A music Major? I Must be Crazy, right?

College Majors Music Major
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<p>(I Also posted this in the 'what are my chances' section, but as this seems to be the better location, I figured to repost here.)</p>

<p>Why hello everyone! I am a sophomore in high school, intending on pursuing a career in Music Performance on the Oboe. I have been accepted to the Juilliard Pre-College, with Mr. Richard Dallessio as my studio teacher. I intend on auditioning for the BUTI (Boston University Tanglewood Institute), which is a summer camp for High School students at Tanglewood. I have a few questions, along with a few concerns that I would like to express.</p>

<p>I cannot deny the fact that several of the teaching methods that I was taught with for the past six years do not conform to much of anything that is usual for how someone was to learn to play oboe. For example, instead of teaching me etudes, long tones, and general technical exercises, she tended to focus more on teaching me through actual pieces and songs that we might be playing in the school ensemble or my competition pieces that I may be learning for state or regional events. Though I have obviously learned a sufficient amount from this, I feel as though I am lacking in the mandatory basics that go into oboe playing. (I believe Mr. Dallessio mentioned something along those lines, as well.) I preform in outside orchestras of good title, and have been taking every opportunity to attend classes or gain classes that will further my musical education. (I will be taking AP Music Theory in regular school, for example.) I realize, much of this, I can solve myself and with the help of Juilliard; but the fact remains that I feel like I am at a severe disadvantage.</p>

<p>My dream is Curtis. It is probably very much of a dream, and just a dream, to be getting in there. But I Intend to apply and do my best at auditions there. What do you think the general chances are, for someone to be accepted there? (There are a numerous things I have taken into account. When I did research on the Curtis Website earlier in the year, they extended the deadline for oboist applications, which meant to me, that they were in dire need of some.) Besides improving to the best I can possibly play the oboe, what other things do you think I can do to further my chances? I know Curtis does not offer summer camps or anything of the like, so are there any music festivals in the area I should be looking at? I know that, unfortunately, politics play a rather large role in music, so I would like to know, if there is anything, whether it is gaining the word of graduates, auditioning at certain events, etc. that I can do to better my chances of acceptance. I am not limiting myself to Curtis, however. I intend on applying to numerous other schools. (Though I do realize, for a secured job in the performance business, Curtis is the best bet.)</p>

<p>I have not had the chance of attending any IDRS conventions, because of their conflicts with regular school, and I am also lacking my professional instrument. (That should be rectified in the coming months, however, as Mr. Dallessio intends on helping me pick one out.) Not to mention the reeds I have (Which I have helped my teacher make and finish) are not quite like the reed that oboists in the US are playing on. They are the Regular American Scrape, but they are not as precise as the ones professionals in big orchestras play on. She doesn't make the tip as thin as you say it should be, as well as several other minor details. (Even though there are no minor details with reeds. Haha) My teachers has her undergrad from Boston University and her graduates from the Manhattan School of Music. She isn't the best of the best, but she is certainly a sufficient oboist. (And luckily has the privilege to be playing a beautiful Rosewood Laubin.)</p>

<p>Thank you for any and all assistance you can provide. >.< Thanks!</p>

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<p>Welcome, ampman07. Now that you have discovered the music forum, I hope you’ll take some time to explore. There is a “sticky thread” at the top that is a wealth of information: <a href=“http://talk.collegeconfidential.com/music-major/258796-so-you-want-music-major-one-familys-experience.html[/url]”>http://talk.collegeconfidential.com/music-major/258796-so-you-want-music-major-one-familys-experience.html&lt;/a&gt;&lt;/p&gt;

<p>No oboe players in my family, but a fair amount of music school experience. Let me throw out some general thoughts. I only have a few minutes, but I’m sure others will be along shortly (or perhaps even as I type.)</p>

<p>Congratulation on your successes. You are wise to be exploring the process now - it is not too early.</p>

<p>Curtis is a fabulous school. Some years back, I would have agreed with you about Curtis being head and shoulders above. I’m not sure that’s entirely true now (since my kids didn’t go there - <em>wink wink</em>.)</p>

<p>Seriously, had my kid been accepted to Curtis, he would have attended without questioning. Fortunately, the teacher for his instrument taught at both Curtis and Juilliard, and made a careful decision that my son was a better fit for Juilliard based upon his career goals and other interests. In his studio, the Juilliard kids and Curtis kids were friends and colleagues. They attended summer programs together, and visited each other’s school for make-up lessons, etc. We had no idea; we were trying to make music programs fit in a US News tiered format. It doesn’t work that way.</p>

<p>The conventional wisdom on this board is that teacher - if not everything - is at least at the top in importance. Therefore, it is entirely possible to have an absolutely fabulous school, but with a teacher on a particular instrument that doesn’t quite match up. Ther reverse is true as well - a less stellar program may be incredible in a certain instrument (I’m thinking about U North Texas and trumpet, for example.) Again, I have no idea about oboe. But some schools are known for better teachers on certain instruments. You will find out this info best from your private teacher, your summer program teachers and peers, etc.</p>

<p>As to how you have been taught - no one cares too much. Admissions are based upon what the teachers think is your potential. That is, they will listen beyond correct notes, and hear maturity, tone, etc. </p>

<p>Chances? Let me talk out of both sides of my mouth:</p>

<p>Your chances are slim. So are anyone’s. You are in Juilliard pre-college 
 with how many other oboes? That is one city, in one state, in one country. You do realize that there are other programs in other cities, states, and countries, I hope. If you are the best player in NYC, that’s a big pond. But it’s still a pond.</p>

<p>Any audition program has risks. You could be a shoe-in, except you catch cold during audition week. Or you miss the plane. You might be the second best oboe player in the world, but if #1 is there, and Curtis has only one opening that year, you don’t get picked.</p>

<p>On the other hand, someone, somewhere will probably get in. Why not you? That’s the attitude you have to develop in the music field. You have to go after it, and give them no reason to say no. Do all you can to make yourself the best oboe player you can be. It’s not about “positioning” yourself, or playing games. It’s about going after it with all you have.</p>

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<p>Realize that Curtis accepts only as many instruments as are needed to form a single orchestra, so there are generally about four oboe students there total at any given time. That means some years they accept one oboe student, occasionally two and occasionally none at all. They are usually pretty forthcoming about telling you how many slots are available once they sort out who will be graduating in a particular year and whether there are any other circumstances that have to be considered. </p>

<p>Richard Woodhams has taught oboe at Curtis for 25 years and has been principal oboe of the Philadelphia Orchestra for 33 years. You might want to try googling various combinations of his name, “oboe” and “music camp” to see if you can find out if he is teaching somewhere over the summers, holding masterclasses in which you might participate and so forth. I believe I have seen his name associated with the Aspen Festival and the New York Summer Music Festival. Note that he is also listed as an adjunct faculty member at Temple University, although I have no idea of how many students he takes there or whether you can apply specifically to his studio as an incoming undergraduate. Temple has an excellent music department and I know of at least one student there who was asked to transfer from his teacher’s Temple studio into his Curtis studio when a current Curtis student had an emergency situation at the start of a semester that forced him to miss a full year.</p>

<p>If you get into BUTI, you will very likely meet some of your competition for Curtis. If you are among the very best oboists at BUTI and Curtis has at least one opening that year, then maybe you will have a shot at it. Note that one strategy that some successful Curtis applicants have used is to take a gap year spent improving their playing and readying their audition. If there are no openings your senior year, or if your audition is not ready by then, you may want to consider that approach.</p>

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<p>Excellent advice from binx and BassDad. </p>

<p>Curtis’s extension of the deadline for oboe should not be interpretted as “they were in dire need of some.” Curtis is never in dire need of anything (except money, as with any arts institution). I would guess that Curtis probably had many applicants, but possibly there were not a sufficient number that were up to the Curtis calibre.</p>

<p>I would not be concerned about your previous teacher’s repertoire-focused approach. Some teachers believe that students need a steady heavy diet of etudes, exercises and scales, while others believe that students can learn better through “real music.” As binx mentions, it is not how you have been taught, it is all about how you play. My son switched like you did from a repertoire-centred teacher to a teacher more focused on technique, but did it after his sophomore year. He was accepted at Juilliard, CIM, Rice, etc. with major scholarships (and was told he would have been accepted at Curtis–a comment that we take with a very large grain of salt, given how unpredictable acceptances at that level are).</p>

<p>I would underscore what binx said about Curtis’s position in the music world. While it is still excellent and at the top, that top is approximated or shared with some other institutions or studios at other institutions. Most top performers in the classical world are not Curtis grads, so obviously there are excellent things happening elsewhere. Don’t put all your eggs or hopes in the Curtis basket.</p>

<p>If you are a Curtis-calibre player, then you should also look at schools like Juilliard, Colburn, New England and CIM and any other school that has an excellent oboe instructor. At the Curtis level, almost everyone needs a few back-up plans.</p>

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<p>There are a couple of things I see that I think you may want to be aware of.</p>

<p>For one, going to Curtis doesn’t guarantee anything, and it is questionable about whether or not it will give someone graduating there a lead on getting an orchestra audition. Not a knock on Curtis, or saying “it isn’t that good”, but rather that if orchestra auditions happen the way they supposedly do, that it is a blind audition, done on the audition results, etc, then it may not pan out that way (there have been allegations over the years, that because the Philadelphia orchestra has a lot of curtis graduates in it, that that means going to curtis gives you an edge there
I don’t know if it is graduating from Curtis, or that curtis kids kind of get an inside view of what the orchestra is looking for, and can tailor their practice and playing to what they are looking for). I am not saying Curtis isn’t a good school, or maybe even the best, just that to want to go to a particular school because it gives someone ‘an inside edge’ is simply not true in the world out there. There are Curtis graduates who find they don’t get into music, or end up doing something like teaching instead of hooking on with a high level orchestra or as a soloist, as with other schools.</p>

<p>I also think you need to be aware, as others have posted, that it depends how many Oboes they have. I don’t know where you live, but you could probably send an e-mail to Curtis when you are getting ready to apply, and ask them straight out how many oboists are graduating a particular year. And even if let’s say 2 are graduating of the 4 they usually have, keep in mind that between Curtis’ reputation, and the fact that it is tuition free, that it could attract more applicants then let’s say Juilliard, if a student feels that they cannot afford Juilliard, even with a decent scholarship package (note the could, I don’t have numbers on that). The other fact is even if you get into Curtis, the teacher you have id’ed as the one you want may not have an opening even if the department does. I don’t know how many kids they teach, or how many oboe teachers they have, but if they have for example one opening the teacher you want may not have the slot, or may have a slot and feel like you aren’t a match for them, and it might be better to go to another program with a teacher you want to study with then go to Curtis with a teacher you don’t click withh
</p>

<p>I think the way you have to look at this is as has been suggested many times, that a)the teacher is really important and b)that going to one program or another is not the be all some claim, each program has advantages and disadvantages. More importantly, music conservatories are not like, let’s say investment banking, where if you don’t come out of a top level business school like Wharton or Harvard they generally won’t look at your resume, when you go out into the music world it is all about your preparation and talent and perseverance more then anything else from what I can tell (it doesn’t mean there aren’t advantages, again, like with Curtis and the Philadelphia Orchestra, it might mean the students have a bit more knowledge of what the Orchestra is looking for in terms of the playing of perspective musicians, but that is a might). </p>

<p>I also think you may want to think twice about taking AP music theory this year. If you are going to Juilliard’s pre college program, music theory is taught there, and if you are there for several years (sounds like 3 years in your case), you are going to be covering what is in AP music theory and a lot more, and why take the same thing twice? Plus from what others have written on here, even if you take AP music theory and get a 4 or 5 on the test, it doesn’t seem like it buys you much. Plus you will have double music theory homework, from school and from Juilliard pre college
better to use the time one of them would take up to do extra practicing. </p>

<p>You should also search some of the threads on here (you may not have to, others may post links to other threads) about how to handle finding the right teacher, getting admitted, etc. Besides the summer program route (which could be hit or miss, you could go to Aspen and find the teacher you wanted to work with isn’t accepting students
) you also may want to think, maybe during Junior year, to contact potential teachers at various schools for sample lessons, as many have posted on here before. It can be beneficial, it can give you an idea what the teacher is like, and it also can gain you feedback on what he/she thinks you need to work on, and of course they have seen you and your skills. You could even (though I don’t know of anyone who has done this) do a sample lesson during Junior year, to find teachers/programs you want to apply to, and then in summer before or early fall of your senior year, do sample lessons with the teachers you want to study with to refresh their memory, so when audition time comes, they already know you,might have a good impression that might help give you an edge on getting admitted to his/her studio (one theory on that is that if they have heard you play well in a sample, and your audition has some issues, they might be willing to fight for you, knowing you play better)
but nothing in this path guarantees anything, and the edge is debatable. However, from what I have read, getting to know a teacher early is critical for one thing, to find a teacher you want to work with:)</p>

<p>Wish you luck!</p>

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<p>There are a couple of things I see that I think you may want to be aware of.</p>

<p>For one, going to Curtis doesn’t guarantee anything, and it is questionable about whether or not it will give someone graduating there a lead on getting an orchestra audition. Not a knock on Curtis, or saying “it isn’t that good”, but rather that if orchestra auditions happen the way they supposedly do, that it is a blind audition, done on the audition results, etc, then it may not pan out that way (there have been allegations over the years, that because the Philadelphia orchestra has a lot of curtis graduates in it, that that means going to curtis gives you an edge there
I don’t know if it is graduating from Curtis, or that curtis kids kind of get an inside view of what the orchestra is looking for, and can tailor their practice and playing to what they are looking for). I am not saying Curtis isn’t a good school, or maybe even the best, just that to want to go to a particular school because it gives someone ‘an inside edge’ is simply not true in the world out there. There are Curtis graduates who find they don’t get into music, or end up doing something like teaching instead of hooking on with a high level orchestra or as a soloist, as with other schools.</p>

<p>I also think you need to be aware, as others have posted, that it depends how many Oboes they have. I don’t know where you live, but you could probably send an e-mail to Curtis when you are getting ready to apply, and ask them straight out how many oboists are graduating a particular year. And even if let’s say 2 are graduating of the 4 they usually have, keep in mind that between Curtis’ reputation, and the fact that it is tuition free, that it could attract more applicants then let’s say Juilliard, if a student feels that they cannot afford Juilliard, even with a decent scholarship package (note the could, I don’t have numbers on that). The other fact is even if you get into Curtis, the teacher you have id’ed as the one you want may not have an opening even if the department does. I don’t know how many kids they teach, or how many oboe teachers they have, but if they have for example one opening the teacher you want may not have the slot, or may have a slot and feel like you aren’t a match for them, and it might be better to go to another program with a teacher you want to study with then go to Curtis with a teacher you don’t click withh
</p>

<p>I think the way you have to look at this is as has been suggested many times, that a)the teacher is really important and b)that going to one program or another is not the be all some claim, each program has advantages and disadvantages. More importantly, music conservatories are not like, let’s say investment banking, where if you don’t come out of a top level business school like Wharton or Harvard they generally won’t look at your resume, when you go out into the music world it is all about your preparation and talent and perseverance more then anything else from what I can tell (it doesn’t mean there aren’t advantages, again, like with Curtis and the Philadelphia Orchestra, it might mean the students have a bit more knowledge of what the Orchestra is looking for in terms of the playing of perspective musicians, but that is a might). </p>

<p>I also think you may want to think twice about taking AP music theory this year. If you are going to Juilliard’s pre college program, music theory is taught there, and if you are there for several years (sounds like 3 years in your case), you are going to be covering what is in AP music theory and a lot more, and why take the same thing twice? Plus from what others have written on here, even if you take AP music theory and get a 4 or 5 on the test, it doesn’t seem like it buys you much. Plus you will have double music theory homework, from school and from Juilliard pre college
better to use the time one of them would take up to do extra practicing. </p>

<p>You should also search some of the threads on here (you may not have to, others may post links to other threads) about how to handle finding the right teacher, getting admitted, etc. Besides the summer program route (which could be hit or miss, you could go to Aspen and find the teacher you wanted to work with isn’t accepting students
) you also may want to think, maybe during Junior year, to contact potential teachers at various schools for sample lessons, as many have posted on here before. It can be beneficial, it can give you an idea what the teacher is like, and it also can gain you feedback on what he/she thinks you need to work on, and of course they have seen you and your skills. You could even (though I don’t know of anyone who has done this) do a sample lesson during Junior year, to find teachers/programs you want to apply to, and then in summer before or early fall of your senior year, do sample lessons with the teachers you want to study with to refresh their memory, so when audition time comes, they already know you,might have a good impression that might help give you an edge on getting admitted to his/her studio (one theory on that is that if they have heard you play well in a sample, and your audition has some issues, they might be willing to fight for you, knowing you play better)
but nothing in this path guarantees anything, and the edge is debatable. However, from what I have read, getting to know a teacher early is critical for one thing, to find a teacher you want to work with:)</p>

<p>Wish you luck!</p>

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<p>There’s not much I can add to what the others have already written other than to echo that any number of schools can position you as well as Curtis. Beyond the instructor, the peer level of fellow musicians across all instruments is near the top of the list in choosing schools to consider.</p>

<p><a href=“Though%20I%20do%20realize,%20for%20a%20secured%20job%20in%20the%20performance%20business,%20Curtis%20is%20the%20best%20bet.”>quote</a>

[/quote]
</p>

<p>Read the biographies of of the top and mid tier orchestras and see the breath of undergrad and masters level institutions that the tenured chairs have attended. Pay attention to the backgrounds of recently hired newly appointed members. Don’t get fixated on an institutional name, and have a solid mix of programs. Any audition is a crapshoot, regardless of your talents and skill set. There are just too many variables to put your eggs in a small basket.</p>

<p>I posted a series of links towards the end of BassDad’s thread worth a look. Plenty of info here broken down topically, and this <a href=“http://talk.collegeconfidential.com/music-major/892168-search-tips-other-insights.html[/url]”>http://talk.collegeconfidential.com/music-major/892168-search-tips-other-insights.html&lt;/a&gt; may help you find things.</p>

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<p>As far as I know, Curtis has just the one oboe teacher. When you only have four students, two teachers would be overkill even there.</p>

<p>The Philadelphia Orchestra has a distinctive style of playing, most particularly for strings but for other sections as well, and Curtis has a LOT of Philly Orchestra players on faculty. Some Curtis students also get to sub for the Orchestra in their Junior and Senior years, and all of them get to play fairly regularly in the Kimmel Center and the Academy of Music. Even though auditions are screened, those things can give Curtis students a bit of a home field advantage when auditioning for Philly.</p>

<p>As everyone else says, there are many other paths to success and a Curtis degree is not a guarantee of employment, so do not get hung up on any one name.</p>

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<p>First off, im a junior oboe player. I think its pretty cool that we both have amp in our name. I would also look at Manhattan School of Music, which has phenomenal oboe faculty. (Probably shouldn’t tell you since I am also auditioning, but) Woodhams (Curtis oboe teacher) teaches at the first session of the Aspen Music Festival. Oh and just a random fun fact, most oboe players in the top 5 orchestras in the US went to Curtis.</p>

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<p>Nice to see two aspiring oboists sharing notes! I must say I really enjoyed reading binx’s post. “Somebody has to get in, why not you?” (Should be a brochure slogan!). You have to pursue your dreams, but also do it with a deep knowledge of both the profession and how it actually works, as well as identifying those schools/teachers most appropriate to your own situation, ambition, and goals. </p>

<p>To help illustrate this, here’s a listing of all of the professional oboists in what are considered top orchestras in the US, along with their schooling.</p>

<p>New York Philharmonic:
Liang Wang BM Curtis
Sherry Sylar BM Indiana MM Northwestern
Robert Botti BM Juilliard MM Juillliard
Thomas Stacy (EH) BM Eastman</p>

<p>Metropolitan Opera Orchestra:
Elaine Douvas studied at Interlochen and at CIM; won her first job before graduating
Nathan Hughes BM Juilliard MM CIM
Susan Spector BM Wichita State MM Temple University
Pedro Diaz BM Juilliard </p>

<p>Cleveland Orchestra:
*Frank Rosenwein BM CIM MM Juilliard
Elizabeth Camus CIM
Jeffrey Rathbun BM University of North Texas MM CIM
Robert Walters BM Curtis MFA Columbia (most likely not in music)</p>

<p>Boston Symphony:
John Ferrillo Curtis
Mark McEwen Curtis
Keisuke Wakao Japanese schooling, then Manhattan School of Music for postgrad
Robert Sheena BM UC-Berkeley MM Northwestern</p>

<p>Philadelphia Orchestra:
Richard Woodhams Needs no introduction
Peter Smith Curtis
Jonathan Blumenfeld BA Haverford College BM Curtis MM Temple
Elizabeth Starr Masoudnia Curtis</p>

<p>Chicago Symphony Orchestra:
Eugene Izotov Russian training, then postgrad work at Boston University
Michael Henoch BM & MM Northwestern
Lora Schaefer BM CIM & 1 year of MM at Rice before winning job (also Interlochen)
Scott Hostetler BM CIM MM Juilliard</p>

<p>Los Angeles Philharmonic:
*Ariana Ghez BA Columbia (Columbia/Juilliard exchange), some MM work at Temple
Marion Arthur Kuszyk BM Oberlin MM Eastman
Anne Marie Gabriele BM & MM Juilliard
Carolyn Hove BM Oberlin</p>

<p>San Francisco Symphony:
William Bennett BA Yale (studied graphic design) MM Juilliard
Pamela Smith 1 year in Belgum at Royal Conservatory, then BM SFCM
Russ deLuna Northwestern </p>

<p>Atlanta Symphony:
Elizabeth Koch Curtis (also Interlochen)
Yvette Powers Peterson BM Ohio State MM CIM
Deborah Workman (started oboe at 17!) BM CIM MM SFCM
Patrick McFarland school of hard knocks</p>

<p>In all of these bios, many of the same names keep cropping up of course, Dan Stolper, John de Lancie, John Mack, Elaine Douvas, as well as Richard Woodhams. And you can see that for graduate studies, many students gain a lot from Woodhams at Temple. </p>

<p>Another important thing would be to find students of these teachers at orchestras with smaller budgets (but rarely far behind in quality). Reading their bios can be helpful, as can the realization that most of the people I listed above played at least one and often two or three other professional orchestra jobs before winning their current positions. So who’s winning jobs in regional orchestra auditions at the moment? Where are those kids coming from RIGHT NOW, as opposed to some of the people listed above, who won their current position in the 1970s, or 1980s. The “best” schools don’t really change that much from year to year, but you never know–perhaps some of the current generation of professional oboists will come from other schools, schools notably absent from the (by no means exhaustive) list above: NEC, Mannes, USC, Colburn, Peabody, and sure, why not, Bard :)</p>

<p>I did asterisk two names, Frank Rosenwein and Ariana Ghez, because they are both recent appointments. So that’s at least some indication of current trends. </p>

<p>Now some may want to read between the lines here and say that I’m trying to knock Curtis somehow by publishing all these names, thinking it’s only in response to ampoboe’s comment that “most” oboists in the top 5 orchestras are Curtis grads. I’m not. Curtis needs no one to defend it, and anyone who wants to say bad things about the place just sounds unhinged. (Remember that ■■■■■■■■ thread from a few months back? Some guy with a YouTube clip that PROVED Juilliard was a sham?)</p>

<p>But I do think it’s worth mentioning that very often a “brand” can place itself inside a student’s mind early on, and while that can serve as a guiding star, and a great motivator, too much emphasis on it can negatively impact a student’s path in life. It’s a familiar pattern: A young musician begins to realize a deep, profound connection to not just music in general but his/her instrument. The bonding with the instrument takes place, and suddenly hours spent in the practice room are seen as a delight, there’s the thrill of discovery, not an attitude of punishment or torture. And complimenting that self-discovery will be attendance at a concert of a world-class orchestra, or watching something broadcast on television, or going on tour with the band or youth orchestra, or attendance at some high-level music festival meeting other serious, focused, disciplined kids, and that inspires the student to not only pursue music, but to strive for the top, to be the “best” musician possible. </p>

<p>That’s the way it should be! But then, after deciding to really go for it, subjective word-of-mouth and other vague impressions form, leading to a notion that only one (or maybe two) schools could possibly be considered “best,” and a fixation develops around that that may or may not #1 mesh with professional reality or #2 does not represent the absolute best environment for that particular student, either because of the studio teacher’s pedagogical philosophy, or other environmental factors. </p>

<p>My advice would be to work hard, very hard, and to strive to develop yourselves as complete artists, and allow your enthusiasm for music to carry you wherever it may lead.</p>

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<p>Thanks for the list, Nate! I thought about doing one, but was too lazy. </p>

<p>Fun to see Russ DeLuna’s name up there - he was a teacher here in the Atlanta area for many years, taking lots of auditions, biding his time, and paying his dues.</p>

<p>When Elizabeth Koch was named principal oboe here a couple years ago (shouldn’t she get an asterisk too?) it was a big deal because she was so young. She was only a 3rd year Curtis student at the time. Chose the job over graduation (smart lady.)</p>

<p>I’d love to see a list of “where are they now” recent grads. For instance, I looked at New World Symphony’s roster (from last year; new one isn’t up yet) and see:</p>

<p>Alison Chung, Eastman
Kristina Goettler, BM Oberlin, MM NEC
Karen Kistler, BM FSU, MM CIM, DMA FSU</p>

<p>I think a big misconception of young’uns is that a good education leads to a Big Ten career right out of school. It happens, but dues-paying in smaller orchestras is more likely.</p>

<p>Someone made a comment about the Philly Orchestra hiring Curtis grads. I’ve heard a similar story about CIM and Cleveland Orchestra. It makes sense not only that those students learn the sound / tone / style that the orchestra is looking for, since their teachers often come from there, but also that the judges respond more favorably to the sounds they are used to hearing from their own students.</p>

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<p>Well, thank you everyone for your quick replies. They are appreciated immensely. I was aware of a few of the things you’ve said about Curtis, but I wasn’t too sure about believing it until I got some more information - Which I certainly got. There is so much information that you’ve all given me, and I am incredibly grateful for it. You’ll definitely answered the lot of my questions, but I may be back with more in the future. (Bassdad, your sticky thread is very insightful. I enjoyed reading it very much.)</p>

<p>ampoboe, good to see you here! I’d be happy to compare schools and experiences with you! I certainly have no problem with it. Haha. I have not discounted MSM, for sure. I am keeping all my options open.</p>

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<p>And also, to binx, the first person who commented on this: Don’t worry, I am not that naive as to say that just because I am in a pre-college, that I am the best of the best and no one can tell me otherwise. Because the truth of the matter is, is that that’s probably far from the truth. I am quite aware of how much talent there is everywhere. It has been said that Juilliard is the premiere Pre-College program in the world, and that it attracts people from all around the world, in the same respect as Curtis. </p>

<p>Regardless, please don’t take me as arrogant or such. Simply interested in learning more, based on my current situation.</p>

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<p>Just a note: If you want the teacher at Curtis, but can’t get in, many times those teachers teach at Temple.</p>

15

<p>You have gotten excellent info from lots of well informed folks already and I have little to add. It’s all about your audition but it’s also about your audition relative to the others who are taking auditions at the same time. If Curtis has one opening, you will need to be their top applicant
not number two. Some years they have no openings on certain instruments. This is worth checking at some point.</p>

<p>The only thing I would add
and I’m hoping it’s just semantics on your part
BUTI is not really a “camp”. If you go there expecting a camp atmosphere, I think you are going to be VERY disappointed. It is a fabulous summer music program that is actually all about the music. You will be completely immersed in your music for either 4 or 6 weeks (depending on whether you are in the orchestral program or the wind ensemble
and if you do the oboe workshop). The Tanglewood experience really is music immersion and is wonderful
but it is not a camp. (Disclaimer
DS went to music camp and then spent two subsequent summers at BUTI
and the difference was very notable). </p>

<p>It sounds like you are very committed to your instrument and that will help you. </p>

<p>As mentioned
it is highly likely that you will meet fellow oboe players who will be taking auditions when you do
and for the same schools
if you do attend BUTI (or any other of the summer programs that draws these kids). </p>

<p>Good luck to you and please do come back here and update us on your progress!!</p>

<p>(P.S. DD is an oboeEnglish horn player but chose not to major in music)</p>