When Curtis opened its doors on Monday, October 13, 1924, its original buildings looked very much as they do now.

Yet they were also very different. Orchestra rehearsals were held in the Common Room, and recitals took place in an “Assembly Room” for lack of a proper concert hall. The school did not yet have a library, and there was a preparatory department in the building at 1720 Locust Street, where the present library is housed. During the “Roaring Twenties” the school remodeled its buildings, developed its program, and established its legacy. Join us for a virtual tour!

Three mansions on Rittenhouse Square

The Curtis Institute of Music was founded at a transitional time for Rittenhouse Square, as its stately old mansions gave way to apartment high-rises to accommodate a new generation. To house the new conservatory, Mary Louise Curtis Bok and her husband purchased the residence of George W. Childs Drexel and his wife, Mary, at 1726 Locust Street. The neighboring Theodore Cramp mansion at 1720 Locust Street was to house the school’s preparatory department, and the Edward A. Sibley house at 235 South 18th Street was for the executive staff. (Read about the purchases.) After the school received its charter, Mrs. Bok began to turn the three mansions into a school. Three artists were commissioned to illustrate the school’s prospectus—the Catalogue—with exterior and interior drawings of the buildings.

The first recitals and performances

To develop the curriculum and attract faculty, Mrs. Bok cooperated closely with two friends: pianist Joseph Hofmann, who headed the piano department and would become director of the school in 1927; and Leopold Stokowski, conductor of the Philadelphia Orchestra. Stokowski was keenly aware that Curtis could nurture new talent for his famous ensemble. During the first three years he took charge of the Curtis orchestra himself—with the help of an assistant conductor—while all faculty teaching orchestral instruments were drawn from the Philadelphia Orchestra. Initially orchestra rehearsals were held in the Common Room of the main building, while recitals took place in an “Assembly Room” directly to the east of the Common Room. In 1927 a new concert hall would replace the Assembly Room and its adjacent plant conservatory.

A library, a concert hall, and a new entrance

The architect hired for all building projects and renovations in the 1920s was Horace Wells Sellers, whose architectural drawings are preserved in the Curtis Archives. In 1926 he oversaw the building of the new library and began designing the new concert hall. The Drexel family’s former living room (the present-day Bok Room), which George and Mary Drexel had turned into a library with ceiling murals, became the new library’s reading room. From the reading room a spiral staircase led to the basement, which contained several additional rooms of books, scores, and equipment. The new concert hall, named after Josef Hofmann’s father Casimir, was inaugurated in December, 1927. The wrought-iron gates over the doors leading from the street to the lobby of Casimir Hall were created by the famous Philadelphia artisan Samuel Yellin. After these projects were complete, the Locust Street entrance leading into the Common Room became the school’s main entrance.

Knapp Hall

Mary Louise Curtis Bok named the building at 1720 Locust Street Knapp Hall after her mother, Louisa Knapp. During the first year the building (now the Rock Resource Center) housed a preparatory school for beginners or very young pupils who might continue to more serious study at the conservatory level. When the preparatory department was discontinued, Knapp Hall housed the Department of Stringed Instruments and Theory.

DISCLAIMER: The images and documents in this exhibit are made available for purposes of education and research. The Curtis Archives has made every attempt to determine the copyright status of materials displayed, but due to the nature of archival materials we are not always able to identify this information. We are eager to hear from any rights owners, so that we may obtain accurate information. Upon request, we will remove material from public view while we address a rights issue.