CURT I S INST I T UTE of MUS I C En dowed MARY LOUISE CURTIS BOK

CA TA L O G U E

1 92 8 - 1 929

RITTENHOUSE SQUARE PHILADELPHIA PENNSYLV ANIA

THE C U RTIS INS TITU TE of MU S IC

WAS E TE IN 1924 CR A D , , UNDE R AN E NDOWME NT

By MARY LOUISE CURTIS BOK

AND I S OPE RATE D UNDE R A CHARTE R OF THE COMMONWE ALTH OF PE NNS YLVANIA

PURPOSE

TO HAND DOWN THROUGH CONTE MPORARY MASTE RS THE GRE AT TRADI TIONS F THE S O PA T .

TO TE ACH S TUDE NTS TO BUI LD ON THI S HE RITAGE FOR THE FUTURE

P age F[we

THE C U RTIS INS TITU TE of MU S IC OFFERS T o STUDENTS

Instruction by world famous ar tis ts who give in dividual les sons .

Free tuition .

Financial aid , if needed .

Steinway Grands , string and wind instruments rent free , to those unable to provide such for themselves . These Stein way pianos will be placed at the disposal of students in their respective domiciles . Opportunities to attend concerts of the Philadelphia Orchestra and of important visiting artists , also performances of the Metropolitan Opera Company— as part of their musical education .

U ad Summer sojourns in the nited States and Europe , to van ce d and exceptionally gifted students , under artistic supervision of their respective master teachers of the Curtis Institute .

u Public appearances during the period of their st dies , when o warranted by their progress , so that they may gain pra tical stage experience . In addition to development of the student to full artistic ma turit y , financial assistance in setting out upon a public career .

P age S even

Director

JOSEE HOEMANN

i P age Nt n e THE CURTIS INS TITUTE OF M US IC

OFFICERS

P rea‘idenl

R S E R S MRS . MA Y LOU I CU TI BOK

’ Vice P red aen l

P NS PH ILI S . COLLI

S ecreta ry and Tr eaJu/‘er WILLIAM CU RTI S BOK

Board of Direclo m

MRS R U S E U R S . MA Y LO I C TI WILLIAM CU RTI S BOK H P NS P ILI S . COLLI R U R S CY U S H . K . C TI F L R U E . E s M S . SAM L S

P age Ten

THE CURTIS INS TITUTE OF M US IC

EXECUTIVE STAFF

Director

IOS E F HOFMANN

S ecretary to th e Dir ector DOROTH Y LYNCH

E xecutive S ecretary DAVID S A P E RTON

Dean

P FF R GRAC E H . S O O D

Awiwtant to th e Dean

E WE NS N ELIZAB TH Z . S O

Regif trar

R E N E R MA GARE T H . B K T

Co urwelor to the S tuden t Body

MCCA L L I P EMILY L .

Co mptro ller

S N H . W . EA TMA

L ibrar ian

MARJOR I E WINN

P age E leven THE CURTIS INS TITUTE OF MUS IC

LOCATION

Of The Curtis Institute of Music , facing the green Ritten r house Square , is in the heart of the best esidential section of Philadelphia . It is within four blocks of the Academy of Music where the symphony concerts of the Philadelphia Orchestra , the conce r ts of important visiting artists and the performances of the Metropolitan Opera Company of New York are given .

BUILDINGS The buildings comprise three beautiful private residences which have been remodeled :yet there has been retained their original homelike atmosphere .

EQUIPMENT The equipment and furnishings combine beauty and utility .

LIBRARY

The library is extensive and of wide scope , embracing

— over volumes books , music and scores . It includes many original and unedited editions of music of the great masters .

P age Twelve E NTRANCE TO CAS I M I R HALL

THE CURTIS INS TITUTE OF MUS IC

HEADS OF DEPARTMENTS The various Departments of The Curtis Institute of Music a re under the personal di rection and supervision Of the follow ing members of its Faculty

MARCE LLA S E MB RICH .

JOS E F HOFMANN . LYNNW OOD FA RNAM LE OP OLD A U E R

r fli c LOUI S BAILLY Vio la a n d Cha mbe wi FE LIX SALMOND Vio lo ncello

CA RLOS S A L Z E DO . A RTU R RODZINS KI Orch eJtra ROS A R IO SCALE RO Th eory a nd Compowitio n

These artists , in each instance , in addition to their duties

D . as Heads of epartments , instruct students personally

P age Fo urteen Jose f Hofman n Dir ector of th e I notitute H ra ti C n n e Ha e man o o o ll Richa rd g THE CURTIS INS TITUTE OF MUS IC

DEPARTMENT OF VOICE R E E MB R H D MA C LLA S IC , Head of epartment

I nJ‘t/‘Lt CtO/‘J‘

MARCE LLA S E MB RICH HA RR I E T V AN EMD E N EMILIO DE GOGORZA HORATIO CONNE LL

Coach ing and Reper to ire RICHA RD HAG E MAN A RTUR RODZINS KI DAGMA R RYBN E R BARCLAY ILS A RE I ME S CH MA X PONS

Dictio n

E J E AN B . B CK EU FE MIA GIANNINI GR E GORY SAMU E L ARTH U R KING MINNA S A UME L L E E N H E RMANN I . W IGA D

Operatic d oting and S tage Dep or tmen t

H E M V ON WYME TA L R . WIL L , I

P latform Department SAMU E L A RTH UR KING

P age Fifteen THE CURTIS INS TITUTE OF MUS IC

MARCELLA SEMBRICH

r Ko ch an s ka Ma cella Sembrich , who was destined to ’ r r n become one of the world s greatest Ope atic sop anos , was bor ’ L . n n in emberg , Poland She adopted her mother s maide ame f r u of Sembrich to serve her professional career . Her i st m sical n r i struction was eceived fro m her father in piano and violin . A S h e t the age of twelve appeared in piano and violin recitals , and she continued her study of these in struments with Guil r r laume Stengel in the Lembe g Conservato y . When she was Old r h e r sixteen years , Marcella was sent to Vienna to pe fect musical and pianistic training under Julius Epstein , and it was here that her great possibilities as a singer were discovered . The girl was then sent to study voice with Lamper ti in Milan . A 1877 Her debut as singer was made in thens in , and . L success in opera came swiftly Engagements in ondon ,

D . L r Paris , resden , Berlin , St Petersburg ( ening ad) , Vienna o 1883 and Madrid followed in quick successi n , and in Madame Sembrich was engaged as leading sop rano at the

r L . Metropolitan Ope a , and made her debut as ucia Concert tours and operatic engagements in Europe alternated with h e r A 1902 1909 visits to merica , and from to she was continually r r engaged by the Metropolitan Opera Company . After eti ing from operatic and concert work , Madame Sembrich devoted herself to teaching and has since developed such singers as D L ash an s ka Jeritza , usolina Giannini , Hulda and Queena Mario

P age S ixteen THE CURTIS INS TITUTE OF MUS IC W M

EMILIO DE GOGORZA

Spain , France and England have all shared in the musical endowment bestowed upon this artist . He was born of Spanish

A 1874 . merican parentage in Brooklyn , New York , in In England he undertook singing as a serious study and in France he made his first appearance on the concert stage . When Go o rza Emilio de g traveled as a child , it was in London that he became a favorite as boy soloist , singing in churches and in school choirs . He completed his studies at the Ecole Monge

- - L L le . and at the ycée ouis Grand in Paris , France De Go go rza returned to America for his first serious A instruction , his teachers being Moderati and gramonte in New York . A visit to Paris resulted in his continuing his B studies with Emile ourgeois , singing master of the Opéra 18 7 o rza Comique . In 9 de Go g was heard in a concert in New York with Marcella Sembrich . From that date his appearances have been continuous both in recitals and with the leading orchestras in the United States and Europe . Go o rza With his unusual gift for languages , Emilio de g has been able to enrich his programs with the rarely heard songs and folk music of many races . He has cultivated in his audiences a taste and appreciation for the songs of the younger French composers , for Russian folk songs , and has revealed a A new world of Spanish art song in the melodies of ndalusia ,

B . Catalonia , and the country of the asques

P age S even teen THE CURTIS INS TI TUTE OF MUS IC

DEPARTME NT OF PIANOFORTE

OS E F OFM NN I H A , Head of Department

DIVI S ION OF PIANO SOLO OS E F OFM NN D J H A , Head of ivision

I t ructorJ IOS E F HOFMANN ALE XAND E R LAMB E RT I S AB E LL E VE NGE ROV A DAVID S AP E RTON

DIVI S ION OF ACCOMPANYING RRY K UFM N I t HA A A , Head of Division and nstruc or

DIVI S ION OF SUP P LE M E NTARY PIANO A R M CHAS I NS B A , Head of Division

I nJtructore

AB RAM CHAS I NS DRU N ETH E L S . MMO D CLAI RE S V E CE NS KI others , drawn from the student body of the Institute .

DEPARTMENT OF ORGAN LYNNWOOD RN M FA A , Head of Department and Instructor

Page E ighteen

Ha rr Ka fm y u a n Ab ra m Ch as in s

L n n w rn y ood Fa a m THE CURTIS INS TITUTE OF MUS IC

JOSE F HOFMANN ’ A musical lineage that embraced on hi s father s side a - piano teacher , pianist composer and orchestra leader , and on ’ his mother s a noted soprano of the Cracow Municipal Opera , n ul furnished the backgrou d for the youthf genius , Josef 1 76 Hofmann . He was born in 8 and began to study music

hi s . A before the age of four , first teacher having been his sister ’ n i year later Hofman sen or undertook the boy s musical training . Josef Hofmann made his first public appearance in a town near Warsaw when he was five years old . Other concerts fol lowed in the leading cities of Poland and when he was eight he was heard by Anton Rubinstein who predi cted a career of l h l exceptional bril iance for the yout fu prodigy . A i E t the age of n ne , his first uropean tour was arranged F and the boy was heard in Germany , rance , England and

i . 1887 Scand navia Soon after , in , he appeared for the first time in U v n . the nited States , gi i g forty concerts The remarkable playing of the eleven -year - Old boy so aroused the enthusiasm of Alfred Corning Clark of New York that he generously offered to provide his father wi th the necessary means to fur ther his musical education and artistic growth , whereupon the boy return ed to Europe to study music in Berlin . Four years nl later he became the o y private pupil of Anton Rubinstein . I 1894 Old u n , then eighteen years , Hofmann ret rned to the concert platform . He toured Germany and England and

1896 . in made his Russian debut Two . years later he returned for a tour of the - United States and has since been constantly before the public as concert pianist and composer . For the - last twenty one years Mr . Hofmann has made his home in the Uni ted States and has become an American citizen . ’ Hi s Hofmann s compositions are numerous . orchestra works have been performed in the Uni ted States and Europe

N S afo n o ff Z , by ikisch , Schuch , , Stokowski , ach , Gabrilowitsch D amrosch and Stock . Page Nin eteen THE CURTIS INS TITUTE OF MUS IC

ALE XANDER LAMBERT B 1863 orn of a musical family in Warsaw , Poland , in , Alexander Lambert received his first piano instruction from

- his father , a well known violinist . 1875 A h ad In , on the advice of nton Rubinstein who heard the boy play , he was sent to Vienna . There he studied at the Conservatory with Julius Epstein , with Gustave

- Mahler as a co student . He was graduated with high honors . In 1880 he came to America where he remained for three years , concertizing and teaching . Thereafter he returned to Europe where he was engaged f r b , , y the noted ma“nager Herman Wol f to appear ”in conce ts ull and to teach at K aks Akademie der Tonkunst in Berlin . His first concert tours were in conjunction with Joseph Joachim and Pablo S arasate . He also appeared with many orchestras and in recitals . L He then went to Weimar to study with iszt , his fellow A Silo ti A students being Moriz Rosenthal , lexander , rthur Friedheim and many other well known pianists . In 1884 he returned to America to appear as soloist with the New York and Boston Symphony Orchestras , and made a tour of the leading cities . His love for teaching was always uppermost and he established a music school in New York City which for eighteen years enjoyed an international repu tatio n . Today he is acknowledged as one of the leading teachers in the United States .

P age Twenty THE CURTIS INS TITUTE OF MUS IC

ISABE LLE VE NGE ROVA A native of Vilno , Russia , descended from a family that Ven e ro va was widely known in the field of literature , Isabelle g , 14 at the age of , was sent to the Vienna Conservatory , where

1895 . L from she was graduated in ater , she studied for two years with Leschetizky and subsequently with the famous

A E si o ff. pianist , nette p Madame Ven ge ro va distinguished herself as a pianist and teacher and became assistant to Madame E sipo ff at the Im 1 10 perial Conservatory in St . Petersburg (Leningrad) . In 9 she was appointed Professor of pianoforte at this famed school fl‘ under the direction of Glazo un o and remained in this posi tion for twelve years . Her concert tours of Russia and Western Europe took her to the principal centers of music on the continent where she was acclaimed as a prominent soloist with orchestra , ensemble

. K S h e player and recitalist With ochanski and Joseph Press , took part in a Brahms cycle , playing for the first time in Russia most of the chamber works of that composer . Madame Ven ge ro va left Russia in 1922 and came to the United States the following year . She has frequently appeared in concerts , and has been a member of the piano faculty of the Curtis Institute of Music since its foundation .

P age Twenty -one THE CURTIS INSTITUTE OF MUS IC

LYNNWOOD FARNAM B 1885 L orn at Sutton in the Province of Quebec in , ynn Farnam ni wood , organist , began his musical studies as a pia st in Dunham , where , at the age of fifteen , he won the Montreal

. L Music Scholarship This scholarship , contributed by ord L Strathcona and ord Mount Stephen , made possible his four years of study at the Royal College of Music in London . His teachers were Franklin Taylor and Herbert Sharpe for piano ,

. , . A . , . . . and Dr James Higgs F Sewell and W ‘ S Hoyte for organ ’ Farnam s The organ won young preference , and to this

. 1904 he devoted his chief interest Returning to Canada in , m Mr . Far am received his first appointment as church organist in Montreal and soon was appointed organist of Christ Church 1 13 Cathedral . He gave up this post in 9 to accept a call to E mmanuel Church in Boston . The war interrupted his musical i U career , but after his d scharge he returned to the nited States . He was engaged as organist by the Fifth Avenue Presby N 1919- 20 terian Church , ew York City , during , and since that date has been organist of the Church of the Holy Communion

. . F in New York Mr arnam has had an extensive concert career , having appeared as soloist with the Society of the Friends of N F Music , ew York , at the Coolidge oundation Festival of Chamber Music in Washington , the Cincinnati Music Festival , and on other notable occasions . He has given public perform u B A a ces at York Minster , ath bbey , the Cathedrals of West E minster , Southwark , xeter , and Christ Church , Oxford , in E A ngland , and in the merican Cathedral in Paris and at the

. F . Church of St Ouen in Rouen , rance

P age Twenty -two Le e r E fr m opold Au e Zimbalis t

L e a L u b o s h u tz B E d win a chma n n L Ba n ouis illy Fe lix S almo d

M itf Ca rlos S alze do Albe r t e

THE CURTIS INS TITUTE OF MUS IC

LEOPOLD AUER

L A , eopo”ld uer dean of violin pedagogues and maker of violinists , has enjoyed throughout a long life the highest dis

- tinction in many realms of music . Pre eminent as a soloist , as r orchest a conductor and as teacher , he is also widely known D for his original compositions and transcriptions . uring the past twenty years , the success of his pupils has brought him worldwide fame . L A Born in Hungary , eopold uer studied first at the Vienna r Conservato y and later with Joachim . Before he was twenty he was named conductor of the Dusseldorf Orchestra and o c cu 1868 pied a similar post in Hamburg . In he was appointed court r Violinist at St . Petersbu g (Leningrad) and held this post con tin uo u s ly until the overthrow of the Imperial régime in Russia i r He succeeded Wien aws ki as Professor of the St . Petersbu g Conservatory and during this entire pe riod was conductor of the Imperial Music Association . He was acclaimed in the prin i c pal cities of Europe as the leading violinist of the age . Political hazards compelled Professor Auer to leave St . 1917 Petersburg in , and , after a brief visit to Norway , he came r 1 1 to America ea ly in 9 8 . Here he was engaged for a concert tour of the principal cities , after which he devoted himself to teaching privately in New York City . Among his pupils are

Z K , numbered Heifetz , Elman , imbalist , athleen Parlow

P o liaken . , Cecilia Hansen , Rosen , and Seidel

P age Teven ly -fo ur THE CURTIS INS TITUTE or MUS IC

LEA LUBOSHUTZ

Lea Lub o s h u tz was born in Odessa and began her concert i career as a violin st at the age of six . It was upon the advice and S afo n o ff insistence of Vassily , noted Russian conductor , that i she pursued her stud es at the Moscow Conservatory . There she received a gold medal for exceptional accomplishment and at the age of sixteen was heard in concerts in Poland , Germany and France . She appeared with the leading orchestras , includ n ing those conducted by Safo o ff and Arthur Nikisch . Her first appearance in America was as soloist with the Russian Symphony Orchestra . This was followed by an ex tensive tour of Russia and other European countries where

. L ub o s h tz she gave more than one hundred recitals Mme . u later studied for three years with E ugene Ysaye and became one of his most brilliant pupils . Since then she has appeared extensively in concerts in the United States and abroad . She has been soloist with the Berlin Philharmonic Orchestra and the Pas delo up Orchestra in Paris . Madame L ub o s h u tz re turned to America a few years ago as soloist with the State Symphony of New York . She has since been heard as soloist with the leading symphony orchestras in this country.

P age Twenty -five THE CURTIS INS TITUTE OF MUS IC

E FREM ZIMBALIST Known throughout the musical world as one of the most v Z di brilliant concert iolinists , Efrem imbalist splayed as a child the genius that was to bring him future renown . At the age of nine he was appointed first violin in the orchestra of the - - o n . Rostov Opera , in Rostov Don , Russia , where he was born Soon after he was sent to study with Professor Leopold Auer at the Imperial Conservatory of Music in Petrograd . The principal cities of Europe had already acclaimed him as one of the world ’ s greatest violinists when he made his 1 American debut in 19 1 . Since then Mr . Zimbalist has been heard in the principal cities of the civilized world , has appeared as soloist with the leading orchestras and has made several tours around the world . He has contributed original compo sitio ns for the violin , piano and voice , and has composed successful light operas .

Page Twenty o rix THE CURTIS INS TITUTE OF MUSIC

LOUIS BAILLY A L B native of Valenciennes , France , ouis ailly , at the age of seventeen , won a first prize for viola playing at the Paris Conservatoire . He soon gained a reputation as soloist , playing with the Concerts Colonne , the Société des Concerts du Conservatoire and other larger orchestras . Having decided upon a career as a specialist in Chamber - Music , he became a founder member of the famous Capet Quartet , whose annual performances of all the Quartets of Beethoven are still events in the musical life of the continent . From this organi zation he passed to the Geloso Quartet with

l , E whom , unti the outbreak of the Great War he toured urope , playing before notable audiences . By special permission of the

. N French Government , Mr Bailly came to ew York as a l n z le l member of the F o a y Quartet . He rapid y became as well known in the United States and Canada as he had been in E l urope , both as a virtuoso vio a player and as a member of l n z le such organizations as the F o a y and Elman Quartets . B With Harold auer at the piano , he gave the first performance ’ “ $ of E rnest Bloch s Suite for Viola and Piano at the Pittsfield Festival in 1919 . Mr . Bailly has appeared as soloist with the l n N Philade phia Orchestra , the Chicago Sympho y , the ational z F Symphony under Bodan ky and with the riends of Music , New York City . For nine years he has been a member of the r Ju y of the Paris Conservatoire .

Page TwenIy-Jeven THE CURTIS INS TITUTE OF MUS IC fi W W W W §§

FELIX SALMOND A musical endowment was the birthright of this Violon ; cellist his father was Norman Salmond , the celebrated English

- bass baritone; his mother was a professional pianist . Felix Sal mond was born in London in 1888 . His early gifts matured um der the tutelage of Professor W . E . Whitehouse of the Royal L th e College of Music in ondon , where at end of three years young Salmond won a scholarship which he retained for a period of four years . He then continued his studies in Brussels with Edouard Jacobs .

. L 1909 Mr Salmond made his debut in ondon in , and thereafter appeared in concerts throughout Great Britain . He was invited by Sir Edward Elgar to appear as s o lo is t in the premiere of that composer’ s Concerto for Violoncello and

L . 192 1 Orchestra , played by the ondon Symphony In he made his debut on the Continent in a recital in Amsterdam after having devoted two seasons to ensemble playing with the Chamber Music Players . Mr . Salmond has appeared in concerts with the most cele b rate d o r pianists of the day , and as soloist with the leading r U ch e s t as . He made his first concert appearance in the nited 1922 States in , and has alternated his visits here with concert tours of Europe . While Mr . Salmond is recognized as one of ’ the leading exponents of the classical repertoire for the cello , he has done much to introduce the works of modern composers .

P age Twenty -eight THE CURTIS INS TITUTE OF MUS IC

CARLOS SALZE DO Destined to become the leading single factor in elevating

i i l i , the harp to a position of und sp“uted author ty and popu”ar ty S alzedo h ar ism Carlos , the creator of contemporary p , won 1 his earliest laurels in piano and solfege . He was born in 885 in the province of Gironde , France , and entered the Bordeaux Conservatory at the age of seven . In two years he had won first prizes in the piano and solfege departments . Thence he went to the Paris Conservatory , and at the age of twelve began the study of the harp . Four years later he won in one day the First Prizes for both piano and harp at the Paris Conservatory . U S alzedo ntil he was twenty , toured Europe both as - . 1909 pianist and harpist Not until , when Gatti Casazza en gaged him as solo harpist with the Metropolitan Opera , did the young musician finally determine which instrument would be the one to fashion his career . But once having adopted the S alze do im harp , set about to elevate it to its proper place of portance . He founded organizations and movements to attract A public interest , and alternated his tours of merica with visits to E urope . The outbreak of the war found him in Europe with L u tece the Trio de , and after his discharge from the army , Salze do returned to the United States . Salze do He organized the Harp Ensemble , and was elected A f president of the National ssociation of Harpists , which o fice

. E e I he still holds With dgar Var se , he formed the nternational ' Composers Guild , and issued a magazine , Eolus , devoted to contemporary music . As a teacher he revitalized harp tech nique and created the system of symbols now universally used to designate the means of producing desired effects . His $ Modern Study of the Harp” is the recognized textbook in this ’ alze branch of music . S do s compositions and transcriptions are “ ” numerous . His symphonic poem , The Enchanted Isle , has D been played by the Symphony Orchestras of Chicago , etroit , Philadelphia and Boston . P age Twenty—n ine THE CURTIS INS TITUTE OF MUS IC

DEPARTMENT OF ORCHESTRA

A R UR OD NS K T R ZI I , Head of Department Conductor of the Students ’ Orchestra Instructor of Conducting and Orchestra Classes

I nJtructorJ

Double Barr AN ON ORE O , T T LL

Flute M . K N D , WILLIA M I CAI Clarinet LU E N CAI L L I E T , CI Oboe R E U E U , MA C L TAB T A BaJJoon E R UE E R , WALT G TT Contrabawoon E R N N DE L E R , F DI A D N G O Horn AN ON ORNE R , T H Trum et S OL OH E N p , C Trombone RDE MONS , GA LL SI

Tuba H P A . ON E I , P ILI D AT LL P erqJion S R SCHW AR , O CA

h f th e Ph iladel h ia rch es ra. (All t e ab o ve are memb ers o p O t )

P age Th irty

THE CURTIS INS TITUTE OF MUS IC

ARTUR RODZINSKI An innate love for music persisted during the early forma A tive years of rtur Rodzinski , despite the fact that his father , L who was an army surgeon stationed at emberg , Poland , chose

. B 1893 the profession of law for his son orn in , young Rodzinski attended the Vienna University where he received the degree

D L . of octor of aws Having obeyed the parental dictum , he

‘ . A A then turned to music , his real love t the Vienna ca Lale wicz demy he studied piano with Sauer and , theory and h r composition with Marx and S c eker . His teacher in conduct ing was Schalk , and soon young Rodzinski was conducting S ch reke r i i P i , w th the “chorus of the”V enna hilharmon c Society and produced the Totenmesse of Berlioz . ’ The war interrupted Rodzinski s musical activities; but h avm h g been wounded in action , he received his disc arge and became conductor of the Lemberg Opera . Later he was ap he pointed first conductor of the Warsaw Opera , and here was b i i i h i ena led to display h s nit ative in t e presenta“t on of new ’ “ ’ ’ ’ L He ure s Ro s e n kava works . Ravel s Espagnole , Straus ” ’ ’ ” ’ “ D Alb e r t s A errari lier , Tote ugen and F Jewels of the Madonna” were all heard under the leadership of Rodzinski before their presentation in the larger cities of Europe . During this period he was also conductor of the Philharmonic Orches 2 tra in Warsaw . In 19 5 he was engaged by Leopold Stokowski as assistant conductor of the Philadelphia Orchestra .

P age Th ir ty - two i o n s in c i G r l S m Willia m . a a de l M K d Luc ie n Caillie t

m a rc e l ab e u An to n Ho e r M T ut a

A r tur Rod zin ski

Wal te r ue tt e r S o l Co h e n G

Ph ili o n a te lli n to n o re ll o N r s c a r S e h wa r p A D A T Fe rdin a n d De l e g o O Re n é e

L - Mi lle on gy que

E rn e s t Ze chie l THE CURTIS INSTITUTE OFMUS IC

DEPARTME NT OF THEORY AND COMPOSITION

ROS ARIO SCALE RO Head of Department and Instructor in Composition , Instrumentation and Orchestration

Instructor in Elementary Counterpoint and Elementary Harmony ERNE S T Z E CH I E L

I t ructorJ in S o lfege R E NEE LONGY MI QU E L L E ANNE - MARI E S OFFRAY

ACCOMPANISTS

HARRY KAUFMAN Official Accompanist of the Institute

Oth er Accompan t J DAGMAR RYBNE R BARCLAY ILS A RE I ME S CH

and others , drawn from the student body of the Institute

P age Th ir ty-th ree THE CURTIS INS TITUTE OF MUS IC M W fi W fi

ROSARIO SCALERO In his art Johannes Brah ms represents the last of the Ger man masters in whom was blended the tradition of Italian and German art , this tradition having come to him from Palestrina th rough an unbroken line of teachers including Alb rici (Pales ’ trina s pupil and first cantor of the St . Thomas Church in Leip Z No tteb o h m zig) , Fasch , elter , Mendelssohn , Joachim , and

M n z w i . a dy c e sk Before he reached the end of his glorious ca n reer , Brahms had gathered about him in Vien a a circle of art is ts who still lived in that marvelous atmosphere where Be e th o ven and Schubert had not yet become legendary figures . It was into this environment that Scalero came to live as a young man and remained for seven years studying composition with Man d cze wski y , one of the most intimate friends of Brahms and the ’ ’ editor of Schubert s and Haydn s complete works . 1873 Scalero , born in , began his musical career as a violinist at the Liceo Musicale in Turin . Later his studies proceeded Wilh elm with Camillo Sivo ri in Genoa and then with August j

L . A Dis in ondon t the age of twenty , Scalero won the title of tin i h gu s e d Academician of the Royal Academy of St . Cecilia in Man ze ws ki a Rome and after his studies with dy c he was p pointed Docent o f Musical Form at the same Academy . After a series of concerts in the principal cities of Europe , a Scalero settled in Rome , where he founded the Societ del Quartetto for the performance of ensemble and choral works . He has also acted as High Commissioner for E xaminations for the Conservatories of Naples , Rome and Parma . His works are numerous and include compositions for violin , piano and orchestra .

P age Th ir tyzfo ur THE CURTIS INS TITUTE OF MUS IC

LECTURES ON ART

A series of eight lectures on Fundamental Principles of A L K z Expression in rt will be given by eo at , painter and art critic of New York .

RN N F TH E E P E N I . A MOD E VI S IO O D VE LO M T OF ART October 8

2 P E R N E E N : AND . IM S O AL E L M TS SYMBOLIC MAGIC ART (with experiments) October 15

Y R N P RE N 3 . H HM E S O X S S O R T , P AL E I (with experiments) October 22

R 29 H COLOR AND LIGHT October

W O TH E PH E NOME NON OF VI S ION November 5

G IN U ON E ON AND ART 12 T ITI , R LIGI November

N TH E FORM OF SP E E D November 19

O 26 C TH E LATE S T PHAS E S I N ART November

P age Th irtyfi- we THE CURTIS INS TITUTE OF MUSI C

THE ACADE MIC DEPARTMENT Believing that a broad cultural background is an essential A factor in the making of an artist , the Institute , in its cademic ff Department , o ers numerous courses of studies supplementary in to the major work music , whereby the students may secure a foundation on which to build in the future .

TH E FACULTY

French and E mor o Mar ie , y f

B B C PH . E N . E .D J A K , Profe ssor o f Roman ce Lan guage s an d Li te ra tu re Le cturer o n th e Histo ry o f Music Uni ve rsity o f Pe nn sylvani a

World E mory

M. H D . ROY F. CH S A . P NI OL , . A an t r fe r o f H t r ssist P o sso is o y Un ive rsity o f Pe n n sylvan ia

E nglia‘h Compoe ition and E ngliJh L iterature

PH . D E H R E S N . B . . WILLIAM PAG A B O , LL , A n r f E n te rat re ssista t P ofe ssor o glish Li u Unive rsi ty o f Pe nn sylvan ia M E E R L E NRo w A . . LB T , I n structor in E n glish Un ive r si ty o f Pe nn sylvan ia

m E ngliJh Diction and P la tfo rm Depart ent

KI n n E A . S U R H UR N . ) AM L T G , M A (Lo do Le ctu re r in E n glish Diction Br awr e e y n M Coll g

P age thirty- Tia:

THE CURTIS INSTITUTE OF MUS IC

STUDIES VOICE COMPOS ITION

RCH E R PIANOFORTE O S T ATION Solo C N UCT NG Accompany in g O D I S leme n tar upp y ORCHE S TRA PLAYING ORG N A ORCH E S TRA INS TRUM E NTS D b e Ba VIOLIN ou l ss Flu te VIOLA Clarin e t Oboe V NCE IOLO LLO Bassoo n H rn HARP o Trumpe t CHAMB E R MUS IC Trombon e AND E NS E E Y NG MBL PLA I Tuba Pe rcussion OPE RATIC COACHING AND E E R RE P T H S C R OI I TORY OF MUS I OPE R T C ACT NG A ND A I I WORLD HIS TORY STAG E D E PORTME NT PS YCHOLOGY PLATFORM DE PORTM E NT E L NGU G S , L TE R TURE TH E RY A A I A O AND DICTION : Harm n o y E n glish C n ter in t ou po Fre n ch S lfe e o g I talian Di tati n c o Ge rman Chambe r Music S core Re adin g E leme n ts o f Music I n strumen tation Orche stra S co re Re ading

P age Th irty - e igh t O fi fl E o w c o h 0 a e u m n mu

o « m G n m a s O e S m z O o M m h o m Q 8 ~o mA m o n E m 5 m o s o o c 8 o o m h m u m w mmmn

P age Th irty -n ine c o m c m a m m— o u e o f m : 8 c o m m ma o n m mu m o ma o 0 fi o t 6 5 h h w u w < 9 3 5 e O m m 2 0 u m o 2 c o fi fi m 0 h 3 a n m m m m o m fi o 0 o e o fi m m a c fi m m o a o o m 5 i E n a fi m h c o 0 o a o c m w n a fl fi c 3 mc r w fi m m o n — s fl o u a u m mw w w mmmh m

c o mm m o mu m n m n o b m o fi o 0 e o fi 6 n a o r < 9 h fi n fl m o o m o 2 o « h ym a a m 0 m m n o o “ fi mS H o fi 5 J o n h mm 1 o o a u a o w w 3 d o 1 m n b fi m h $ o u a a m w m“n h m k m

c o a mm m m m o u fi O m u c x m n m b m o m o o o $ w c a m b a 4 s e fi E m m u a o z c C ma m o o a — m o U m. o fi O fi “ o m ma o m a m J fi m fl o c o w e m a w fi am m n fi m m fi o - u c a w w O mmmh

Page Forty S J O O —fl a fi G U m m O H E a H A r M m,a

E o « 0 m m 9 m 0 0 m c o fi mn 5 a “ m $ fi fi o 0 E o a c m m w o s u a u w mnn h

P age Forty-one THE CURTIS INS TITUTE OF MUS IC W FEW

REQUIREMENTS FOR ENTRANCE EXAMINATIONS The entrance requirements are presented here in a general form , allowing the applicant latitude in the selection of works to be presented for examination . While the Choice of composi tions is important , the manner of performance carries far greater weight . The final decision as to the suitability of an applicant for acceptance rests upon th e evidence of talent shown , in the examination , rather than upon the degree of advancement already attained . Admission is limited to such applicants as possess unusual talent for the major subject selected and who give promise of developing professional excellence . Selection from among the applicants is made by competitive elimination . The examiners do not assume the Obligation of hearing all that an applicant is required to have in readi ness for examination .

VOICE

The applicant must possess an exceptionally good voice , health , vitality , musical talent and personality . In addition , the applicant should have at least an elementary knowledge of l music and of pianoforte , whi e some knowledge of languages is very desirable .

Four selections from operatic arias , oratorios or songs , S showing the range and power of the voice , hould be submitted S h from memory . The selections ould be chosen from the works of : Paris o tti the following composers , Handel , Schubert , Schumann , Franz , Brahms , Strauss , Tschaikowsky , Rach man in o ff auré , F , Debussy , Duparc , Mozart , Bizet , Saint

e . Sa ns , Puccini , or Wagner

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

P age Farty -two THE CURTIS INS TI TUTE OF MUS IC

PI ANOFORTE Applicants must play from memory a Three - part Iuven tion or a Prelude and Fugue from The Well - Tempered Clavi ; ; chord of Bach a Beethoven sonata , complete two selections one S low and one brilliant— from the works of Chopin or Schu mann (preferably Chopin) S Applicants hould not be over twenty years of age .

ACCOMP ANYING Applicants shall demonstrate sufficient pianistic ability to play satisfactorily some of the more di f ficult studies of - - Bfilo w Tausi 740 . I Cramer , Clementi g, or Czerny , Opus n ’ S addition , special stress hall be laid upon the candidate s sight reading powers and sense of musical values as shown by his ability to play with reasonable fluency either primo or secondo parts of such orchestral and chamber works arranged for four h ands , as the examiner may choose and upon his ability to read at sight accompan iments for the violinist or singer . The appli cant shall moreover have a fair acquaintance either with some ’ of the standard violin and cello works , or , if his preference lie i in the direction of vocal accompan ment , some knowledge of song literature . ORGAN The following should be submitted from memory : (a) F ugue or principal movement from a sonata or symphony , (b) a trio and (c) a slow movement . Applicants must also play the following on the pianoforte S (a) a study , (b) a nocturne or other low movement . - Applicants should not be over twenty three years of age . VIOLIN Applicants S hould have a precise knowledge of the positions and the change of positions , double notes , and a complete com mand of scales and the usual ways of bowing . They should be

P age Fo rig -th ree THE CURTIS INS TITUTE OF MUS IC

S K io rillo able to play selected tudies from reutzer , Rode and F , and one or more concertos from the works of the following com

: Bério t Vieuxtem s . posers de , Viotti , Spohr , or p Selections Should be submitted from memory Applicants should not be over twenty years of age . VIOLA A pplicants must have some knowledge of the clefs , the r ; positions , scales and a peggios and be familiar with some of S e K the tandard violin studies such as thos of reutzer , Rode , ’

Cam a n o li s 4 1 . 22 e s eci and also p g Caprices , Op , which are p S ally written for the viola . They hould also be able to play one ’ ’ irke t s movement of F or Hans Sitt s Concertos . S Applicants hould not be over thirty years of age .

VIOLONCE LLO Applicants must be able to play satisfactorily all major S and minor scales and arpeggios; also , a fast and a low move ment from a Bach Suite . They may choose for a second com position one movement of a concerto from the S tandard reper l toire or one movement from a sonata for piano and Violonce lo , classical or modern . It is desirable , but not obligatory , that selections be submitted from memory . S Applicants hould not be over twenty years of age .

HARP Applicants should possess a knowledge of the principles of modern harp playing and be familiar with the “ fundamental ” position . Knowledge of piano playing is desirable . Applicants should submit from memory two works of contemporary com posers and two transcriptions from the classics . Applicants should not be over twenty years of age .

Page Fo rty -fo ur

THE CURTIS INSTI TUTE OF MUS IC

ASSIGNMENT TO INSTRUCTORS Students are assigned to instructors in accordance with the recommendation of the examiners . While requests for in struction with particular instructors will be given careful con sideration , the right is reserved to make such assignments as seem to be for the best interests of the students . Instructors reserve the right of final acceptance or rejection .

ENROLLMENT REQUIREMENTS U A A l pon request , forms of pplication for dmission wil be sent to prospective S tudents . The acceptance of an applicant is conditioned upon the passing of the entrance examination in the major subject . 1928 Commencing October , , all tuition at The Curtis I ; nstitute of Music will be free however , a registration fee of $20 must accompany the Application for Admission . This will entitle the applicant to take the entrance examination at the time set by The Curtis Institute of Music .

Whether or not the applicant is accepted , the registration ’ fee will be allotted to the Students Assistance Fund . A w n application already on file may be cancelled , if ritten request is made , not less than ten days in advance of examina tion date , in which case the registration fee will be returned .

P age For ty - t THE CURTIS INS TITUTE OF M USIC M

GENE RAL INFORMATION LIVING ACCOMMODATIONS U pon request , rooming accommodations selected by the Counselor to the Student Body will be recommended to stu dents , according to individual needs and means . Scale ofrentals and any further details desired may be obtained from the Student Coun selor .

PRACTICE FACILITI E S I For this purpose , the nstitute has studios equipped with Steinway pianos which may be used by students . One of these practice studios is equipped with a three - manual Aeolian prac tice pipe organ . HE ALTH M E AS URE S A physician has been appointed by the Institute to give

i S . immed ate attention to tudents , in case of illness

DINING ROOM Home - cooked luncheons and dinners (served at cost) form I n S a pleasant break the S tudy day . The tudents and the members of the faculty eating at the same tables , incidentally become better acquainted and in this manner bridge the di stance which so often exists between student and instructor .

P age For ty - Jeven THE CURTIS INS TITUTE OF MUS IC

CALENDAR FOR TH E SCHOOL YE A R 1928 29 - 1 First Term Begins Monday , October , 3 1 First Term Ends Thursday , January , 1 Second Term Begins Friday , February , E r 31 Second Term nds F iday , May ,

HOLIDAYS

Thanksgiving Thursday , November Christmas Vacation December to January (both inclusive) ’ 22 1929 Washington s Birthday Friday , February , 29 A 3 1929 Easter Vacation March to pril , (both inclusive) 30 1929 Memorial Day Thursday , May ,

ENTRANCE EXAMINATIONS Entrance examinations are held at The Curtis Institute of Music in Philadelphia in April and May of each year . The entrance examination dates for each department may be had upon request .

P age Forty- eight UR S NS U E OF MUS THE C TI I TIT T . IC

THE CURTIS QUARTET The Curtis Quartet has been organized as an integral part of The Curtis Institute of Music . It consists of the follow : L E A L U BOS H UTZ /‘Jl Vio lin E D ing members of the Faculty , fi ,

W I N H M NN, reco nd Vio lin LOU S B Y Vio la , E X BAC A , I AILL , and F LI

L N Vio loncello . SA MO D ,

1927— 28 In , aside from its concerts for the students , the Curtis Quartet appeared in Philadelphia , New York , and Washington .

P age For ly-n in e THE CURTIS INS TITUTE OF MUS IC %% W M W W §R

FACULTY RECITALS

D r n 1927 — 28 u i g the School Year , , the following recitals were given by members of the Faculty ;

November 9 FE LIX SALMOND . S E F F NN December 3 . JO HO MA . 4 R December 1 . CU TI S QUARTE T

E W R E N E . January 4 . LUCIL LA C U BOS H UTZ January 1 1 . HOFMANN N E ZE TL I N January 25 . EMA U L

r Mo RI z S E N H . Februa y 8 . RO T AL

r R E S H . Februa y 15 . CA L FL C

G R A . B r e February 29 . EMILIO DE GO O Z a ito n 7 L E A L B S H TZ March . U O U Ba r ito n e 21 R NN . March . HO ATIO CO E LL April 12 . CARLOS S A L Z E DO . April 18 . LOU IS BAILLY .

N . April 23 . HARRI E T V AN EMD E R P ian t - Co m orer May 16 . AB AM CHAS INS p P ian t Pl ay 24 . JOS E F HOFMANN . Three lecture - recitals on Music of the Past were given by Wanda Landowska

13 . D November escriptive Music of the Sixteenth , Seven te en th an d Eighteenth Centuries .

November 20 . Johann Sebastian Bach and His Relation to His Predecessors and His Contemporaries . D 4 — D ecember . Old Dances How They Were anced and Played . April 25 The Henri Casadesus Ensemble of Ancient Instruments .

T n r h E za e t S ra e e ( his co ce t was te n de re d by T e li b h p gu Coolidg ” F0 n dati n Th e i rar o f n re . u o , L b y Co g ss )

P age Fifty THE CURTIS INS TITUTE OF M US IC

STUDENTS ’ CONCERTS

’ Thirty - three Students Concerts were given during the 1927— 28 School Year , , with programs presented by students in Pianoforte , Organ , Voice , Violin , Viola , Violoncello , Harp , Chamber Music and Orchestra . In the seven Students ’ Concerts devoted to Chamber : Music , the following works were played ANTH E IL Second String Quartet (1927)

R HMS f . 40 B A Horn Trio in E lat major , Op

. 34 Pianoforte Quintet in F minor , Op

'

O . 10 1 Pianoforte Trio in C minor , p 78 Sonata in G major for Violin and Piano , Op .

H U S S ON D , C A Concert in major for Pianoforte Violin , and String Quartet Pianoforte Quintet in F minor

D . 20 . 4 String Quartet in major , Op , No

r D . 64, . 5 St ing Quartet in major , Op No n 35 Stri g Quartet , Op . Rispetti e Strambotti ; String Quartet Pianoforte Trio in G major (Kochel 496) fl e l 4 String Quartet in B a t major (KOch 58) flat Symphonie Concertante in E major , for Violin and Viola

- N ENS . 18 SAI T SA Pianoforte Trio in F major , Op fl a t . 4 1 Pianoforte Quartet in B major , Op H U B E R SC T Octet for Clarinet , Horn , Bassoon and String 166 Quintet , Op .

D . String Quartet in minor , Op Posthumous 163 String Quintet in C major , Op .

P age Fi/ty -o ne THE CURTIS INS TITUTE OF MUS IC

STUDENT ORCHESTRA CONCERTS

Several student orchestra concerts are given each year . n The last of such concerts was given Wed esday evening , 22 1928 A February , , for the Philadelphia Forum , in the cad emy of Music , Artur Rodzinski conducting . The following was the program ;

CARL MAR IA V ON WE B E R . Overture from Ober on RA “ ANTONIN DVO K . From the New World 5 Symphony NO . , in E minor Adagio— Allegromolto Largo Scherzo— Molto Vivace Allegro con fuoco

CH ARD AGNE R h RI W Was“duftet doc der Flie”der from Die Meistersinger ’ ccen e WOLFGANG AMAD E US MOZART . Qui sdegno non s a d from “ The Magic Flute” B UR V NS Bawo WIL E A ,

R N “ F A Z LIS ZT . Les Preludes Symphonic 3 Poem No .

P age F$fly —two

THE CURTIS INS TITUTE OF M US IC

S S N E N R n n E n an CA I I , L O A D Lo do , gl d E R H . e tr i t , i i an CATO , ROB T D o M ch g F x B m n m m CHA I O I CE E . r a a L U i i , ba a , AL gh Al Ne w a e e aware H E N E R E R P . t C ALL G , DWA D , C s l , D l N w r CHA S I NS R . e t , AB AM W Yo k Ci y CHA S I NS E H E Ne w r t , T L Yo k Ci y CH E RKAS S KY S H U R O e a a , A d ss , Russi Ne w e f r a a FFE Y HN . B e tt CO , JO W d o d , M ss chus s E Y H R S NE a t n O COLL , C I TI D y o , hio E OR N a e a COL , LA DO T Phil d lphi E E m n n I S S . t , be r ta , an a a COLL , JAM A d o o Al C d

M N RE E R C L . a e a CO PTO , F D I K Phil d lphi K E R E L r w N N H N . B e a te r a a e tt CO A T , AT I idg , M ss chus s

NN R E H S . i a e ia CO O , DIT Ph l d lph YE R G ran Le e an R N . CO LL , MA IA A d dg , Michig YE H S m n n e N . t aware CO , JO Wil i g o , D l R Y E R E H t n e a C A , ROB T . ous o , T x s

S NE S ra S r n ra DAVI , AG Colo do p i gs , Colo do

E n n . S , N G . R . a i t , . DAVI DWI , J W sh g o D C * A a I n S VE RL Y E . DAVI , Chic go , lli ois E S E H E N a e a D AK , T P Phil d lphi * E M RE S H R E S N . a n n n D A T , C A L M diso , Wisco si M N PA C E L I a e a DIA O D , Phil d lphi

E E E n n n n an a RH R E RNE S N H . e t w e B A D , TI All o , P sylv i E R S H R S NE G e n a e a f rn a DWA D , C I TI l d l , C li o i E S E N M B r n Ne w r P T I , AX ookly , Yo k E NS U R a e a VA , WILB Phil d lphi

I n E R US N U F. n n F G O , PA LL Robi so , lli ois E E r wn e n n an a E S N R . r t FI LD , L A O L No is o , P sylv i RY B m r a r an N . a t e FI K , MA M l i o , M yl d m r N E S E N S NE Y E . ia i , i a FI K L T I , ID M Flo d F n I n an I S CH OFF S E H S t Be , i a , JO P ou h d d S ran n e n n an a Fo x E R E . t , A L c o , P sylv i FRANTz RE NCE hi a e ia , FLO P l d lph RE E S an e a f rn a F D , DAVID Di go , C li o i FRE NGUT E N Ba t m re ar an , L O l i o , M yl d

P age Fifty -fo ur THE CURTIS INS TITUTE OF MUS IC

U B R S w a F LDA , O I Mosco , Russi R R E MOA O a ma t O m U N . a a F LTO , MA JO I kl ho Ci y , kl ho

G RR H R . a e a A ATT , A OLD V Phil d lphi G E E RM n e n n R H N . te an a ATT , A L Wy co , P sylv i G E RS HM N U n e an Ne w e r e A , PA L Vi l d , J s y G E S CH I C HTE R E C E L n e e a f rn a , C ILL os A g l s , C li o i G E S E NS W A Y L U S T r n t an a a , O I o o o , C d GI E R G i ad e hia LB T , AMA Ph l lp G M E R E a e a O B G , C LIA Phil d lphi G M E R E R a e a O B G , ROB T Phil d lphi G U H R m e r t n r t a r n N R . a O G , F A K , J Lu b o , No h C oli * GR Y E N E R r en e e I an A , AL XA D P ovid c , Rhod sl d GR Y HN r e n e e I an A , JO P ovid c , Rhod sl d GRE E B ta a Te a N R . i hi , WOOD , FLO A W c F lls x s C H AN B E N M N Gran a an OB , JA I d R pids , Michig * GUM E R FR M n a e nn an a N E E . P T , WI I D o oc cy , P sylv i

H CH S Ne w r t R H . ALBWA , MA T A L Yo k Ci y H HE E N a a Te a ALL , L D ll s , x s HA L TE T E n Ne w e r NOR H B RNH R . t a t t e , A D W A l ic Ci y , J s y HA R i DS TE E N HE E NE . S an ta n a , al f rn a , L P Mo c C i o i H RE E S H E R B a we I a A , T C ld ll , d ho H RM HN H G e te r a a e tt A AALA , JO louc s , M ss chus s HA RMS M H Ottawa Kan a , WILLIA . , s s H E M r n N R N . e n an a AD A , F A K M Roxbo ough , P sylv i HE Y L m n m N E . ra a a a e tt AL , DA I L F i gh M ss chus s H E M S S CH Ne w r i t N . L A , A A J Yo k C y H E E R E M Y n r Ne w e r S . e n t e PL , IL V o , J s y * H E R N S MUN Ne w r t I G , IG D Yo k Ci y H C E R H a e a UR E . I , A T Phil d lphi H RS H H RRY S Ba t m re ar an I , A . l i o , M yl d H E E CHS R E N B . a e a O T TT , D A Phil d lphi H E R Y F n r n n H . a e an a ODG , DO OT R d o , P sylv i H E R E B n r nn U . a e an a ODG , M I L R d o , P sylv i H K Mi GE , S N an a t s s o uTi OD O IA s s Ci y , H E n R R . a e t e t e n n an a OOP , CA L V M pl o D po , P sylv i H R E HE NR E E a e a O L , I TT Phil d lphi

I R NS RE C E E B r n n N w N . t e e r e O , FLO u li g o , J s y

P age Fi/ty -fiue THECURTIS INS TITUTE OF MUS IC

E S N HE E N E . r n O J P O , L Ak o , hio K K R S E H NE . an a t an a JI AK , JO P I A s s Ci y, s s H S I KE E H O e an Ne w r N N . NN JO O , T l , Yo k * HNS N . U S S E a e a JO O , W R LL Phil d lphi S e n e NE S R NC S E . ta Ne w r JO , F A I ch c dy , Yo k

US H . r e te r a a e tt J KO , RALP V Wo c s , M ss chus s K HN G R N G . Ne w r k i t A , O DO Yo C y K N M Ba t m re ar an APLA , VIL A l i o , M yl d K E * O V C S N . ar a a J , NI KOLA Y osl v , Russi K E * M N S MU E A . a e a OP L A , A L Phil d lphi K A S m n n S N . t e awa re OWAL K , ABI A W Wil i g o , D l KRA I NI S R H M i a e a , AB A A Ph l d lphi * KR ME R E RM K e a n e n n an a A , A . R di g , P sy lv i * K ME F a e RE CH R . a , WILLIAM Phil d lphi KR NS Y NNE e war Ne w e r e I K , YVO N k , J s y KR I K R H M E a e U PN C . a , AB A A Phil d lphi

M S E U E NE n e e a f rn a LA A , G Los A g l s , C li o i L R F a e a AZZA O , AL IO Phil d lphi * L E E RRE N L . i a e ia , WA Ph l d lph LE H H FF S E R I a I n N H . O , PPA D Chic go , lli ois LE NR E E R Bin amt n Ne w r OW , LB T gh o , Yo k E N S Y N Ba t m re ar an L VI , LVA l i o , M yl d

E NE S E H S . a e a L VI , JO P Phil d lphi m n n n n E NE E R S . r t e a a L VI , ROB T Do o , P sylv i E NN Ne w r t L VITT , A A Yo k Ci y E E S an rm n E S N R . t . e t L WI , L A O J Alb s , V o

L C S S S . e n e e n n an a O KWOOD , RO Duqu s , P sylv i L CH S S E M B a e U . a , L A Phil d lphi

C E R S E E T M S G . e , i i i i M ALI T , AID up lo ss ss pp C R E E E re a a f rn a U Y N R , i i M C D , AL XA D , u k C l o CG NN S E R E n te e n n an a M I I , ROB T . Wy co , P sylv i DE C T B a H n ar HU R . e t MA LA , IBO J ud p s , u g y * M M n amt n New r A P E s G R N . Bi h , k , O DO g o Yo R S E i a e a MA K , MAXW LL Ph l d lphi MA RZYC K RY en e r ra , MA A D v , Colo do n n S N L S an ta M i a , Ca if r ia MATI O , ILY o c l o * E RS BE RN R L . Lake w , Ne w e r e MAY , A D ood J s y THE CURTIS INS TITUTE OF M US IC

E M n m HUS K . B r a e r t a ta M , AL A i s d , No h D ko ME I S KE Y E E Lan a te r n n n S . e a a , L A c s , P sylv i E N G N - R an I ta M OTTI , IA CA LO Mil , ly

E RE H E E N R F. a te e e n n an a M DIT , L A O Co svill , P sylv i E YE R E a n e r a M , F LIX J ckso vill , Flo id E R E U E NI E a e a MILL , G Phil d lphi CH E E RC E L L E Ba t m re ar an MIT LL , l i o , M yl d MOL I ND R N a e a , AA O Phil d lphi M R N E Y RY B . a a e n n an a MO TGO , MA Vill Nov , P sylv i * R E S N E C M e t e MO AL , A G LI A . M xico Ci y , M xico M R E MA E C S e a a O S N R N E . r , FLO J d li , Missou i R C C K n U R . ta a a M DO K , VI TO IA M Wichi , s s

NAZA R E V I TCH X E N Ne w r t , IA Yo k Ci y E U E E R K me C ze ch o - S NS . a a N F LD , T N os , lov ki C E E E a e N R . a NI OL TTA , L A O J Phil d lphi E S B R G r t n n n e . N t t NOY , F A K o o , Co c icu

’ * O H R E S an a n e A A , JAM J. Rockl d , M i

E E E H . a e a PAG T , T L M Phil d lphi E C H M I RE NE L tt e r an a P K A , i l Rock , A k s s E E R GE R E n e e a f rn a P PP , O G Los A g l s , C li o i * P E RS S I ON U H wa e e n n , R T Mil uk , Wisco si P E TRAI TE E E H me te a e n n S R . an a , P T V o s d , P sylv i F H H n n - m U . t S a e r t ar n a P O L , R T W Wi s o l , No h C oli

H S E N . e a n e n n an a P ILLIP , D A M R di g , P sylv i C E NS NE t an ta Ge r a PI K , JA A l , o gi S M a e a POLI I , WILLIA Phil d lphi

NS , M m te r am H an PO AX A s d , oll d S K U H S ea tt e a n t n PO A , J DIT l , W shi g o P RYDATKE V YCH M N New r t , RO A Yo k Ci y ZU P uTL I Tz L S n e e a f rn a , OI Los A g l s , C li o i E E m n Y , . i i t n De laware P L LLA W W l g o ,

H R L S T N , W . Ne w n r O RAL O O A D Co co d , hio H E B E RN R a e a RAP A L , A D Phil d lphi E TH , E e tr t an R A A R VA D oi , Michig E N RE S S S E R a e a R GI A DOLO , I T Phil d lphi E E N RT , C RE NCE . en t wn e nns an a R I LA W All o , P ylv i E NH R S T , D N . lan e r h an r e n n an ia R I A D O ALD L c M o , P sylv

P age F$fly-reven THE CURTIS INS TITUTE OF M US IC &3 w

E NH R U S E m n t n e aware R I A DT , LO I Wil i g o , D l E S NI FF E R O e a a R KO , V A d ss , Russi

I CH R S N HN B . a e a R A D O , JO Phil d lphi K B I NS N R . L e e n t RO O , CA L R ouisvill , ucky M m ROB OFS KY R H H . Ba t re ar an , AB A A l i o , M yl d I ROU B L E FF NN S t . e te r r a , A P sbu g , Russi U I E R R N a e a R GG I , F A K Phil d lphi

SA I DE NB E RG H E R E a e a , T ODO Phil d lphi S Y a e a AVITT , JA Phil d lphi

SC N N E H . tt r e n n an a A LO , LLA Pi sbu gh , P sylv i

SC H R R N . a e a WA TZ , F A K J Phil d lphi SCH R I S RE a e a WA TZ , ADO Phil d lphi S HA RL I P B E N MI N a e a , JA Phil d lphi S H R RI N S a t La e t Uta A P , MA O l k Ci y , h m n S H R U R CE O . S e r an A P , MA I h id , Wyo i g E CE E n S H T N R N S . a a , r a L O , F A D i Flo id N w w S H E RI N R NCE S E . e a t e e a are DA , F A C s l , D l S H E RM N H R E S a e a A , C A L Phil d lphi S HOPMA KE R LE Kan a t Kan a , OPOLD s s Ci y , s s E H E RY r n S N . e t t a I GL , W D oi , Michig S M NS H R E a I n I O , C A LOTT Chic go , lli ois E S I V E L R RE . a e a , MA GA T Phil d lphi SMI H RM N a e a T , NO A P Phil d lphi S R E H E n tre a an a a TA K , T L Mo l , C d S E RN LU CI E a La t a T , Rig , vi

S E E R FL ORA I NE . e tr t an T TL , A D oi , Michig S E E NS R R E in w Ne w e r e T V , MA GA T Coll gs ood , J s y S E I r n n NS N E R N . e ta W O , VI Mu dock , Mi so

TA s so RE N am ar I ta , FIO ZO L p o , ly E MI A K n w B m T N A H E NR t e r , e i , I A p lg u * E R H n e n n an a R N RI i a ark , i T A OVA , MA A ghl d P P sylv m n a a tt H I U N R . r t a t e T BA LT , CO AD W No h p o , M ss chus s

H U RM N ME S . a a e a T O D , JA M D ll s , T x s TOL C E S S Ne w r k it , TO KA Yo C y

NS E N CH R E . hi a e hia TOW D , RI A D P l d lp W NS E N N FRE hi a e hia TO D , WI I D P l d lp R FF C N E E S E H hi a e hia T A I A T , LI AB T P l d lp

P age Fifty - e ight THE CURTI S INS TITUTE OF MUS IC

r f n UL L B E RG Y E . k , a i r ia , LLO D Tu loc C l o

D n I w VAN L N N H M R N . e s e a A I G A , MA IO M Moi s , o

E O tawa Kan E R U S . t a WALK , LO I P , s s S RUM TH E RE e w Ne w e r e WAL T , ODO P Ridg ood , J s y E NR CH R a te r n Ne w e r e W I I , CA L P so , J s y E B E B n E S M RE N H . t e r O a ma W T O LA D , LIZA T A l s , kl ho H E R rf r in H E H E N Y . a W IT AD , C No olk , Vi g i MS RE NCE e n t wn e n n an a WILLIA , FLO All o , P sy lv i

S N R N . e r an WIL O , F A K M M idi , Mississippi WOE MP NE R R n n e a nn e ta , CA L Mi polis , Mi so YN E R L U S t an t t Ne w e r e W , O I A l ic Ci y , J s y

H w ni YA E CKE L U S . a f r a , LO I W olly ood , C li o

MME RM N OS C R G . a e i a ZI A , A Phil d lph

raw n e f r e th e e o f th Wi thd i g b o clos e ye ar .

P age Fifty - n in e THE CURTIS INS TITUTE OF MUS IC

INDEX

Accompan ists Assign me n t to I n structors B ra a te — e r Le o iog phic l No s Au , op ld Ba illy , Louis Farn am L n n w , y ood Go r o rza E m de g , ilio H fmann e f o , Jos Lam e r t e an e r b , Al x d

L ub o sh u tz , L e a

z n r t r Rod i ski , A u S a m n e l o d , F lix S alze do ar , C los S a e r o ar c l o , R s io S e m r ar e a b ich , M c ll Ve n e ro va I a e e g , s b ll m a t E fre m Zi b lis , Buildin gs Cale n dar Coaching Casimi r Hall ’ Con ce r ts— S tude n ts S tude n t Orche s tra Cu r tis Quar te t De par tme n ts fi Acade mic

m an n n o f Acco p yi g , Divisio Chambe r Music Harp Orche stra Organ Pian ofo r te S e me n tar an D n uppl y Pi o , ivisio The ory an d Co mposition Viola Violin Violon ce llo Voice

The rtif mma

M axie

Philadelph ia

1 9 2 8 f A N D f 1 9 2 9

TH E C U RT IS INS TITU TE of MU S IC

WAS E ATE IN 1924 CR D , , UNDE R AN E NDOWME NT

By MARY LOUISE CURTIS BOK AND IS OPE RATE D UNDE R A CHARTE R OF THE COMMONWE ALTH OF PE NNSYLVANIA

PURPOSE

TO HAND DOWN THROUGH CONTE MPORARY MASTE RS THE GRE AT TRADITIONS OF THE PAST

TO TE ACH S TUDE NTS TO BUILD ON THIS HE RI TAGE FOR THE FUTURE

P age Fi w

W fiw m fié

THE C U RTIS INS TITUTE of MUS IC OFFERS TO STUDENTS

Instruction by world famous artists who give in di vidual les sons .

Free tuition .

Finan cial . aid , if needed

Steinway Grands , string and wind instruments rent free , to deserving students ; the Steinways b eing placed in the domiciles of students who major in Pianoforte . Opportunities to attend concerts of the Phi ladelphia Orchestra and of important visiting artists , also performances of the Metropolitan Opera Company- as part of their musical education .

Uni ad Summer sojourns in the ted States and Europe , to van ce d and exceptionally gifted students , under artistic supervision of their respective master teachers of the Curtis Institute .

Public appearances during the period of their studies , when rac warranted by their progress , so that they may gain p tical stage experience . In addition to development of the student to full artistic ma turit fi y , nancial assistance in setting out upon a public career .

P age S even

THE CURTIS INS TITUTE OF MUS IC

OFFICERS

P ra ia/ea t

RS R U S E R S M . MA Y LO I CU TI BOK

’ Vice P rewiaen l

P NS PH ILI S . COLLI

S ecretary and TreaJu/‘er WILLIAM CU RTI S BOK

Board of Directom

R R OU S E UR S M S . MA Y L I C TI WILLIAM CURTI S BOK P NS PH ILI S . COLLI UR S CYRUS H . K . C TI

MR U E . FE L s S . SAM L S

P age Ten

THE R I INS I U E OF MUS C CU T S T T T I

EXECUTIVE STAFF

IOS E P HOFMANN

S ecretary to th e Director DOROTHY LYNCH

E xecutive S ecretarg DAVID S AP E RTON

Dean

R E P FF R G AC H . S O O D

d wiwtant to the Dean

E I E WE NSON L ZAB TH Z . S

RG R E NKE R MA A E T H . B T

Co uneetor to th e S tudent Body

Y M CAL L I P EMIL L . C

Comptroller

S M N H . W . EA T A

L ibrar ian MARJORI E WINN

P age E leven THE CURTIS INSTITUTE OF MUS IC

LOCATION

, The Curtis Institute of Music facing . the green of Ritten house Square , is in the heart of the best residential section of Of Philadelphia . It is within four blocks the Academy of Music Of where the symphony concerts the Philadelphia Orchestra , the concerts of important visiting artists and the performances

of the Metropolitan Opera Company of New York are given .

BUILDINGS The buildings comprise three beautiful private residences which have been remodelled but have retained their original homelike atmosphere .

EQUIPMENT The equipment and furnishings combine beauty and utility .

LIBRARY

The library is of wide scope , embracing over — . I volumes books , music and scores t includes many original and unedited editions of music of the great masters .

P age Twelve E NTRANCE TO CAS I M I R HALL

THE CURTIS INS TITUTE OF MUS IC

HE ADS OF DEPARTMENTS The various Departments of The Curtis Institute of Music are under the personal di rection and supervision of the follow ing members of its Faculty :

R MA C E LLA S E MB RICH . N IOS E P HOFMAN . LYNNW OOD FA RNAM LE OP OLD AU E R

M c LOUI S BAILLY Vio la and Chamber uei FE L I x SALMOND Vio loncello

CARLOS S ALZ E DO . ARTUR RODZINS KI Orch eetra

R Th eor and Com oeition ROS A RIO SCALE O . g p

i These artists , in each instance , in add tion to their duties as Heads of Departments , instruct students personally .

P age Fourteen Jose f Hofma n n Dir ector of th e I ru titu te H ra ti C n ne Ha e ma n o o o ll Rich ar d g

THE CURTIS INS TITUTE OF MUS IC

MARCELLA SEMBRICH

Ko ch an s ka Marcella Sembrich , who was destined to ’ become one of the world s greatest operatic sopranos , was born ’ L . in emberg , Poland She adopted her mother s maiden name Of f Sembrich to serve her professional career . Her irst musical instruction was received from her father in piano and violin . A Of t the age twelve she appeared in piano and Violin recitals , and S h e continued her study of these instruments with Guil laume Stengel in the Lemberg Conservatory . When she was sixteen years Old,Marcella was sent to Vienna to perfect her musical and pianistic training under Julius Epstein , and it was here that her great possibilities as a singer were discovered . The girl was then sent to study voice with Lamperti in Milan . a s A 1877 Her debut singer was made in thens in , and

. E L success in opera came swiftly ngagements in ondon ,

D B . L Paris , resden , erlin , St Petersburg ( eningrad) , Vienna 1885 and Madrid followed in quick succession , and in Madame Sembrich was engaged as leading soprano at the Metropolitan Opera and made her debut as Lucia . Concert tours and operatic engagements in Europe alternated with her visits to America and from 1902 to 1909 she was continuously engaged by the Metropolitan Opera Company . After retiring from operatic and concert work , Madame Sembrich devoted herself to teaching and has since developed such singers as eritza L ash an s ka I , Dusolina Giannini , Hulda and Queena Mario .

P age S ixteen THE CURTIS INS TITUTE OF MUS IC

EMILIO DE GOGORZA

Spain , France and England have all shared in the musical 1874 endowment bestowed on this artist , who was born in of

- A , um Spanish merican parents , in Brooklyn , New York first de r to o k singing as a serious study in England , and first appeared Go o rza in concerts in France . Emilio de g traveled with his parents as a child and it was in London that he became a favorite as a boy soloist in churches and school choirs . He completed his studies at the Ecole Monge and Lycée Louis le - Grand in Paris , France . De Go go rza returned to America for his first serious A instruction , his teachers being Moderati and gramonte in A New York . visit to Paris resulted in his continuing his studies with Emile Bourgeois , singing master of the Opéra 18 7 o rza Comique . In 9 de G go was first heard in a concert in r a New York with Marcella Sembrich . F om that date his p pe aran c e s have been continuous in recitals and with the lead ing orchestras in the United States and Europe . Go o rza With an unusual gift for languages , Emilio de g has been able to enrich his programs with the rarely heard songs and folk music of many races . He has cultivated in his audiences a taste and appreciation for the songs of the younger French composers , for Russian folk songs , and has revealed a r Of A new wo ld Spanish art song in the melodies of ndalusia , Catalonia , and the country of the Basques .

P age S eventeen THE CURTIS INS TITUTE OF MUS IC

DEPARTMENT OF PIANOFORTE

OS E F OFM NN D J H A , Head of epartment

DIVI S ION OF PIANO SOLO OS E F OFM NN D J H A , Head of ivision

I n Jtru ctoI ’ J‘

JOS E F HOFMANN AL E XAND E R LAMB E RT I S AB E LL E V E NG E ROV A DAVID S A P E RTON

DIVI S ION OF ACCOMP ANYING

RRY K U FM N Of D t HA A A , Head ivision and Instruc or

DIVI S ION OF SU P P L E M E NTA RY PIANO AB R M CH A S I NS D A , Head of ivision

I t ructo rJ

AB RAM C HA S I NS R N ETH E L S . D UMMO D CLAI RE S V EC E NS KI others , drawn from the student body Of the Institute .

DEPARTMENT OF ORGAN LYNNWOOD A RNAM Of D F , Head epartment and Instructor

P age E tghteen

m Ka fma n Ab ram Cha Ha rrv u s s

L rn a m y n n wood Fa T E R S E O M S C H CU TIS INTITUT F U I

JOSEF HOFMANN A musical lineage that embraced on his father ’ s side a - a n d piano teacher , pianist composer orchestra leader , and on ’ his mother s a noted soprano of the Cracow Municipal Opera , furnished the background for the youthful genius , Josef 1876 Hofmann . He was born in and began to study music Of r before the age four , his first teacher being his sister . A yea ’ later Hofmann senior undertook the boy s musical training . Josef Hofmann made his first public appearance ina town near Warsaw when he was five years old . Other concerts fol in lowed the leading cities of Poland , and when he was eight , A he was heard by nton Rubinstein , who predicted a career of exceptional brilliance for the youthful prodigy . A t the age of nine , his first European tour was arranged an d F the boy was heard in Germany , rance , England and 1887 Scandinavia . Soon after , in , he appeared for the first time

U t . in the nited States , giving for y concerts The remarkable playing of the eleven -year - old boy so aroused the enthusiasm of Alfred Corning Clark of New York that he generously offered to provide his father with the necessary means to fur ther his musical education and artistic growth , whereupon the boy returned to Europe to study music in Berlin .Four years later he became the only private pupil of Anton Rubinstein . 1894 e Old In , then ighteen years , Hofmann returned to the concert platform . He toured Germany and England , and in 1896 made his Russian debut . Two years later he returned U for a tour of the nited States , and has since been constantly before the public as concert pianist and composer . For the

- last twenty one years Mr . Hofmann has made his home in the United States and has become an American citizen . ’ Hofmann s compositions are numerous . His orchestra works have been performed in the United States and Europe S afo n o ff Z by Nikisch , Schuch , , Stokowski , ach , Gabrilowitsch , Damrosch , and Stock .

P age Nineteen THE CURTIS INSTITUTE OF MUSIC

ALEXANDER LAMBERT 1863 Born of a musical family in Warsaw , Poland , in , Alexander Lambert received his first piano instruction from - his father , a well known Violinist . 1875 A In , on the advice of nton Rubinstein , who heard the boy play , he was sent to Vienna where he studied at the n co Co servatory with Julius Epstein , Gustav Mahler being a student . He was graduated with high honors . In 1880 he came to America where he remained for three years , concertizing and teaching . Thereafter he returned to Europe where he was engaged b h , , y t e noted ma“nager Herman Wolff to appear ”in concerts and to teach at Kullaks Akademie der Tonkunst in Berlin . His first concert tours were in conjunction with Joseph Joachim and Pablo S arasa te . He also appeared with many orchestras and in recitals . L He then went to Weimar to study with iszt , his fellow A Silo ti A students being Moriz Rosenthal , lexander , rthur Friedheim and many other well known pianists . In 1884 he returned to America to appear as soloist with the New York and Boston Symphony Orchestras , and made a tour of the leading cities . His love for teaching was always uppermost and he established a music school in New York City which for eighteen years enjoyed an international repu tatio n . Today he is acknowledged as one of the leading teachers in the United States .

P age Twenty

THE CURTIS INS TITUTE OF M US IC

LYNNWOOD FARNAM

r 1885 L Bo n at Sutton in the Province of Quebec in , ynn rm r wood Fa am , o ganist , began his musical studies as a pianist D r fi in unham , whe e , at the age of fteen , he won the Montreal

. r L Music Scholarship This schola ship , contributed by ord L r Strathcona and o d Mount Stephen , made possible his four years of study at the Royal College of Music in London . His r r r r r fo r teache s we e F anklin Taylo and Herbert Sha pe piano ,

Dr . . A . . . . and James Higgs , F Sewell , and W S Hoyte for organ ’ rn r The organ won young Fa am s p eference , and to this

d . r 1904 he evoted his chief interest Retu ning to Canada in , arn am r f r Mr . F eceived his i st appointment as church organist r in Mont eal , soon becoming organist of Christ Church Cathe r d al . He gave up this post in to accept a call to Emmanuel

C . Th e wa r hurch in Boston interrupted his musical career , but r afte his discharge he returned to the United States . He was engaged as or ganist by the Fifth Avenue Presby r 19 19 - 20 te ian Church , New York City , during , and since that date has been organist of the Church of the Holy Communion m . arna in New York Mr . F has had an extensive concert career , having appeared as soloist with the Society of the Friends of Music , New York , at the Coolidge Foundation Festival of Chamber Music in Washington , the Cincinnati Music Festival , r and on othe notable occasions . He has given public perform an ce s r A at Yo k Minster , Bath bbey , the Cathedrals of West r r minster , Southwa k , Exeter , and Christ Church , Oxfo d , in A r England , and in the me ican Cathedral in Paris and at the

r . Chu ch of St . Ouen in Rouen , France

P age Twen ly - l wo E fre m Zimba i t Le opold Aue r l s

E w n Ba ma n n L e a L u b o s h u tz d i ch L Ba a m n ouis illy Fe lix S l o d

M i Ca rlos S alze d o Albe r t e ff

THE CURTIS INS TITUTE OF MUS IC

LEOPOLD AUER L A eopold uer , dean of violin pedagogues and maker of ” violinists , has enjoyed throughout a long life the highest dis

- tinction in many realms of music . Pre eminent as a soloist , as orchestra conductor , and as teacher , he is also widely known D for his original compositions and transcriptions . uring the past twenty years , the success of his pupils has brought him worldwide fame . L A fi Born in Hungary , eopold uer studied rst at the Vienna Conservatory and later with Joachim . Before he was twenty he r D r o cc u was named conducto of the usseldo f Orchestra , and 1868 r pied a similar post in Hamburg . In he was appointed cou t

. L violinist at St Petersburg ( eningrad) , and held this post con tin uo us ly until the overthrow of the Imperial régime in Russia . r He succeeded Wie niaws ki as Professor of the St . Pete sburg Conservatory , and during this entire period was conductor of the Imperial Music Association . He was acclaimed in the prin cipal cities of Europe as the leading violinist of the age . Political hazards compelled Professor Auer to leave St . 1917 Petersburg in , and , after a brief visit to Norway , he came 1 18 r to America early in 9 . Here he was engaged for a conce t r tour of the p incipal cities , after which he devoted himself to teaching privately in New York City . Among his pupils are r Z K , numbered Heifetz , Elman , imbalist , athleen Pa low Cecilia Hansen , Rosen , and Seidl .

P age Tovert ly -fo ur THE CURTIS INS TITUTE OF MUS IC

LEA L UBOSHUTZ

L L ub o sh utz Born in Odessa , ea began her concert career as a violinist at the age of six . It was upon the advice and in S afo n o ff sistence of Vassily , noted Russian conductor , that she pursued her studies at the Moscow Conservatory . There she received a gold medal for exceptional accomplishment and at n the age of sixteen was heard in co certs in Poland , Germany

. o and France She appeared with the leading rchestras , includ ing those conducted by S afo n o ff and Arthur Nikisch . Her first appearance in America was as soloist with the Russian Symphony Orchestra conducted by Altschuler . An extensive tour of Russia and other European countries fol lowed , when she gave more than one hundred recitals . Madame L ub o s h u tz e then studied for three years with Eug ne Ysaye , becoming one of his most brilliant pupils . Since then she has appeared extensively in concerts in the United States and Or abroad . She has been soloist with the Berlin Philharmonic ch e s tra P as delo u b e , the p Orchestra in Paris , and has played L ub o s h utz re fore the King and Queen of Belgium . Madame turned to America a few years ago as soloist with the State Symphony of New York . She has since been heard as soloist with the leading symphony orchestras in this country .

P age Twenly -five THE CURTIS INS TITUTE OF MUS IC

E FREM ZIM BAL IST Known throughout the musical world as one of the most Z brilliant concert violinists , Efrem imbalist displayed as a r child the genius that was to bring him futu e renown . At the age of nine he was appointed fir st violin in the orchestra of the

- - o u Do n . Rostov Opera , in Rostov , Russia , where he was born Soon after he was sent to study with Professor Leopold Auer at the Imperial Conservatory of Music in Petrograd . The principal cities of Europe had already acclaimed him as one of the world ’ s greatest violinists when he made his

1 1 1 . American debut in 9 . Since then Mr Zimbalist has been heard in the principal cities of the civilized world , has appeared as soloist with the leading orchestras , and has made several r tours around the wo ld . He has contributed original compo sitio n s for the violin , piano and voice , and has composed successful light operas .

P age Twen tg -d x

THE CURTIS INS TITUTE OF MUS IC

FELIX SALMOND A musical endowment was the birthright of this violon cellist , his father being Norman Salmond , celebrated English - r bass ba itone , and his mother a professional pianist . Felix Sal 18 r u n mond was born in London in 88 . His ea ly gifts matured r der the tutelage of Professo W . E . Whitehouse of the Royal L r College of Music in ondon , where at the end of th ee years young Salmond won a scholarship which he retained for a period of four years . He then continued his studies in Brussels with Edouard Jacobs .

. L 1919 Mr Salmond made his debut in ondon in , and thereafter appeared in concerts throughout Great Britain . He was invited by Sir Edward Elgar to appear as s o lo is t in the premiere of that composer ’ s Concerto for Violoncello and

L . 192 1 Orchestra , played by the ondon Symphony In he made his debut on the Continent in a recital in Amsterdam after de voting two seasons to ensemble playing with the Chamber Music Players . Mr . Salmond has appeared in concerts with the most cele b ra te d o r pianists of the day , and as soloist with the leading U ch e s tras . He made his first concert appearance in the nited 1922 States in , and has alternated his visits here with concert tours of Europe . While Mr . Salmond is recognized as one of ’ the leading exponents of the classical repertoire for the cello , he has done much to introduce the wor ks of mode rn composers .

P age Tovert ly - eight THE CURTIS INS TITUTE OF MUSI C

CARLOS SALZE DO Destined to become the leading single factor in elevating

i i , the harp to a position of undisp“uted author ty and popu”lar ty S alze do h ar is m Carlos , the creator of contemporary p , won

.He 1885 his earliest laurels in piano and solfege . was born in in the province of Gironde , France , and entered the Bordeaux f Conservatory at the age of seven . In two years he had won irst prizes in the piano and solfege departments . Thence he went to l the Paris Conservatory , and at the age of twe ve began the study of the harp . Four years later he won in one day the First Prizes for both piano and harp at the ParisConservatory . U S alze do ntil he was twenty , toured Europe both as

- . 1909 pianist and harpist Not until , when Gatti Casazza en gaged him as solo harpist with the Metropolitan Opera , did the young musician finally determine which instrument would be the one to fashion his career . But once having adopted the S alze do im harp , set about to elevate it to its proper place of portance . He founded organizations and movements to attract A public interest , and alternated his tours of merica with visits to Europe . The outbreak of the war found him in Europe with L u tece the Trio de , and after his discharge from the army , S alze do returned to the United States . Salze do He organized the Harp Ensemble , and was elected r A f fi p esident of the National ssociation of Harpists , which o ce

. e he still holds With Edgar Var se , he formed the International ’ Composers Guild , and issued a magazine , Eolus , devoted to

. A contemporary music s a teacher , he revitalized harp tech nique and created the system of symbols now universally used to designate the means of producing desired effects . His “ Modern Study of the Harp is the recognized textbook in this ’ alze do s branch of music . S compositions and transcriptions are “ ” numerous . His symphonic poem , The Enchanted Isle , has been played by the Symphony Orchestras of Chicago , Detroit , Philadelphia and Boston . P age Twentg -n in e THE CURTIS INS TITUTE OF MUS IC

DEPARTMENT OF ORCHESTRA

A R UR OD NS D n T R ZI KI , Head of epartme t Conductor of the Students ’ Orchestra Instructor of Conducting and Orchestra Classes

I t ructo rJ

Do uble BaJ‘J‘ AN ON TORE L L o , T

Flute M . K N D , WILLIA M I CAI Cla r inet LU E N CA I L L I E T , CI Obo e R E B U E U , MA C L TA T A

“ Baoooo n E R U E E R , WALT G TT Horn ANTON ORNE R , H Trum et S OL OH E N p , C Trombo n e RD E MONS , GA LL SI

Tuba H P A . DON E , P ILI AT LLI ' P ercuowon S R SCHW AR , O CA

m m ers o f th e Ph iladel h ia rch es ra. (All th e ab o ve are e b p O t )

P age Thirty

THE CURTIS INS TITUTE OF M US IC

ARTUR RODZINSKI An innate love for music persisted during the early forma

A , tive years of rtur Rodzinski despite the fact that his father , L who was an army surgeon stationed at emberg , Poland , chose

. 1893 the profession of law for his son Born in , young Rodzinski attended the Tienma University where he received the degree

D L . of octor of aws Then , having been obedient to the parental

, . A A dictum he turned to music , his real love t the Vienna ca L alewic z demy he studied piano with Sauer and , theory and h r composition with Marx and S c e ke r . His teacher in conduct ing was Schalk , and soon young Rodzinski was conducting S ch re ke r with the chorus of the Vienna Philharmonic Society , ” ” and produced the Totenmesse of Berlioz . The war interrupted his musical activities , but after being wounded in action he received his discharge and became con f ductor of the Lemberg Opera . Later he was appointed irst conductor of the Warsaw Opera , and here he was enabled to ’ display his initiative in the presentation of new works . Ravel s ’ ” ’ “ ” ’ ’ L He ure D Alb e r t s Espagnole , Strauss Rosenkavalier , ” ’ “ ” Tote Augen and Fe rra ri s Jewels of the Madonna all were heard under the leadership of Rodzinski before their presenta D tion in the larger cities of Europe . uring this period he was also conductor of the Philharmonic Orchestra in Warsaw . In 1925 he was engaged by Leopold Stokowski as assistant con ductor of the Philadelphia Orchestra .

P age Tnir ly -two in c aid uc ie n Caillie t l S imo ns William M K Ga rde l L

M a rc e l ab ute au nHo m e r An to T

n A r tu r Rod zi ski

Wa l te r ue tte r S o l Co h e n G

s ca r S c h wa r l n e lli n to n o re llo O Ph i ip A Do a t A T Re n ée

L n - Mi u e lle o gy q

E r n e s t Ze chie l

THE CURTIS INS TITUTE OF MUS IC

ROSARIO SCALERO In his art Johannes Brahms represents the last of the Ger man masters in whom was blended the tradition of Italian and r German art , this tradition having come to him f om Palestrina through an un broken line of teachers including Alb ric i (Pales ’ f r trina s pupil and irst cantor of the St . Thomas Chu ch in Leip N , Z , o tte b o h m zig) , Fasch elter , Mendelssohn Joachim , and w i r Man c ze s k . r dy Befo e he reached the end of his glo ious ca a r t reer , Brahms had gathered about him in Vienna a circle of is ts who still lived in that marvelous atmosphe re where Be e th o fi ven and Schubert had not yet become legendary gures . It was into this environment that Scalero came to live as a young man and remained for seven yea rs studying composition with Man d czews ki r r y , one of the most intimate f iends of B ahms and the ’ ’ r r edito of Schubert s and Haydn s complete wo ks . 1873 Scalero , born in , began his musical career as a violinist at the Liceo Musicale in Turin . Later his studies proceeded Sivo ri A Wilh e lm with Camillo in Genoa , and then with ugust j

L . A r Dis in ondon t the age of twenty , Scale o won the title of tin i gu sh e d Academician of the Royal Academy of St . Cecilia in Man d c ze ws ki a Rome , and after his studies with y he was p n poi ted Docent o f Musical Form at the same Academy . After a series of concerts in the principal cities of Europe , r r a Scale o settled in Rome , whe e he founded the Societ del

r . Qua tetto , for the performance of ensemble and choral works He has also acted as High Commissioner for Examinations for

o . the Conservat ries of Naples , Rome , and Parma His works an d are numerous and include compositions for violin , piano orchestra .

P age Th irtg -fo ur THE CURTIS INS TITUTE OF MUS IC

LECTURES ON ART

A series of eight lectures on Fundamental Principles of A L K Expression in rt will be given by eo atz , painter and art critic of New York .

E RN S N OF TH E DE E P E N 1 . A MOD VI IO V LO M T OF ART October 8

2 P E R N E E N S : A . IM S O AL EL M T SYMBOLIC ND MAGIC ART (with experiments) October 15

5 . HY HM E RS ON XP RE S S ON R T , P AL E I (with experiments) October 22

k l - R ND 29 I COLO A LIGH T October

I U TH E PH E NOM E NON OF VI S ION November 5

S O N U ON E ON AND ART 12 I T ITI , R LIGI November

V TH E FORM OF SP E E D November 19

O O TH E LAT E S T PHAS E S I N ART November 26

P age Tll [Mg-five THE CURTIS INSTITUTE OF MUS IC

THE ACADEMIC DEPARTMENT Believing that a broad cultural background is an essential

, A factor in the making of an artist , the Institute in its cademic ff Department , o ers numerous courses of studies supplementary to the major work in music , whereby the students may secure a foundation on which to build in the future .

TH E FACULTY

French and E mor o Mue ic , y f

PH . D . E N B . B E C J A K , Profe ssor o f Roman ce Lan guage s an d Lite ra ture Le cture r o n th e Histo ry o f Music Uni ve rsi ty o f Pe n n sylvan ia

World Hid e /”g

PH . D . R C A M. OY F. H S . NI OL , , Assistan t Pr ofe ssor o f History Unive rsi ty o f Penn sylvani a

E ngliJ/z Compoo‘ itio n and E ngliJ/z L iterature

H . D . E H R E S N . B . P WILLIAM PAG A B O , LL , Assistan t Profe ssor o f E n gli sh Lite rature Uni ve rsity o f Pen n sy lvania

M. E E R LE NR A . LB T OW , I n structor in E nglish Uni ve rsity o f Penn sylvan ia

m De artmen t E ngliJ/z Diction a nd P latfor p

n S U E R HUR K N M . . n ) AM L A T I G , A (Lo do Le ctu re r in E n glish Diction B awr e e ryn M Coll g

P age Tlztrtg- Jix

THE CURTIS INS TITUTE OF M US I C

STUDIES VOICE COMPOS ITION

C E R PI ANOFORTE OR H S T ATION Solo CON UCT NG Accompanyin g D I S e men tar uppl y ORCH E S TRA PLAYING

OR N G RCH E S R I S R ME N S A O T A N T U T D b e Ba VIOLIN ou l ss Solo Flu te Clarin e t S uppl e men tary Oboe VIOLA Bassoon Ho rn V NCE IOLO LLO T rumpe t Tr mb n e HARP o o Tuba CHAMB E R MU S IC Pe rcussion A ND E NS E MBL E PLAYING S C HI TORY OF M US I OPE RATIC COACHING AND RE PE RTOI RE WORLD HIS TORY

E C C N A D S YCH Y OP RATI A TI G N P OLOG STAG E D E PORTME NT L N U E S L E R URE A G AG , IT AT A ND C N PLATFORM D E PORTME NT DI TIO E n glish TH E RY O Fre n ch Harm ny o I talian C n te r in t ou po Ge rman Solfege Dicta tion Ch amb e r Music S core Re adin g E le me n ts o f Music I n strume n ta tion O r e tra S n ch s co re Re adi g

P age Th ir ty - e igh t

m o n 5 m o 0 o 2 t m a 5 . o . . m fi M 5 2 o G C 5 fi mo 5 c Q 0 m h O 3 v 9 s a a O 5 w m i

4 E H m 2 m 0 w 9 w o $ u e 5 u 5 A 3 Q m 0 w m p J o 3 S 3 8 o o i o c 3 E c w m c o m w o 9 u 8 u m a u 5 wO 0 E mn mm

P age Forty

THE CURTIS INS TITUTE OF MUS IC

REQUIREMENTS FOR ENTRANCE EXAMINATIONS The entrance requirements are presented here in a general r fo m , allowing the applicant latitude in the selection of works to present for examination . While the choice of compositions is important , the manner of performance carries far greater f weight . The inal decision as to the suitability of an applicant S for acceptance rests upon the evidence of talent hown , in the al examination , rather than upon the degree of advancement ready attained . Admission is limited to such applicants as possess unusual talent for the major subject selected , and give r r promise of developing p ofessional excellence . Selection f om among the applicants is made by competitive elimination . The examiners do not assume the obligation to hear all that an applicant is required to have in readiness to submit for e xami n ation .

VOIC E

The applicant must possess an exceptionally good voice ,

t , . , health , vitali y musical talent and personality In addition the applicant should have at least an elementary knowledge of music and of pianoforte , while some knowledge of languages is most desirable . o r Four selections from operatic arias , oratorios songs , showing the range and power of the voice , should be submitted from memory . The selections should be chosen from the works : P ariso tti of the following composers , Handel , Schubert , r Schumann , Franz , B ahms , Strauss , Tschaikowsky , Rach ff Fauré D manino , , Debussy , uparc , Mozart , Bizet , Saint Saens , Puccini , or Wagner . - In general , applicants should not be over twenty three years of age .

P age Farty - two THE CURTIS INS TITUTE OF MUS IC

PIANOFORT E Applicants must play from memory a Three - part I n ve n tion or a Pr elude and Fugue from The Well - Tempered Clavi ; ; chord of Bach a Beethoven sonata , complete two selections one slow and one brilliant — from the works of Chopin or Schu mann (preferably Ch Opin ) Applicants should not be over twenty years of age .

ACCOMP ANYING Applicants S hall demonstrate sufficient pianistic ability to play satisfactorily some of the more dif ficult studies of - ii - B lo w Tau si 740 . Cramer , Clementi g, or Czerny , Opus In l ' addition , specia stress shall be laid upon the candidate s sight reading powers and sense of musical values as shown by his ability to play with reasonable fluency either primo or secondo parts of such orchestral and chamber works arranged fo r fou r hands , as the examiner may choose , and his ability to read at S sight accompaniments for the violinist or inger . The applicant shall moreover have a fair acquaintance either with some of ’ r r the standa d violin and cello works , or , if his p eference lie in the direction of vocal accompaniment , some knowledge of song literature . ORGAN The following should be submitted from memory : (a) Fugue or principal movement from a sonata or symphony , r (b) a t io and (c) a slow movement . Applicants must also play the following on the pianofo r te (a) a study , (b) a nocturne or other slow movement .

- Applicants should not be over twenty three years of age . VIOLIN Applicants should have a precise knowledge of the positions and the change of positions , double notes , and a complete com mand of scales and the usual ways of bowing . They should be

P age Forty - th r ee THE CURTI S INS TITUTE OF M US IC

K io rillo able to play selected studies from reutzer , Rode and F , and one or more concertos from the works of the following com

: Bério t Vie uxte m s . posers de , Viotti , Spohr , or p Selections should be submitted from memory . r In general , applicants should not be ove twenty years of age . VIOLA A pplicants must have some knowledge of the clefs , the ; positions , scales and arpeggios and be familiar with some of S K the tandard violin studies such as those of reutzer , Rode , ’ i Cam a n o li s 4 1 . 22 e s e c and also p g Caprices , Op , which are p ul ally written for the viola . They sho d also be able to play one ’ ’ movement of Firke t s or Hans Sitt s Concertos .

VIOLONCE LLO Applicants must be able to play satisfactorily all major and minor scales and arpeggios ; also , a fast and a slow move ment from a Bach Suite . They may choose for a second com position one movement of a concerto from the standard reper toire or one movement from a sonata for piano and Violoncello , classical or modern . It is desirable , but not obligatory , that selections be submitted from memory . The applicant should not be over twenty years of age .

HARP Applicants should possess a knowledge of the principles of modern harp playing and be familiar with the “ fundamental ” position . Knowledge of piano playing is desirable . Applicants should submit from memory two works of contemporary com posers and two transcriptions from the classics . Applicants should not be over twenty years of age .

P age Forty -four

THE CURTIS INS TITUTE OF M US IC

ENROLLMENT REQUIREMENTS

U pon request , forms of Application for Admission will be r sent to p ospective students . The acceptance of an applicant is con ditioned upon the r passing of the ent ance examination in the major subject . 1928 Commencing October , , all tuition at The Curtis r Institute of Music will be free ; however , a egistration fee of $20 must accompany the Application for Admission . This will entitle the applican t to take the entrance examination at the time set by The Curtis Institute of Music .

Whether or not the applicant is accepted , the registration ’ fee will be allotted to the Students Assistance Fund . A fi n application already on le may be cancelled , if written r equest is made , not less than ten days in advance of examina tion date , in which case the registration fee will be returned . THE CURTIS INS TITUTE OF M US IC

GENERAL INFORMATION LIVING ACCOMMODATIONS U pon request , rooming accommodations selected by the Counselor to the Student Body will be recommended to stu r dents , according to individual needs and means . Scale of entals and any further details desired may be obtained from the Student Counselor .

PRACTICE FACILITI E S

For this purpose , the Institute has studios equipped with Steinway pianos which may be used by students . One of these practice studios is equipped with a three - manual Aeolian prac tice pipe organ . H E ALTH M E AS URE S A physician has been appointed by the Institute to give immediate attention to students , in case of illness .

DINING ROOM

- On week days , home cooked luncheons and dinners are served at cost . These meals form a pleasant break in the day . Students and members of the faculty sit at the same tables and come to know each other , thus bridging the gulf which too often separates student from instructor .

P age Forty - Jeuen THE CURTIS INS TITUTE OF MUS IC

CALENDAR FOR TH E SCHOOL YE AR 1928— 29 1 First Term Begins Monday , October ,

r 3 1 First Term Ends Thursday , Janua y , 1 Second Term Begins Friday , February ,

r 3 1 Second Term Ends F iday , May ,

HOLIDAYS

Thanksgiving Thursday , November Christmas Vacation December to January (both inclusive) ’ 22 1929 Washington s Birthday Friday , February , a 29 A 3 1929 Easter Vacation M rch to pril , (both inclusive) 30 1929 Memorial Day Thursday , May ,

ENTRANCE EXAMINATIONS Entrance examinations are held at The Curtis Institute of Music in Philadelphia in April and May of each year . The entrance examination dates for each department may be had upon request .

P age Fo rty-eight

THE CURTIS INS TITUTE OF MUS IC

FACULTY RE CITALS

1927— 28 During the School Year , , the following recitals were given by members of the Faculty;

November 9 . FE L I x SALMOND .

. S E F F NN December 3 JO HO MA . 4 U R R E December 1 . C TI S QUA T T W E R . January 4 . LUCIL LA E NCE U B OS H UTz

1 1 . January Ho FMANN P ian t

E E L I N January 25 . EMANU L Z T

o RI z S E N H . February 8 . M RO T AL . P ian iot February CARL FLE S CH . R B DE OG ZA . ar i ne February 29 . EMILIO G O to L E A L BOS H TZ March 7 . U U Bar n e 1 R NNE . ito March 2 . HO ATIO CO LL April 12 CARLOS S A LZE Do . Apfil l 8 . LOUI S BAILLY .

V E N . April 23 . HARRI E T AN E MD P ian t - Com ooer May 16 ABRAM CHAS I NS . p P ian t May 24 JOS E F HOFMANN . Three lecture - recitals on Music of the Past were given by Wanda Landowska 13 th e November Descriptive Music of Sixteenth , Seven teen th and Eighteenth Centuries . 2 November 0 . Johann Sebastian Bach and His Relation to His Predecessors and His Contemporaries . 4 D — D December . Old ances How They Were anced and Played . April 25 The Henri Casadesus Ensemble of Ancient Instruments . (This con ce r t was te n de re d by Th e E li zabe th S p rague Coolidge ” n Fo n dati n Th e Lib rar o f C re . u o , y o g ss ) THE CURTIS INS TITUTE OF MUS IC

STUDENTS ’ CONCERTS

’ Thirty - three Students Concerts were given during the 1927— 28 School Year , , with programs presented by students in Pianoforte , Organ , Voice , Violin , Viola , Violoncello , Harp , Chamber Music and Orchestra . In the seven Students ’ Concerts devoted to Chamber n : Music , the followi g works were played N H E 1927 A T IL . Second String Quartet ( ) fl R H S a t . 40 B A M Horn Trio in E major , Op 34 Pianoforte Quintet in F minor , Op .

. 10 1 Pianoforte Trio in C minor , Op 78 Sonata in G major for Violin and Piano , Op . H US S N D m C A O Concert in ajor for Pianoforte , Violin , and String Quartet Pianoforte Quintet in F minor

20 . 4 String Quartet in D major , Op . , No

64 . 5 String Quartet in D major , Op . , No

. 35 String Quartet , Op Rispetti e Strambotti ; String Quartet Pianoforte Trio in G major (Kochel 496) String Quartet in B flat major (KOch el 458) flat Symphonie Concertante in E major , for Violin and Viola

- N ENS . 18 SAI T SA Pianoforte Trio in F major , Op fl 4 1 at . Pianoforte Quartet in B major , Op H U B E R l B SC T Octet for C arinet , Horn , assoon and String

. 166 Quintet , Op String Quartet in D minor , Op . Posthumous 163 String Quintet in C major , Op .

P age Fifty - o n e THE CURTIS INS TITUTE OF MUS IC

PROFESSIONAL OPPORTUNITIES FOR STUDENTS A s a result of the progress of our students , the following factors have evolved by way of effecting a transition from studenthood to public life

TH E CURTI S INS TITUT E CONCE RT COURS E U Concert Courses are being arranged in niversities , Colleges , Music Clubs and Civic Organizations .

TH E CURTI S INS TITUTE ORCH E S TRA

This orchestra , consisting of more than one hundred students of the Institute , will give public concerts in New York , Washington and Philadelphia .

CHAMB E R MUS IC GROUP S

The Casimir and Swastika Quartets , composed of mem bers of the student body , will give public performances in New York , Philadelphia and Washington .

INDIVIDUAL D E BUT R E CITALS A number of debut recitals have been arranged in New York , Washington , Boston , Chicago and Philadelphia .

THE CURTIS INS TITUTE OF MUS IC W W W W % %

S S N E N R n n E n an CA I I , L O A D Lo do , gl d

T E RT H . De tr i t , Mi hi an CA O , ROB o c g m n m a m H U CE E . B r a a a C ALIFO X , ALI i i gh , Al b * H E N E R E R I I Ne w a t e e aware C ALL G , DWA D P C s l , D l M N r CHA S I NS R . e w t , AB A W Yo k Ci y CHA S I NS E TH E Ne w r Ci tv , L Yo k CH E RKAS S KY S H UR O e a a , A d ss , Russi Ne w e f r a a F E Y HN . B d , e tt CO F , JO W o d M ss chus s E Y H R S NE a t n O COLL , C I TI D y o , hio E OR N T hi ade hia COL , LA DO P l lp M E m n n n S E S . t e r ta a a a COLLI , JA A d o o , Alb , C d

MPT N RE E R C . hi ade hia CO O , F D I K L P l lp

N N K H E R NE L . B r e wa te r a a e t t CO A T , AT I idg , M ss chus s

NN R E H S . a e a CO O , DIT Phil d lphi

R E R N . G ran e e an CO Y LL , MA IA A d L dg , Michig n E HN S . ilmi t n , e aware COY , JO W g o D l

R E RT E . H t n , Te a C AY , ROB ous o x s

S NE S ra S r n ra DAVI , AG Colo do p i gs , Colo do

S E N G . R . a n t n . . DAVI , DWI , J W shi g o , D C A * I l n S VE RLYE . a DAVI , Chic go , l i ois E S E H E N hi ad e hia D AK , T P P l lp * N a n E RE S H R E S . n n D MA T , C A L M diso , Wisco si M N PA CE L I a e a DIA O D , Phil d lphi

E E RH R E RNE S NE H . en t wn e nn an a B A D , TI All o , P sylv i E R S H R S NE G en a e a f rn a DWA D , C I TI l d l , C li o i E S E N MAx B r n Ne w r P T I , ookly , Yo k E NS UR a e a VA , WILB Phil d lphi

E R US N U F. bin n I in i F G O , PA LL Ro so , ll o s E E rr wn n n an E S N R . t e a FI LD , L A O L No is o , P sylv i R B im r r n N . a t e a a FI K , MA Y M l o , M yl d E N E S TE N , S NE Y . iami l rida FI K L I ID M , F o OF I n n FI S CH F S E H S th B en , ia a , JO P ou d d E R E S r n n n n an a Fo x . a t e , A L c o , P sylv i FRANTz RE NCE h a e a , FLO P il d lphi

RE E S an ie , alif rnia F D , DAVID D go C o B m r r an FRE NGUT E N a ti e , Ma l , L O l o y d

P age Fiffy -fo ur THE CURTIS INS TITUTE OF MUS IC

U B R S M w a F LDA , O I osco , Russi N M R R E M A O m O m U O . a a t a a F LTO , A JO I kl ho Ci y , kl ho

G RR TT HA R . i a e i a A A , OLD V Ph l d lph G E HE n R R AN . te e nn an a ATT , M L Wy co , P sylv i GE RS HM N U n e an New e r e A , PA L Vi l d , J s y GE S CH I CHTE R E C E n e e a f rn a , C ILL Los A g l s , C li o i GE S E NS W AY U S T r n t an a a , LO I o o o , C d G E R G i a e a ILB T , AMA Ph l d lphi G M E R E a e a O B G , C LIA Phil d lphi G M E R E R l a e i a O B G , ROB T Phi d lph

G UGH , R NK , R . m ert n r t ar n a O F A J Lu b o , No h C oli * GR E N E R r en e e I an AY , AL XA D P ovid c , Rhod sl d GR HN r en e e I an AY , JO P ovid c , Rhod sl d GRE E N R B c ta a Te a WOOD , FLO A . Wi hi F lls , x s ROB E G AN B N N Gran d a id , Mi hi an , JAMI R p s c g * GU PE RT , N RE E . Mon a enn ani a M WI IF D oc cy , P sylv

H CHS M R H New r . t ALBWA , A T A L Yo k Ci y H HE E N al a Te a ALL , L D l s , x s HALTE T B E NOR H RNH R W. t an t t Ne w e r e , A D A l ic Ci y , J s y HARD TE E E E S N H NE . S an ta M ni a a f rn a , L P o c , C li o i H RE E B , S TH E R a we I a A C ld ll , d ho H R HN H . G o ce ter a sa e tt A MAALA , JO l u s , M s chus s H R S H Ottawa Kan a A M , WILLIAM . , s s E H AN, R N M . r e nn an a ADM F A K Roxbo ough , P sylv i HE m n m N E . ra a Ma ac e tt ALY , DA I L L F i gh ss hus s S i HE N S CH . New r t LMA , A A J Yo k C y

HE P E R , E M S . en tno r New e r e L ILY V , J s y * HE R N S MUN New o r t I G , IG D Y k Ci y H CE E l R HUR . a e i a I , A T Phi d lph HI RS H H RR S m re ar an . Ba t , A Y l i o , M yl d H CH S E E R E N B a e hi a O T TT , D A . Phil d lp E H G , D R THY F. a n o r enn an a OD O O R d , P sylv i H E E G , MUR B . a n r e nn an a OD I L R d o , P sylv i E H G , S N Kan a t M r OD O IA s s Ci y , issou i H E R R Ma n nn . e t e t e an a OOP , CA L V pl o D po , P sylv i H R E HE NR E E a e hi a O L , I TT Phil d lp

I R NS RE CE E B r n n New e e N . r O , FLO u li gto , J s y

Page Fiffy we THE CURTIS INS TITUTE OF MUS IC

E S HE E E Ak r n O N N . J P O , L o , hio K K n RA S E H NE . an a t a a JI K , JO P I A s s Ci y , s s H I KE E O an Ne w r NS N . NN H e JO O , T l , Yo k * HNS N . US S E hilad e hia JO O , W R LL P lp S n New r NE S R NC S E . e e ta JO , F A I ch c dy , Yo k

US H . r e te r Ma a e tt J KO , RALP V Wo c s , ss chus s

KA H G R Ne w r t N N G . , O DO Yo k Ci y K N M Ba t m re ar an APLA , VIL A l i o , M yl d * KO E V C r a S N . a a J , NI KOLA Y osl v , Russi * K PE M N S MU E A . a e a O L A , A L Phil d lphi K m n n S S N . t e aware OWAL KA , ABI A W Wil i g o , D l KRA I NI S R H a e i a , AB A AM Phil d lph * n KR ME R E RM K . e a i , enn ani a A , A R d g P sylv * K i a RE CHME R F. a e , WILLIAM Phil d lph KR NS NN E ewar New er e I KY, YVO N k , J s y KR I R E il a e i U PN CK H . a , AB A AM Ph d lph

S E U E NE An e e al f rn a LAMA , G Los g l s , C i o i ZZ R l a e hi a LA A O , ALFIO Phi d lp L * hi E E RRE N L . a e a , WA Phil d lp I E HNH S H E R I . i a l n L OFF , PPA D Ch c go , l i ois E NR E E R B n amt n New r L OW , LB T i gh o , Yo k E N SY N Ba t m re ar an L VI , LVA l i o , M yl d

E NE S E H S . hilad e l hi a L VI , JO P P p m n e nn an a E NE E R S . r t L VI , ROB T Do o , P sylv i E ANN New r t L VITT , A Yo k Ci y m n E S E E N R . S t . Al an er t L WI , L A O J b s , V o

C 8 . e n e enn an a LO KWOOD , Ross Duqu s , P sylv i

UCHS S E B . i a e i a L , LMA Ph l d lph

T MC S E R S E E G . e ALI T , AID up lo , Mississippi

C UR E X N E R , E re a , a if rnia M C DY , AL A D u k C l o MCG NNI S E R E n te e nn ani a I , ROB T . Wy co , P sylv DE M B a H n ar CHU T R . e t A LA , IBO J ud p s , u g y * M G B n am n Ne w r E S R N M. t AP , O DO i gh o , Yo k R S M E a e hi a MA K , AXW LL Phil d lp MARZ YCK R en er ra , MA Y A D v , Colo do n M S N Y S an ta M ni a, Calif r i a ATI O , LIL o c o * R B E a ew New e r e E S RN RD L . MAY , A L k ood , J s y

THE CURTIS INSTI TUTE OF MUSIC

E NH R U S E m n t n e aware R I A DT , LO I Wil i g o , D l E S N F E R O e a a R IKO F , V A d ss , Russi C B H R S N HN . a e a RI A D O , JO Phil d lphi K n NS N R . e e t ROBI O , CA L R Louisvill , ucky m r r B K R H H . Ba RO OFS Y A lti e , Ma an d , B A AM o yl

ROU B L E FF I NN S t . e te r r a , A P sbu g , Russi UGG E R R NK hilade hia R I I , F A P lp

S AI DE NB E RG TH E RE a e a , ODO Phil d lphi S hilade hia AVITT , JAY P lp C E H r n n S N N . tt e an a A LO , LLA Pi sbu gh , P sylv i

SCH R R N . hil ade hia WA TZ , F A K J P lp SCH R I S RE a e a WA TZ , ADO Phil d lphi S HARL I P B E N M N a e a , JA I Phil d lphi S H R R N S a t a e t Uta A P , MA IO l L k Ci y , h n m n S H R M UR CE O . She ri a , i A P , A I d Wyo g C E ani a r S HE N R N E S . a LTO , F A D , Flo id S H E CE S E Ne w a war R N R N . t e e a e IDA , F A C s l , D l S HE R N H R E S hi lade hia MA , C A L P lp S H OPMA KE R E Kan a t Kan a , L OPOLD s s Ci y , s s E E r M n S H NRY . e t t a I GL , W D oi , ichig

S NS H R E hi a , I lin i IMO , C A LOTT C c go l o s V E M R E E i a hi S I L A R . e a , GA T Ph l d lp S H R N i a e i a MIT , NO MA P Ph l d lph S R E H E n trea ana a TA K , T L Mo l , C d

S E RN UC E i a , at ia T , L I R g L v

S TE T E R FL ORA INE . e tr it , i hi an L , A D o M c g S E E NS M R RE l n w New e r e T V , A GA T Col i gs ood , J s y S E S I r nne ta N N E R N . o W O , VI Mu d ck , Mi so

TA sso RE N am ar I ta , FIO ZO L p o , ly

TE MI ANKA HE NR n twe r , Bel i m , I A p g u * n a TE RR N M R Hi hl an d ar , e nn l a i A OVA , A IA g P k P sy v m n a a e tt H U NR . rtha t , M h T IBA LT , CO AD W No p o ss c us s TH R E a a Te a U N S . MO D , JAM M D ll s , x s TOLCE S T S New r it , O KA Yo k C y

T NS E N CH R E . hiladel hia OW D , RI A D P p T NS E N N RE hilade hia OW D , WI IF D P lp TR FF C NTE E S E TH hiladel hia A I A , LI AB P p

P age Fifty-eight THE CURTIS INS TI TUTE OF MUS I C

rn UL L B E RG L Y E . T rl , a ifo ia , LO D u ock C l

VAN N N H R N . Des ne I wa LA I G AM , MA IO M Moi s , o

Ottawa Kan a E R U S E . WALK , LO I P , s s S RUM H E RE e w New er e WAL T , T ODO P Ridg ood , J s y E NR CH R a te r n Ne w e r e W I I , CA L P so , J s y E n ma E S RE N E H B . t e r O a W TMO LA D , LIZAB T A l s , kl ho

H E H E HE NR . rf r n a W IT AD , Y C No olk , Vi gi i S RE NCE en t wn e nn an a WILLIAM , FLO All o , P sylv i

S N R N . e r an M WIL O , F A K M M idi , ississippi WOE MPNE R R n nea nn e ta , CA L Mi polis , Mi so N E R U S t an t t Ne w e r e WY , LO I A l ic Ci y , J s y

H w f n YA E CKE L U S . o a r a , LO I W olly od , C li o i

M E RM N OS C R G . a e a ZI M A , A Phil d lphi

n Withd rawi g be fore th e close o f th e year .

Page Fifty-nine THE CURTIS INS TITUTE OF MUS IC

INDEX

Accompan is ts Assign men t to I n struc to rs B ra a te — e r Le iog phic l No s Au , opold Ba illy , Louis arn am nn w F , Ly ood Go r o rza E m de g , ilio H fman n e f o , Jos am e rt e an e r L b , Al x d z L L ub o sh u t , e a

z n r t r Rod i ski , A u S a m n e l o d , F lix S alze do ar , C los S a r ar e . c l o , Ros io S em r Mar e a b ich , c ll Ven ero va I a e e g , s b ll m a i t E frem Zi b l s , Buildin gs Calen dar Coachin g Casimir Hall ’ Con ce rts— S tude n ts Curtis Quar te t — mi De partme n ts Acade c m an n i i n o f Acco p yi g , Div s o Chamb er Music Harp Orche stra Organ Pian ofor te S emen tar an i i n uppl y Pi o , Div s o m n Theo ry an d Co positio Viola Violin Violon cello Voice

THE CURTIS INSTITUTE OF MUSIC

osEr H FM NN Director J O A ,

Announces a Course of Eight Lectures on FUNDA MENTAL PRINCIPLES OF EXPRESSION IN ART

M ’ ONDAY A FTERNOONS A T O CLOC K

Be innin Octo er 8 1 28 g g b , 9

En in o em er 26 1928 d g N v b ,

RITTENHOUSE SQUARE PHILADELPHIA PENNSYLVANIA UBSCRI BERS To THE COMPARATIVE A RTS COURSE during past seasons S ir n n i n o Mr h r Leo Kat . T e ent ia m ar requ e o i t oduct o t . z hus s oused b his e t re and th e r win int ere t i a e in th e s ect w i y l c u s , g o g s d spl y d ubj h ch is ec iar h is own h as led The rti In t it t e of M ic t o en a e p ul ly , Cu s s u us g g him as sole lecturer in A rt for th e season the course in C omf ra iv A r a in n i n in pa t e ts h v g bee d sco t ued . The tas of re n i in art s ien e and ife h as een attem te b k co c l g , c c l b p d y man ar ist wh o a ess a i i of ir s ntia nit w t e e n t e e e . Fe y s h v poss d v s o h s l u y , in ee a e arri e at so id a rea izati n of t eir e t as Leo Katz d d , h v v d luc l o h qu s , d t r r If r a a i n i i in artist ritic an e e . t e e is re t e t etween , c l c u h l o sh p x s g b i and art t en in th e ini n of ea in art ritic of th e ph losophy , h op o l d g c s r Mr a h as i r i K t e e t . count y . z d scov d His studies in the t echnical branches ofpaintinghave been exhaustive in the fie of treatment of i ment and me ium and th e ro em o f ld s p g s d s, p bl r ai On th e t e retica i e h e has i a t ra a pe manent p nting. h o l s d logc lly ced pattern that connect s all art forms of th e past and present with corre' s o din m of s i n p n g develop ents c e ce . Mr Kat is a nati e of A stria and his fame as a ainter l d to . z e v u , p re eat e e i iti n o fhis w r in the rinci a a er e ofE r e He p d xh b o s o ks p p l g ll i s u op . m i f a a Fr nk A . V an r i o c e t o America in 1920 at the invitat on o Mr. de l p t ain r f f m Since t en h h as remaine in t c nt t rt ait o his a i . e r p po s ly h d his ou y, ' W ma lecturing fo r th e A rchitectural League of New York ; th e o n s City ’ M m ofB st n man s Uni ersit a in t n D. C . ; e Club o o ; Wo v y Club , W sh g o , us u o f Fine Art Detroit ; Uni er it of a if rnia; Le an Stanf rd Uni' s , v s y C l o l d o ersit th e Uni ersit of New Y r Metr itan M e m of A rt v y; v y o k; opol us u , a a Th e ea n of 1 28 1 2 wi New York ; and many other org niz tions . s so 9 9 9 ll f w i r Kat h as a eare as lec' b e th e fi th consecutive season in h ch M . z pp d a Th r i I f M i turer t e Cu t s nstitute o us c . It gives much pleasure to announce that this series will b e open t o a f h I it limited number ofsubscribers in addition t o th e students o t e nst ute .

Course Ticket Ten Dollars