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Superstar Pianist Yuja Wang (’08) Performs Rachmaninoff Marathon with The Philadelphia Orchestra

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One of the world’s most celebrated pianists, Curtis alumna Yuja Wang (’08), is garnering praise and making splashy headlines once again for what The New York Times calls “one of the most herculean concerts of her career: a three-and-a-half-hour marathon of Rachmaninoff’s four piano concertos and “Rhapsody on a Theme of Paganini” at Carnegie Hall on Saturday (January 28, 2023), a virtually unheard-of undertaking.” The reviews have been spectacular. 

In addition to this monumentally challenging endeavor, Ms. Wang kicked off her ode to the music of the beloved Russian-American composer, virtuoso pianist, and conductor’s 150th birthday on Thursday, January 26, with a two-part concert split across four dates at Verizon Hall with The Philadelphia Orchestra, under the baton of internationally renowned conductor Yannick Nézet-Séguin. These rare, once-in-a-lifetime performances, which feature over 400 pages of technically virtuosic, richly rewarding music, have been proclaimed the must-see events of the year.

Ms. Wang’s highly-anticipated performances are notable for the fact that few pianists have ever played Rachmaninoff’s Piano Concertos 1-4 plus the Rhapsody on a Theme of Paganini in one series or setting. In order to pull off this feat she has maintained a disciplined schedule of rest and practice, saying, “I’m also having the same feeling as everyone else: Let’s see where this kamikaze run is going to go. I can’t even control it, so I’m just going to go with the flow.” Hot off her show-stopping turns here on the East Coast, she will join the Los Angeles Philharmonic and conductor Gustavo Dudamel in February for more performances of these Rachmaninoff showpieces.

Yuja Wang enrolled at Curtis at 15, and by age 21 had already established an extraordinary international career and began recording for Deutsche Grammophon. Of her return to Philadelphia, where she spent time growing in her craft as a musician at Curtis, she says in The Philadelphia Inquirer, “It’s like going home, just as it is when I go back to Beijing. I love Rittenhouse Square. I love playing for Meng-Chieh Liu [Curtis’s Sondra F. Matesky Chair in Piano Studies]. He’s amazing to play for. Very imaginative. And hilarious. I exact inspiration from where I am.”

Read Ms. Wang’s interviews with David Patrick Stearns in The Philadelphia Inquirer HERE, Javier C. Hernández’s piece in The New York Times HERE, and Zachary Woolfe’s glowing review in The New York Times HERE. 

Yuja Wang and The Philadelphia Orchestra perform the Rachmaninoff Piano Concerto Nos. 1 and 2 on Feb. 4, and Concerto Nos. 3 and 4 on Feb. 5, in Verizon Hall, Broad and Spruce Streets. The Rhapsody on a Theme of Paganini appears at both concerts. Tickets are $55 to $249. philorch.org, 215-893-1999.

Photo credits: 1.) Norbert Kniat  2.) Kirk Edwards  3.) Norbert Kniat.

Katherine Needleman and Philippe Tondre Appointed to Lead the Oboe Faculty

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PHILADELPHIA, PA—April 14, 2022—The Curtis Institute of Music has appointed two renowned oboists to lead the department beginning in fall 2022: Katherine Needleman (Oboe ’99) and Philippe Tondre. Ms. Needleman and Mr. Tondre currently serve as principal oboe at the Baltimore Symphony Orchestra and Philadelphia Orchestra, respectively.

“I am deeply honored and humbled to be joining the oboe faculty alongside my colleague Katherine Needleman at the Curtis Institute of Music,” said Mr. Tondre. “I am very excited, after fourteen years of experiencing musical aesthetics from around the globe, to share my adventures and participate in the history of the Philadelphia Sound and Curtis. I cannot wait to start in this new role, following in the footsteps of my compatriot Marcel Tabuteau and helping the next generation of musicians bring their voice, talent, and artistry to the entire world.”

Ms. Needleman and Mr. Tondre will work with Curtis students in individual lessons as well as chamber coachings. They join a distinguished roster of performers, pedagogues, and artist-citizens teaching at Curtis, including Michelle Cann, the Imani Winds, Daniel Matsukawa, Eric Owens, Yannick Nézet-Séguin, among many others.

“Since its doors first opened nearly 100 years ago, Curtis has had an important relationship with The Philadelphia Orchestra—a connection that has strengthened classical music artistry here in Philadelphia and around the world,” said Mr. Nézet-Séguin, who serves as music director of The Philadelphia Orchestra and mentor conductor at Curtis. “We are thrilled to continue to nurture this longstanding relationship, as we write the next chapters in our history together.”

Curtis’s oboe students will have the opportunity to study with both Ms. Needleman and Mr. Tondre, gaining valuable experience in a broad array of repertoire. Students will have access to a comprehensive education they can draw upon throughout their international careers.

“This opportunity to help guide the exceptionally talented Curtis oboe students is an immense privilege and honor,” says Ms. Needleman. “As a Curtis alumna, the long-held Philadelphia oboe tradition and history will always be a part of me. My distinguished colleague, Philippe Tondre, and I both realize there are numerous paths toward excellence with an oboe, and I’m excited for our work to help develop the musical and creative futures of our students.”

Katherine Needleman Katherine Needleman is a multi-faceted musician and native of Baltimore. She joined the Baltimore Symphony Orchestra as principal oboist in 2003, the same year she won first prize at the International Double Reed Society’s Gillet-Fox Competition. In Baltimore, she also curates the “Coffee, Patisserie, and Classical Music” series, which explores the connection between composer and performer through historically marginalized music.

As soloist, she has appeared with the Saint Paul, Baltimore, and Concerto Soloists Chamber Orchestras; the Albany, Richmond, and Haddonfield Symphonies; and the Orquesta Sinfónica Nacional de Colombia, in addition to her frequent appearances with the Baltimore Symphony Orchestra. While a student at the Curtis Institute of Music, she appeared with The Philadelphia Orchestra as a winner of their Albert M. Greenfield Competition. She has performed as guest principal oboist with the New York Philharmonic, the Saint Paul Chamber Orchestra, and the symphony orchestras of Atlanta, Boston, Chicago, New Zealand, and San Diego.

Ms. Needleman has premiered and commissioned numerous works. She gave the American premiere of Ruth Gipps’s Oboe Concerto, conducted and played the American premiere of Brenno Blauth’s Concertino, and gave the West Coast premiere of Christopher Rouse’s Oboe Concerto at the Cabrillo Festival. She gave the premiere of Kevin Puts’s oboe concerto, Moonlight, at the BSO’s New Music Festival with Marin Alsop and gives the West Coast premiere at the Cabrillo Festival in August 2022.

Before the 2019-2020 season was truncated by COVID-19, Ms. Needleman presented two recitals throughout the U.S.: one for oboe alone, and one for oboe and piano consisting of music by women composers. In late March 2020, she began her Lockdown Oboe Solo Concerts—a series of 11 weekly performances that included numerous premieres, broadcast from her living room to an audience of 80,000. Her works for oboe, English horn, and piano are published by Presser.

Philippe TondrePrincipal oboe of The Philadelphia Orchestra, appointed by Yannick Nézet-Séguin, and of the Chamber Orchestra of Europe, Philippe Tondre is also a member of the Mito Chamber Orchestra and the Saito Kinen Orchestra with Seiji Ozawa. Born in Mulhouse, France, Mr. Tondre studied with Yves Cautrès before joining David Walter’s class at the Conservatoire National Supérieur de Musique de Paris. He finished his studies with Maurice Bourgue and followed the teaching of masters such as Heinz Holliger, Nathalie Stutzmann, Jacques Tys, Jean-Louis Capezzali, and Dominik Wollenweber. At the age of 18, he was appointed principal oboe of the SWR Symphony Orchestra, a position he held until 2021. He was solo oboe of the Budapest Festival Orchestra (2014–20) and Gewandhaus Orchestra in Leipzig (2016–17) and was a guest oboist with leading orchestras including the Royal Concertgebouw in Amsterdam and the Zurich Opera.

Mr. Tondre has appeared as a soloist with prestigious ensembles such as The Philadelphia Orchestra, the Bavarian Radio Symphony Orchestra, l’Orchestre de la Suisse Romande Geneva, l’Orchestre du Capitole de Toulouse, the Osaka Philharmonic, and the Moscow Soloists. He made his debut as a soloist in the Berlin Philharmonie in 2013, accompanied by the Deutsche Sinfonie Orchester.

Mr. Tondre is prizewinner of many major international competitions, including the 60th ARD Music Competition in Munich, the 65th Geneva International Music Competition, the 9th Sony Music Foundation’s International Oboe Competition Japan, the Fernand Gillet-Hugo Fox Oboe Competition USA, and the 63rd Prague Spring International Music Competition. In 2012 he received the Beethoven Ring, a musical honor given by the Beethoven Fest in Bonn, joining a prestigious list of previous recipients including Lisa Batiashvili and Gustavo Dudamel. He was also invited to appear in the ARTE television program Stars of Tomorrow hosted by Rolando Villazon.

In 2021 he joined the research and development team for Buffet Crampon Paris and has played an active part in the creation of the brand’s latest model “Légende.” In June 2022 he will make his debut as a soloist at Carnegie Hall with the Orchestra of St. Luke’s.

Mr. Tondre also teaches at the Hochschule für Musik Saar in Germany and the Royal Northern College of Music in Manchester, England. He has recorded for BR Klassik, France Musique, SWR Classic, and Klarthe France.

The Curtis Institute of Music educates and trains exceptionally gifted young musicians to engage a local and global community through the highest level of artistry. For nearly a century Curtis has provided each member of its small student body with an unparalleled education alongside musical peers, distinguished by a “learn by doing” philosophy and personalized attention from a faculty that includes a high proportion of actively performing musicians. With admissions based solely on artistic promise, no student is turned away due to financial need. Curtis invests in each admitted student, ensuring no tuition is charged for their studies and they enter the profession free from educational debt. In a typical year, Curtis students hone their craft through more than 200 orchestra, opera, and solo and chamber music offerings in Philadelphia and around the world. Learn more at Curtis.edu.

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Press Contact:
Patricia K. Johnson
Vice President of Communications and Public Affairs
patricia.johnson@curtis.edu

Curtis and 92Y Announce a New Collaboration: Curtis at 92Y

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PHILADELPHIA—December 1, 2021—The Curtis Institute of Music and 92Y announce today a first-of-its kind collaboration, entitled Curtis at 92Y. This new relationship will give Curtis its first-ever “home” in New York City and give the 92Y community an opportunity to learn from Curtis faculty and alumni and enjoy the work of one of the most important conservatories in the world. Both institutions hope to build on this first phase with greater and deeper engagement, beginning with programming designed to educate, engage, and delight audiences and students of all ages, through performances, classes for schoolchildren, adult education, mentorship, and more.

“We’re tremendously excited to launch Curtis at 92Y,” says Yana Stotland, Director of 92Y’s School of Music. “Our combined 250 years of experience in music education at the highest level creates the foundation for extraordinary new opportunities for artistic growth in students of all ages.”

“We are pleased to join 92Y in this endeavor and are thrilled by its tremendous potential,” says Andrew Lane, Vice President of Touring and Artist Management at Curtis. “Together we will amplify the performance and educational offerings of both of our institutions, reach new audiences, and deepen our relationships with the communities we serve.”

In this new collaboration, Curtis will work with 92Y to develop thought-provoking adult education classes taught by Curtis faculty and alumni, which will be featured prominently on 92Y’s well-known, global adult education and culture platforms. This component of Curtis at 92Y launches Wednesday, January 19, 2022 with a multi-session, online adult education course taught by Jonathan Coopersmith, Chair of Musical Studies at Curtis. The course is centered on Franz Schubert’s Quintet in C Major, one of the great masterworks of chamber music, written in the final weeks of Schubert’s tragically short life, and which Curtis on Tour will perform at 92Y in February. Coopersmith will look at the genius of the Quintet, what made Schubert a musical groundbreaker, and his unique place in bridging the Classical and Romantic eras. Register here.

On Friday, February 18, the first of two annual Curtis on Tour concerts premieres with a Curtis ensemble including faculty members violinist Ida Kavafian and cellist Peter Wiley, emerging artists violinist Lun Li, violist Cara Pogossian, and cellist Francis Carr performing Schubert’s Quintet in C Major on the stage of 92Y’s Kaufmann Concert Hall in New York City. The program will also include the New York premiere of Curtis composition faculty member Richard Danielpour’s String Quintet (“A Shattered Vessel”). Tickets available here. A second Curtis on Tour offering at 92Y will be announced later for Fall 2022.

Curtis and 92Y will work together to develop engaging educational activities around Curtis on Tour appearances on 92Y’s concert series for students enrolled in 92Y’s School of Music, and in the larger New York City community, with a particular focus on the segment of the community served by 92Y’s Center for Arts Learning & Leadership, a renowned music education program developed and run by 92Y that, pre-pandemic served over 15,000 primarily under-resourced New York City public school students in-person, and now has expanded nationally online.

In summer 2022, selected students from 92Y’s highly-regarded Recanati-Kaplan Program for Excellence in the Arts will study with Curtis alumni teaching artists in an online intensive instructional and mentorship program. 92Y’s Recanati-Kaplan program offers full merit-based scholarships for gifted and talented students to foster their creative potential through a broad range of individualized instruction, advanced classes, and mentoring to accelerate learning and support technical accomplishment. This intensive online program with Curtis will supplement the development of overall musicianship and preparedness for our most dedicated scholars.

About 92Y
The 92nd Street Y (92Y) is a world-class center for the arts and innovation, a convener of ideas, and an incubator for creativity. 92Y offers extensive classes, courses and events online including live concerts, talks and master classes; fitness classes for all ages; 250+ art classes, and parenting workshops for new moms and dads. The 92nd Street Y is transforming the way people share ideas and translate them into action all over the world. All of 92Y’s programming is built on a foundation of Jewish values, including the capacity of civil dialogue to change minds; the potential of education and the arts to change lives; and a commitment to welcoming and serving people of all ages, races, religions, and ethnicities. For more information, visit 92Y.org.

About the Curtis Institute of Music
The Curtis Institute of Music educates and trains exceptionally gifted young musicians to engage a local and global community through the highest level of artistry. For nearly a century Curtis has provided each member of its small student body with an unparalleled education alongside musical peers, distinguished by a “learn by doing” philosophy and personalized attention from a faculty that includes a high proportion of actively performing musicians. With admissions based solely on artistic promise, no student is turned away due to financial need. Curtis invests in each admitted student, ensuring no tuition is charged for their studies and they enter the profession free from educational debt. In a typical year, Curtis students hone their craft through more than 200 orchestra, opera, and solo and chamber music offerings in Philadelphia and around the world. For more information, visit Curtis.edu.

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Press Contact
Patricia K. Johnson
Vice President of Communications and Public Affairs
(215) 717-3190

For 92Y:
Patrick Preblick
Director of Publicity
(212) 415-5537

Celebrating Black History: The Legacy of Ursula Guy Curd (Piano ’26)

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This article is sourced from the Rock Resource Center Blog, posted by Claire Thai, student archives assistant.

Ursula Guy Curd (1890–1988) was an African American pianist admitted to the first class at the Curtis Institute of Music in 1924 and graduating in 1926. Her musical ability was described as “unforgettable” with “clear tone and marvelous touch” by the 1942 Pittsburgh Courier—but to limit her memory to that of just an excellent pianist would sell her accomplishments short. She was a founding member of the Omega Omega chapter of Alpha Kappa Alpha, a sorority dedicated to the advancement of education and culture of African American women. From the early 1900s to today, Alpha Kappa Alpha has been at the forefront of social action for African Americans, from creating the first congressional lobby to advocate for better working and living conditions to establishing the American Council of Human Rightsi. In addition to her performance career and her social contributions, she was a teacher in the Philadelphia Public School System, a prolific piano teacher to students in Philadelphia, wife to Dr. Kirksey Curd, and mother to Ursula A. Curd (more affectionately known as “little Ursie”).

Ursula came from a musical family; growing up, her father was a minister and regularly sang for the congregation while her mother was an above average pianist. She began her musical studies at Washburn College in Topeka, Kansas, and while her main career was teaching in the Philadelphia Public School System, she continued to study music at the Philadelphia Musical Academy and eventually the Curtis Institute of Music. One of her teachers at Curtis, Clara Dunn, had nothing but praise for Ursula: “I found in her a most excellent pupil, playing with good musical understanding, fluent technique, and a fine sense of rhythm, all of which indicated a good musical endowment.”

Curtis alum Ursula Guy Curd (Piano, ’26) and her daughter, also a pianist, Ursula A. Curd.

Her main teacher at the Curtis Institute, George F Boyle, had similar commendations: “When Ursula Curd came to study with me at the Curtis Institute of Music, she disclosed decided talent pianistically, coupled with high musical and artistic ideals. She has since then, consistently matured and developed so that she is now an interesting and accomplished pianist.” She seemed close with her teacher as shown by this letter sent by George Boyle after one of her concerts.

She enjoyed a successful career as a concert pianist performing solo works, concerti, and chamber music for large audiences across the northeastern United States. Some of the more unusual groups she performed with were the Philadelphia Piano Ensemble and Philadelphia Piano Quartet. Sponsored by Ursula’s sorority, Alpha Kappa Alpha, the Philadelphia Piano Ensemble gave regular concerts of a wide range of works like Lizst’s Hungarian Rhapsody No. 2 for four pianos, Rimsky Korsakov’s Dance of the Buffoons for 16 pianists, and even Malaguena by Lecuona for 14 pianists.

Her ambition was not limited to her own musical performances but included her desire to facilitate concerts for the enjoyment of the public. As shown by the letter below, on behalf of Alpha Kappa Alpha, she took on the huge task of organizing a concert by Paul Robeson (African American bass-baritone, stage and film actor) at the Philadelphia Metropolitan Opera House without sufficient financial backing. She pulled it off with great success, perhaps most succinctly described by the letter: “But, that’s Ursula!!!”.

In a scrapbook filled with newspaper clippings, concert programs, and personal notes, her inclusion of a particular quote stands out. On a clipping of “Words to Live By” by Dorothy van Doren is a quote by St. Thomas of Assisi: “I would finish hoeing my garden” —in reference to when St. Thomas was asked what he would do if he were to suddenly die at sunset that day. Considering Ursula Guy Curd’s substantial accomplishments, this quote epitomizes her dedication to her life’s work and unwavering knowledge that she was bettering the community at large.

To view the scrapbooks and more digital collections, please visit Curtis Institute of Music Open Archives and Recitals (CIMOAR).

 

Harpist Claire Thai, from Tucson, Ariz., is a student of Elizabeth Hainen and entered Curtis in 2018. In her free time, she enjoys working with computers and playing with her three Shih Tzus.

i. Alpha Kappa Alpha Sorority, Inc. – Service to All Mankind Since 1908 Alpha Kappa Alpha Sorority, Inc. – Service to All Mankind Since 1908. (2021). Retrieved 2 February 2021, from https://aka1908.com/about/history

Updates on Restructuring

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As you may recall, President Díaz shared news with alumni in early August about a restructuring of the administration. As he wrote, “I believe that this structure in the long term will help Curtis become an organization that responds to today’s realities and better prepares artists for the future in an ever-evolving field…The restructuring addresses the near-term effects of COVID-19, responds to important needs in the Curtis learning environment, and aligns the administration with my vision for Curtis, which rests upon three foundational legs: education, touring, and technology.”

Here is an updated summary of the key changes and progress that has been made towards these goals:

  • Improved administrative support for education: The Dean’s office will now be supported by three administrative teams focused on curriculum, musician lifecycle, and production.
    • Curriculum: Dr. Jeanne M. McGinn took on the additional role of senior associate dean of academics in September. She now oversees the school’s academic programs and faculty as well as the library resources that complement our students’ work throughout their enrollment.
    • Musician lifecycle functions: Curtis’s strategic plan calls for the school to implement a process through which any musician engaging with Curtis—applicants, students, and alumni—can be supported in an inclusive, data-driven, and continuous cycle of engagement.
      • Student Affairs: Patricia Carpino has transitioned to a new role as senior associate dean of student affairs. Her team will tend to student support functions, including residence life, the registrar’s office, and financial assistance. Also part of this team is Shea Scruggs, who joined us in September as director of institutional research and musician experience/chief enrollment officer. His duties include coordinating Curtis’s program of institutional research, overseeing admission, and engaging alumni in the development of current and prospective students.
      • Community Equity and Belonging: In his new role as senior associate dean and special advisor to the president for strategic engagement, Nicholas Lewis is empowered to work across departments of Curtis to advance equity and promote inclusion both inside and outside our community.
    • Production: Because the pandemic has curtailed the viability of live performance at this time, we have eliminated the Department of Artistic Programs and Performance and created a smaller team under Colleen Hood, senior director of production. This team oversees the piano workshop, chamber music, master classes and recitals, orchestral concerts, and opera production, and reports to the Dean’s office.
    • Artistic Programming: David Serkin Ludwig continues to advise the president, the dean, faculty, and senior administration on Curtis’s artistic and educational programming to reflect our institutional priorities and help shape the artistic direction of the school.
  • Department of Digital Strategy and Innovation: To better integrate technology across different elements of our operations and show leadership in the intersection of music education and technology, a new department of Digital Strategy and Innovation has been created. An expert in the field will be announced shortly to lead the department and Ali King has also joined the team as director of marketing and business development. This department will oversee audio/visual production, information technology, and digital marketing, cooperating across departments to achieve educational, artistic, communications, and fundraising goals.
  • Curtis support functions: Changes are being made to respond to ongoing advice from external experts on administrative best practices and focus fundraising efforts on a trajectory toward the 2024 centenary.
    • Human resources: Curtis is conducting a thorough search for a director of equal opportunity and chief Title IX officer. To ensure maximum impartiality and to maintain compliance with new federal guidelines, Curtis will be outsourcing investigations and hearings. An Ombuds Office, consisting of Dean Lewis and Ms. Carpino, has been created and serves as a neutral and accessible point of contact for members of our community to resolve differences and explore matters of concern.
    • Institutional Advancement: Christopher Mossey continues to lead this department, focused on fundraising and constituent engagement. A critical part of the department’s work will be a comprehensive campaign to raise funds for the endowment, the physical campus, and the annual fund.
    • Communications: Patricia K. Johnson reports directly to the president as senior director of communications and public affairs.
  • Cross-institutional working groups: Three high-functioning, cross-departmental working groups have begun to meet regularly. These working groups are focused on student, staff, alumni, and faculty well-being; institutional messaging and market segmentation; and concert and opera production.
  • President’s Cabinet: President Díaz has formed a new cabinet comprised of staff members from across all departments. This cabinet meets regularly with the president and works in smaller groups to address issues as they arise.

We look forward to continuing to update you on our reorganization progress in the weeks ahead.