalnick, Jacob-Violin- 

Kraemer. Emma Jean (Bergson)— 

Kralik, Isabelle-Violin-'42 
Krane. David-Composition— '74 
Krauss, Samuel-Trumpet-'35 

Krebill. Dorothy (Karayanis)- 

Kremer, Rudolf-Organ-'5 1 
Kressman. Ronald-Organ— '64 
Kreuger. Fritz*— Voice-'38 
Kreuger. Raymond— French 

Krewson. Helen— Voice— "68 

Krinsky. Yvonne (Druian)— 

Krisel. Karen— Harp— "70 
Kuehne, Marguerite (Fischer)— 

Kuerti. Anton-Piano-'58 

Laman, Judy (Umbrico)-Harp— 

Lambert. Robert-Trombone-'42 
Lampert. Sheldon— Violin— ^61 
Laredo, Jaime— Violin— ^59 

Larson. Edna (Harkness)— 

La Salandra. John— Bassoon— ^63 
Lateiner, Isidor— Violin— '47 
Lateiner. Jacob— Piano-^49 
Laughton. Stuart— Trumpet-^74 

Lavrans, Elayne(Chanslor)— 

Composition— '38 
Lawrence. Mark— Trombone-^72 
Lee, Allison— Piano— '65 
Lee, Elaine (Richey)-Violin-^58 

Lee, Kyung Sook (Koljonen)— 

Piano— '67 
Lehnhoff, Sheppard-Viola— "35 
Leich, Roland— Composition— '34 
Leider, Susan— Voice— '64 
Leon. Sonia (Klein)-Voice-^49 
Leonard. Ronald-Violoncello- 

Leone, Frank— Composition— "63 
Lerch, Louise*— Voice— ^35 
Leshem. Gilda (Sadoff)-Voice- 


Lesser, Richard— Clarinet— '59 
Lester, Leon— Clarinet— '34 
Letlvin. Theodore-Piano— ^49 

Levin. Michele (Katz)— Piano- 
Composition— '65 

Levin. Sylvan— Piano, 
Accompanying & 
Conducting— "34 

Levine, David— Piano— "73 

Levine, Joseph— Piano— "35 
Conducting— '37 

Levy, Amnon- Violin— "55 

Lewis, Eleanor— Voice— '35 

Lewis. Orville— Composition— '63 

Lewis, Rebecca (Wagner)— 

Lewis, Sarah*— Accompanying— 

Lifschey. Marc— Oboe— "48 
Light, Jay— Oboe— '63 
Lilly, Margaret (Richards)— 

Voice— '42 

Lima, Beatriz— Piano— '63 

Lipkin, Eleanor (Schwartz)- 

Lipkin, Seymour— Piano— '36 

Lloyd, David— Voice-"43 

Logsdon, Gary— Viola— "69 

London, James— French Horn— 

Loomis, James— Voice— '5 1 
Lottridge, Richard— Bassoon— '55 
Love. Esther (Polvogt)-Piano- 

Low. Roger— Violoncello— "74 
Lowell. Eugene— Voice— "36 
Luby, Richard— Violin— '67 
Luca, Sergiu— Violin— '67 
Luck. Andrew*— Bassoon-'35 
Lurie. Mitchell-Clarinet-'42 
Luskin, Leo-Accompanying-'41 
Luvisi, Lee-Piano— '57 
Mabry, Raymond-Organ-'62 

MacCartney, Barbara (Duval)- 

MacFarland, Elsie (Jansen)- 

Maciejewicz. Walter* — Bassoon- 

Mack, John-Oboe-'5l 

MacKinnon, Peter— Flute-'66 

Mahler, Albert*-Voice-'34 

Mainzer. Joan— Harp— '53 

Majeske. Daniel— Violin— '50 

Majewski. Virginia— Viola— '36 

Maki. Leia (Vauclain)*— 
Composition— '40 

Malan, Roy— Violin— '68 

Mandelbaum. Gayna— Violin— 

Mann, Alfred— Composition— '42 
Mapes, Gordon— Composition— 


Marcus, Robert— Violoncello— '68 

Maresh, Ferdinand-Double 

Mariano, Joseph-Flute— '35 

Markey, George— Organ— '49 

Marks, Edward— Clarinet-'62 

Markusson, Sigurdur- Bassoon— 

Martin. Robert-Violoncello— "62 

Marzyck, Mary (Papesch)— 
Piano— '35 

Mason, Barrie (Unrath)— 
Composition— "46 

Masters. Mary (Mylecraine)— 

Mather. Diane— Violoncello— "63 

Matison, Lily (Mahler)— Violin— 


Maurer, James— Violin— "64 
Mayes. Samuel-Violoncello— '37 
Mayhew. Mary Jane (Barton) — 

McCall, Donald-Violoncello- 

McCarty, Evelyn-Oboe-'58 
McConnell. Daniel— Voice-'73 

McCormick. William— Clarinet- 

McCoy. Edwin— Trumpet— '64 

McCurdy, Alexander, Jr.— 

McDonald. Donald— Organ -'50 
McElroy. John-Trumpet-"72 
McGinnis. Robert-Clarinet-'35 
Mcckler. Ruth ( Laredo)-Piano- 

Mecoli, Guido-Clarinet-'53 
Meiskey. Elsa*-Voice-'34 

Melby, John-Trombone— '64 
Melick, John-Trombone— '51 

Mellinger, Eleanor (Sattler)- 

Mellman. Leah (Horen)-Piano- 

Menotti. Gian-Carlo— 

Composition— '34 

Meredith, Eleanor (Judson)— 
Composition— '35 

Meyer. Charlton— Piano— '51 

Meyer, Felix*— Clarinet & 
Conducting— '35 

Meyer, Hubert— Tuba— "57 

Michaelian, Patricia- Piano— "70 

Michaels, Geoffrey— Violin— '65 

Michalak. Tomasz— Violin— '66 

Miller. Adrienne— Violin— "65 

Miller. C. Justin— Bassoon— "73 

Miller. Dean-Flute-"63 

Miller. Frank— Violoncello— '34 

Miller, Kari— Piano— '73 

Miller, Mary Ann (Valaitas)— 

Voice— "65 
Miller, Nolan— French Horn— '65 
Miller, Sandra-Flute-'71 
Mills, Harlow— Composition— '34 
Milofsky. Bernard*-Viola-'40 
Mmsker. John— Oboe— '35 

Mitchel, Eleanor (Roberts)— 


Mitchell, Ercelle (Lindsay)— 
Piano— '35 

Mitchell, Howard— Violoncello- 
's 5 
Mittleman. Norman— Voice— "58 
Motfitt. John— Composition— '35 
Moffo, Anna— Voice— "54 
Mogill, Leonard— Viola— "36 

Mollenhauer. Jude (Webster)— 

Monasevitch. Joan— Voice— '65 

Mong. Leslie(Eitzen)— Voice— "45 

Monohan, Thomas— Double 

Montal. Andre— Voice— '62 

Montanaro. Donald-Clarinet- 

Moore. Evans— Tuba— '60 

Moore. Robert— Trombone— '62 

Moreno. Kathleen— Harp— '73 

Morey. George— Flute— "38 
Morgan. Michael— Double Bass— 

Morgenslern, Marvin— Violin— 

Morris, Susan (Hedling)— Flute— 

Morse. Hilda-Voice— "40 

Morseman. Florence- 
Accompanying— "35 

Moss. Phyllis (Graetz)- Piano— 

Mostovoy. Laurie (Sonsino)— 


Muehlmann, Richard— Double"64 

Mueller. Marilyn (Honsinger)— 

Munafo, Frank— Opera- 1974 

Murdock, Victoria— Harp— "34 

Nanney. Herbert— Organ— "47 

Nazarevitch. Zenia*— Piano & 
Composition— "35 

Nelson, Allison (Beauchat)— 

Nero. Joseph— Percussion— '74 

Ness. Earl— Organ— "53 

Nestler. Mary (Reilly)— Voice— 

Nevison. Howard— Voice— "65 

Newkirk. Robert— Violoncello— 

Nies. Craig— Piano~'74 

Ninomiya. Miwako (Watanabe)— 

Ninomiya, Yumi (Scott)— Violin- 

Noonan. Alice— Composition— 

Norris. Mary (Tipton)— Piano— 

Norton. Nannette (Kramer)— 

Nudo. Angelo(Eto)— Violin— '56 

0"Gorman. Edward* — 

Conducting & Composition— 


Music Criticism— '39 

Giarte, Elvira— Percussion— "73 

Olefsky, Paul-Violoncello-"47 

Olsen, Cheston— Double Bass— 


Gostenbrug, Lloyd*— Voice— "52 

Opava, Emil— Flute- "34 
Orkis, Lambert-Piano— "65 
Ortiz, Cristina— Piano— "7 1 
Osadchuk, Roman-Voice— '68 
Ostlund, Arnold— Organ— '67 
Ovcharov, Sol-Violin— '46 

Gxner. Diane (Macdonald)— 

Voice— '54 
Page. Carol-Voice-'73 
Page, Jane ( Markey)— Voice— '49 
Paget, Ethel (01.sen)-Piano-'35 
Painter, Temple-Organ— '56 

Pallesen. Nancv (Dallev)-Flute- 

Park, Mi-Young-Violin-'71 

Parker, Louise-Voice-'50 

Parlante, Carmen-Trumpet-'38 

Parr, Patricia (Grebanier)- 
Piano— '56 

Parrott, Weslev-Organ— '74 

Pastor, Freda (Berkowitz)— Piano 
& Accompanying— '34 

Patota, Anthony— Percussion— '70 

Patrick, Robert~Flute-'58 

Patton, Mary Alice ( Plummer)- 

Voice— '56 
Peck, Donald-Flute-'51 
Peck, Marcia-Violoncello-'68 

Peckham. Irene (Veley)— Piano— 

Pecmanova. Sona(Jelinkova)— 

Pekinel, Giiher— Piano— '74 

Pekinel, Stiher— Piano— '74 

Penzarella, Vincent-Trumpet— 


Pepin, Clermont— Composition— 

Pepper, George*— Violin— '34 

Pepper, Jack— Violin— "35 

Pepper, Joseph— Violin— '49 

Perkins, Thomas— Voice-'43 

Perry, Janet— Voice— "67 

Persichetti, Vincent- 
Conducting— "39 

Peterson. Jon— Oboe— "67 

Petina. Irra(Bussey)— Voice-'35 

Phibbs. Milton-French Horn- 

Phillips, Edna (Rosenbaum)— 

Pickens, Jane (Langlev)— Voice— 

Pierson. Herbert-French Horn- 

Pintavalle, John— Violin-'5 1 

Pintavalle, Marie (Tracy)— 

Pironti, Patricia— Violin— '72 

Podder, Leopold— TruTripet—"34 

Polisi, William-Bassoon-"35 

Polk, Eloise (Spivy)— Piano— "53 

Polnarioff, Kurt*-Violin-"38 

Porotsky. Richard— Clarinet-"56 

Portney. Arlene (Sandler)— 
Piano— "65 

Portnoi. Henry— Double Bass-"40 

Portnoy. Bernard— Clarinet— "47 

Posell, Jacques— Double Bass— "35 

Poska. Judith-Violin-"35 

Prevot. Lynn— Voice— "73 

PridonofT. Eugene— Piano— "65 

Pulis, Gordon-Trombone-'41 

Purvis. Richard— Organ— '40 

Putlitz, Lois*-Violin-'35 

Putnam. Janet(Soyer)-Harp- 

Pyle. Ella*— Composition— '35 

Querze. Raoul— Clarinet-'56 

Quesada. Teresa (de Menacho)- 
Piano— '55 

Rabinovitsj. Max— Violin— '59 

Rachlin. Ezra— Piano & 
Conducting— '37 

Raim. Cynthia— Piano— '74 

Ramey, Eugene— Voice-'35 

Ramsay. Samuel— French Horn- 


Rappaport. Jack -Violin '74 

Ratteree, Jack— Clarinet— '58 

Raymond. Louisa— 
Composition— '50 

Rea. Gary— Piano-'7l 

Reatha. Reva (Jackson)-Harp— 

Redick. Janice— Opera— '74 

Regan. Rodney— Oboe— '73 

Reinert, Clarence*— Voice— '35 

Rein hard I. Donald -Trombone- 

Reisenberg, Nadia— Piano-'35 

Rentschler. Sallv-Flute '58 

Resnikoff. Vera-Piano-'35 

Rettew. James*— Clarinet-'42 
Reuben. Ronald-Clarinet-'55 

Rex. Christopher— Violoncello— 

Reynolds. Veda-Violin- "42 
Rezits. Joseph— Piano— "48 

Rhodes. Cherry (von 

Rosenvinge)— Organ— "64 

Rice. Heide— Piano— "72 

Richman. James— Conducting— 

Ridley. Charlotte (Watkins)- 

Voice— "36 

Rigg. Jonathan— Voice— "65 

Ritter. John-Piano-"58 

Rittich. Eugene— French Horn- 

Roan. Eugene— Orgaii-^54 

Robertson. Muriel 

( Sobolewska)- Voice— ^41 

Robinau It. Jean -Marie* -Piano— 

Robinor. Jennie— Chamber 
Music— "34 

Robinson. Berenice (Morris)— 
Composition- "35 

Robinson. Paul— Organ— "34 

Robinson, Reba (Cannon)— 

Robofsky, Abrasha-Voice-"35 

Rochberg, George— 

Composition— "48 

Roens, Burt— Trumpet— "44 
Rogers, Alvin— Violin— '53 
Rolandi, Gianna— Voice— '74 
Rose, Leonard— Violoncello— '38 
Rosen, Jerome-Violin-'59 
Rosenberg, Sidney— Bassoon— '48 
Rosenblatt, Louis— Oboe— '51 
Rosenfield, Joyce— Harp— ^57 
Ross, Dianne (Crafts)— Voice— ^68 
Rota. Nino— Composition— ^35 
Rothfuss. Guy— Voice— ^68 

Rothman, Lucille (Felsenthal)- 

Ruga, Zeda (Suzuki)-Piano-'63 

Ruggieri, Frank— Bassoon & 
Contrabassoon— "35 

Ruggiero, Matthew- Bassoon - 


Russell. Constance ( Rachlin)— 

Russo. John— Clarinet— '67 

Ryan. Francis— Trombone— "69 

Safstrom. Harry-Double Bass— 

Sagarman. Daniel— Bassoon— "49 

Saidenberg. Theodore— Piano & 
Accompany ing-'35 

Salemno. Louis— Conducting— 

Sampson. David-Trumpet— 73 

Samuel. Jay-Bassoon— "63 

Sanbrotti. Daniel— Percussion- 

Sandbank. Jeanne (Marvin)— 


Sanders. Irvin— Trumpet— ^7 1 

Santucci. William— Bassoon & 
Contrabassoon— ^35 

Sarbu. Eugen— Violin— ^73 

Satterfield. Deaune— Harp— "58 

Satlerfield. Jack*— Trombone— 

Saunders. Pauline (Dary)— 

Trumpet— "53 

Savitt. Jan*— Violin & 
Conducting— '35 

Savran. Jeannette (Sunshme)— 
Piano— '36 

Sayre, Gordon— Opera— '41 

Sayre, Robert— Violoncello— "48 

Schaefer. Winifred (Mayes)— 

Schapiro. Ana (Berschadsky)— 

Schenkman. Peter— Violoncello— 

Scherer. Martha (.'Mfee)-Oboe— 


Scheurer. Rolf— Composition— 

Schlecker. Richard-Double 

Bass— '67 

Schmachtenberg. Emil— 
Clarinet— '35 

Schmidt, Ingeborg— Piano— '72 
Schmidt, Jack— Oboe— '58 
Schneck. Edwin— Percussion— '66 
Schreiber, Eleanor— Piano— '56 
Schub, Andre-Michel-Piano- 

Schumacker, Margaret (Scott)- 


Schupak. Charles-Trombone- 

Schwartz. David— Viola— '37 

Scott. Roger-Double Bass-'41 
Scutt. Kenneth-Flute-'50 
Sear. Walter-Tuba-"5 1 
Searcy, Roberts— Organ-^59 
Seder. Jules— Bassoon— '37 
Seder. Theodore— French Horn— 

Seiver. Rebecca— Violoncello— '72 

Serebner. Jose— Composition- 

Serkin. Judith— Violoncello— "73 

Serkin. Peter-Piano— '64 

Serr. Harriet (Slerenthal)- 

Serratos. Enrico*— Violin— "54 

Sewell. Frederick— Violin— '54 

Shaft'er. Flame (Kurtz)*-Flule- 

Shaft'er, Pamela-Violin-^65 

Shaffer. Sherwood— 
Composition— '60 

Shahan. Michael-Double Bass— 

Shamlian. John— Bassoon-'43 

Shankle. Jennings-Trombone- 

Shanman. Jay— Trombone— '63 
Shapiro. Eudice(Kast)— Violin— 

Sharlip. Benjamin*-Chamber 

Music— '34 

Sharoff. Sanford— Bassoon— '41 
Sharon. Linda (Cerone)-Violin- 

Sharp. Sidney— Violin— ^43 
Shay. Michaelene— Harp— '72 

Shaykin. Joan (Emtage)- 
Violoncello— '55 

Shearer. Nancy— Organ— '72 

Shechtman. Lillian (Frank)- 

Shefeluk. Marie (Lloyd )- 

Shell. Martha-Voice-'73 

Sheridan. Frances (Haut)— 

Voice— "35 
Shifrin. David— Clarinet— '71 

Shill. Richard-Trombone-'41 

Shirvan. Harriet (Kass)— Piano— 

Shoaf. Jane (Forstner)— Voice— 

Shoop. Betty (Seibert)— Viola— 

Shub. Louis— Accompanying— ^40 

Shulik. Morris— Violin— ^42 
Shumsky. Oscar— Violin— "36 
Shure. Paul— Violin— ^43 
Siegl. Henry— Violin— "35 
Siemens. Reynold— Violoncello— 

Signor. Warren— Viola— "46 

Signorelli. Anthony— Clarinet- 

Silfies. George— Clarinet— '48 
Simmons. Calvin— Conducting— 

Simms. John— Piano— ^43 
Simon. Abbey— Piano— '39 

Simonelli. John— French Horn- 
's 9 

Smatra. Frank— Tympani and 
Percussion— '36 

Singer. Bronja (Foster)-Piano— 

Singer. David— Clarinet-^71 
Singer. Irene (Opava)— Voice— ^36 
Siljar. Felix-Violin-"49 
Sitjar. Josephine*— Voice— ^46 

Skolovsky. Zadel— Piano & 

Conducting— ^37 

Skowlund, Carl— Trombone— ^50 

Skowroneck. Felix— Flute— '56 

Smart. Robert— Organ— '52 

Smith. Barron— Organ— '47 

Smith. Henry Charles- 
Trombone— '55 

Smith. Janet— Voice— '57 

Smith. Joseph— Clarinet-'67 

Smith, Lloyd-Violoncello-'65 

Smith, Muriel— Voice— '46 

Snyder. Clarence— Organ— ^42 

Snyder. Noel— Violoncello— ^6 1 
Chamber Music-'62 

Sokoloft". Laurie (Orner)-Flute- 

Sokoloft". Vladimir- 
Accompanying— "36 

Somer. Hilde (Zurkow)-Piano- 

Sorel. Claudette-Piano-^53 
Sorianello. Francesco— Voice— '59 

Sorlein. Barbara (de Pasquale)— 

Sowiak. Oksana— Voice— '61 

Spicer. David-Organ— '69 

Spitzer. Jean (Glasser)— Violin— 

Stabile. Mary Ann (Cooper)— 


Stairs. Michael— Organ-^71 

Stanchik. Vivian (Wagner)— 
Voice— '56 

Standley. Gene-French Horn— 

Stanford. Carolyn (Fortson)— 


Staples. Alan-Violin-'49 

Stark. Ethel-Violin-'34 

Starr. Susan (Arrow)— Piano— '61 

Stasis. Patricia— Voice— '71 

Statter. Arthur— Trumpet-'35 

Steelman. Ronald-Double 

Steiner. Diana (Dickstein)— 

Steiner. Frances (Tarlow)— 

Violoncello— ^56 

Sleinhardt. Amold-Violin-^59 
Steinruck. Mark-Trombone-'70 
Stenborg. Rodney-Voice-^62 
Stephens. David-Conducting— 
Tympani and Percussion-"40 

Stephenson. Loran- 
Violoncello— ^69 

Stephenson. Mark-Double 

Stepper. Martin-Composition- 

Stern. Lucie*— Piano— ^35 
Stewart. Robert-Oboe-^66 
Stewart. Willie (Setseck)-Voice- 

Stimpson. George— French 

Stolin, Sonia-Voice-'50 
Stone. Katherine ( Vadde)- 


Storch. Laila (Friedman)- 

Slurman, Mitchell-Clarinet— '73 
Stutch. Nathan-Violoncello-'41 
Sugitani. Takaoki-Violin-'62 
Sullivan. Richard-Trombone- 


T5;-r> 'Ciirtis Institute of Mi>:''!" 

Sunkett. Mark- Percussion— "70 

Suiter. Marjorie(Jacobius)— 

Suzuki. Hideiaro-Violin— "63 

Sveinbjomsson. Einar— Violin- 

Swan. Marilyn-Piano-'73 

Sweenev. Gordon— Trombone— 

Svnions. Charlolte(Hoierman)— 
' Voice-"35 

Tail. Catherine— Violin— '74 

Takeuti. Kiyoko— Piano— "71 

Tamburini. James— Trumpet— "40 

Tarlow. Lawrenee-Tuba-"74 

Teague. William— Organ-'48 

Temianka. Henri— Violin & 
Conducting— "35 

Tern.'. Kenton— Flute— "34 

Thibault. Conrad-Voice-'34 

Thompson. Patti-Jean 
( Buechner)— Voice— '60 

Thome. Barbara (Sle\ enson)— 

Thorstenberg. Laurence— Oboe— 

Thurmond, .lames— French 

Tifi". Michele-Piano-"74 
Tipton. Albert-Flute-"39 
Tomasone. Adeline— Flute— "74 
Torello. Carl— Double Bass— "35 

Tornga. Joanne (Hutchinson)— 
Voice— "49 

Townsend. Richard— Flute— "35 

Treash. Leonard— Voice— "36 

Tree. Michael— Violin— "55 

Trembly. Sally-Viola-"54 

Trepel. Shirley— Violoncelio-"45 

Trifan. Marioara— Piano— "65 

Trobaugh. Lee(Sleelman)— 

Troxell. Barbara— Voice— "42 

Tsumura. Mari ( Botnick)— 

Tuma. Elizabeth- Violoncello- 

Tung. Shao-Ling— Violin-"54 

Tung. Shao-Yuan— Violoncello- 


Turk. Gordon— Or2an-"71 

Turkiewicz, \Vilold-Piano-"49 

Tursi. Francis— Viola— '42 

Composition— "46 
Tutlle. John-Organ-"69 
Tultlc. Karen-Viola-"48 
Tyre. Jane (Balchelder)-Double 

' Bass-"42 
Tvre. Marjorie (Svkes)-Harp— 

Ujcich. Randolph-Double 

Umbrico. Joseph-Trumpet-"57 
Usui, Mikiko-Piano-"69 
Vail. James— Organ— "5 1 

Valente. Benila (Checchia)- 
Voice— "60 

Vallev. Patricia (Holdeman)- 

Van den Berg. William— 
Conducting— "35 

van Lidth de Jeude. Philip- 
Voice— "74 

Van Sickle. Rodney-Double 

Vassar. Walter-Voice-"34 

Vauclain. Constant- 
Composition— "39 

Veach. Penelope-Violin— "65 

Vialione. Gina ( Penzarella)— 

Villa. Carlos-Violin-"58 

Villareal. Sylvia (Bryson)— 

Voice— "72 

Visca. Claudia-Voice-"73 
Vischoric. Joanne— Voice— "70 
Voaelgesana. Frederick— Violin- 

Vole. Gaby-Double Bass-"7 1 

Vyner. Louis— Viola & 
Conducting -"34 

Wada. Kaiko(Hori)-Violin-"67 

Wagner. La\vrence-Clarinet-"59 

Wainwriaht. Lvnne( Palmer)— 

Walker. George— Piano & 
Composition— "45 

Walker. Louise-Violin-"35 

Wallace. Trudy (San Filippo)- 
Voice— "63 

Walstrum. Theodore-Piano & 
Accompanying- '34 

Wana. l-Fu-Violin-"74 

Ward. Tim-Bassoon-"73 

Watkins. Herman'- French 

Watlington. Helen— Voice— "35 

Watson. Julia (Janson)-Violin- 

Watzinger. Wolfgang- Piano— "74 

Wauchope. Arthur— Trombone— 

Weaver. John— Organ— "59 
Weber. David-Oboe-"70 
Webster. William— Oboe— "62 
Weeks. Larry-Trumpet-"71 

Weimer. Patricia-Violoncello- 

Weinrich. Carl-Organ— "34 
Weinstein. Stanley-Clarinet— "66 

Weisgall. Hugo— Conducting— "37 
Composition— "39 

Wenk. Nancy— Clarinet-"64 

Werle. Frederick— Composition— 

Wertsch. Nancv (Dolph)-Voice- 

West. John— Voice— "62 

Westmoreland. Elizabeth 

( Briggs)— Accompany ing— '34 

Wetherill. David-French Hom- 


Whitehead. Henry*— French 

Whitehead. William-Organ— "62 

Whitenack. Irven'-Double 
Conducting— "39 

Wiener. Frances (Shorr)— 
Violin— "35 

Wightman. Florence-Harp— '35 
Wilkins. Caria ( Forrest)-Voice- 

Williams. Diane-Harp— '55 

Williams. Donald-Percussion- 

Williams. Florence (Seder) - 

Violoncello— '35 

Williamson, Bernard. Jr.* — 

Willis. Andrew-Piano— "72 
Willoughbv. Susan-Bassoon-"61 
Wilson. Alex-Trumpet-'49 
Wilson. Harvey— Trombone— "38 
Windt. Paul-Violin-"70 

Winkler, Anton-Flute-"42 

Winsor. Curtin— Composition & 
Music Criticism — 42 

Winstead. William— Bassoon-"64 

Winterbottom, Susan— Viola— '68 

Winters. June (Peretti)— Voice— 

Wippler. Harold— Violin— '47 

Wiseman. John— Voice— '63 

Witmer. Larry— Trombone— "74 

Woerner. Gerald— Trombone— 


Wohl. Milton*-Violin-"40 

Wohlwender. Thomas— 
Trumpet— "55 

Wolcott. Vernon— Organ -"54 

Wolf. Andrew — Piano— '66 

Wolfgang. Bonnie (PridonofT)- 
Bassoon— '67 

Wolfgang. Randall— Oboe— '72 
Woltman. Martin— Oboe-'70 
Woodhams. Richard— Oboe— "68 
Woodhams. Thomas— Bassoon— 

Woodside. Robert— Organ— "52 
Woodward. Ann— Viola— "65 
Workman. William— Voice— '65 
Worman. William— Organ— "47 
Woron. Caroline (Levine)— 

Worrilow. Helen (Campbell)— 

Voice— '41 
Wortreich. Herbert- Viola— '42 
Wright. Harold-Clarinet-"50 
Wright. William-Clarinet— "5 1 
Wustner. Marga*-Piano& 

Accompanying- "34 
Wyatt. Charles-Flute-"66 
Wyre. Ross— Tuba— "34 
Yeats. William-Voice-'60 
Yockey. Elyse (llku)-Harp-'52 
Young. Bobby Ann— Voice— '64 

Zaninelli. Luigi— Composition— 


Zaremba. Sylvia— Piano— '47 

Zarzeczna. Marion— Piano-'54 

Zawisza. Leon— Violin— "36 

Zazofskv. George— Violin-'41 

Zegler. Manuel— Bassoon— '40 

Zelig. Tibor— Violin-'43 

Zimmerman. Oscar— Double 

Zupnick. Marilvn- Oboe— '72 
* Deceased f ) Married Name 


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