Thomas Weaver
Interim Associate Chair of Musical Studies
Musical Studies
Thomas Weaver is a composer and pianist whose active solo and chamber career has included performances throughout major cities around the world.
Thomas Weaver is an American pianist and composer serving as interim associate chair of musical studies at the Curtis Institute of Music and directing the collaborative piano fellowship program at the Boston University Tanglewood Institute. A sought-after pianist, Weaver has appeared in major concert halls throughout North America, Europe, and Asia, with frequent appearances in New York City, Philadelphia, and Boston. He has been presented by organizations including Carnegie Hall Presents, Boston Celebrity Series, the Schubert Club, La Jolla Music Society, Princeton University Concerts, New York Philharmonic Ensembles Series, New York Chamber Music Festival, Astral Artists, Artcinia, and Red Rocks Music Festival. Weaver has appeared as a soloist with ensembles including the Curtis New Music Ensemble, Alea III, Boston University Tanglewood Institute Young Artists Orchestra and Young Artists Wind Ensemble, collaborating with notable conductors such as Bruce Kiesling and H. Robert Reynolds.
An active chamber musician, Weaver has performed with eminent musicians such as Nathan Cole, Elmira Darvarova, Roberto Díaz, Jennifer Frautschi, Jess Gillam, Brittany Lasch, Anthony McGill, Gene Pokorny, Kenneth Radnofsky, and members of the Philadelphia Orchestra, New York Philharmonic, Boston Symphony Orchestra, and Metropolitan Opera Orchestra. Weaver is currently a member of the Amram Ensemble. A strong proponent of new music, Weaver has given the premiere of numerous compositions, including works by David Amram, Reena Esmail, Anthony Plog, David Loeb, John H. Wallace, Christopher LaRosa, and Francine Trester. He has multiple recordings of chamber music released by Affetto Records and Naxos (American Classics Series).
An award-winning composer, Weaver’s music has been heard across four continents, in countries including the United States, Austria, Germany, Spain, Japan, and Australia. His works have been commissioned by organizations and musicians including New York Chamber Music Festival, Penn Museum, Boston University College of Fine Arts (in honor of the 150th Anniversary of the School of Music), Pharos Quartet, Daraja Ensemble, Alea III, Marian Anderson Historical Society, Kenneth Radnofsky, Brittany Lasch, and Joshua Blumenthal, Boston University Symphony Orchestra, and Mannes American Composers Ensemble.
Who were/are some of your idols/inspiration, musical or otherwise?
One of my biggest inspirations was my piano teacher at Boston University, Anthony di Bonaventura (Curtis ‘53). He taught me a deeper understanding of our mission in music and helped me to gain greater insight into how one might respect a composer’s intentions. His own clarity in playing and sound at the piano is a style that I continue to strive for today.
What do you enjoy most about being a teacher at Curtis?
Working with inspirational students has been one of the most enjoyable parts of teaching at Curtis. Seeing their passion while speaking about musical concepts in the classroom is incredibly inspiring. The love and dedication they bring to their craft is exciting and I’m honored to be a small part of their education here.
What do you think is special about Curtis?
The close knit environment at Curtis makes it unlike any other conservatory in the US. Being able to offer the students unique educational experiences is one of the biggest strengths of our school. The musical relationships that are developed at Curtis will also last a lifetime, creating a point of connection for people that meet again later during their professional lives.
What advice do you always give your students?
I hope that my teaching always inspires students to think deeper about the music that they are studying. In counterpoint I always encourage students to ask themselves, “Where are you? Where did you come from? Where are you going?” If one can answer that honestly then one starts to have a stronger idea of the purpose of each note and how it can serve the larger phrase.