Boston Symphony Orchestra bassist Tom Van Dyck discusses his musical roots

Open positions in symphony orchestras are rare, and a spot in one of the best orchestras in the country is rarer still. At age 32, and after more than a decade honing his craft as a professional double bass player, Settlement alumnus and Boston Symphony Orchestra bassist Thomas Van Dyck stands at the pinnacle of his field.

Thomas with Boston Symphony Orchestra concertmaster
Malcolm Lowe after winning his double bass audition

Thomas says his initial interest in music came from listening to jazz and playing electric bass, but he was
exposed to classical music early on as well: his mother, Central Board of Trustees Chair Barrie Trimingham, frequently played classical recordings at home. He got his start playing classical music in Settlement’s Arco Chamber Orchestra, now known as the Trowbridge Chamber Orchestra, under the direction of Peter Dundon from 1996-98. He also worked as an intern for the Kaleidoscope Arts Enrichment Pre-K Program with Martha Glaze Zook and played a senior recital accompanied by piano faculty and Lillian Kraus Felber Distinguished Faculty Chair Jeffrey Uhlig. After studying at Rice University’s Shepherd School of Music and at Boston University, he embarked on a career in music, playing orchestral and chamber music with ensembles and at festivals across the United States.


Now that he’s settled in Boston, he’s no longer crisscrossing the country for auditions or substitute gigs, but he’s still focusing intensely on his own playing. Even at the height of the profession, there’s always more to learn.

Q: What experience prepared you most for this stage of your career?

Thomas Van Dyck: When you get to a certain level of mastery, then you have to focus on developing that last five or ten percent of your playing. For me, I got that through a combination of studying with Ed Barker at Boston University and being at Yellow Barn, a summer chamber music festival in Vermont. It’s where I found the joy and motivation of being around a community of players, and that really inspired me.

Q: What does it take to be a professional musician today?

TVD: The big thing is tenacity. You have to choose where to audition, how you will travel, and how you will get around—especially if you play something big, like a bass! It can be pretty brutal after a while, and you have to commit to that lifestyle. You also have to truly love the classical repertoire. A lot of the sustaining power in a career in music comes from loving a certain piece of music. When everyone’s on the same page and playing with a ton of commitment, there’s nothing like it. Life as a musician is not always going to be perfect, but more than ever, musicians will seek out situations where everyone plays together and respects each other.

Q: What lessons from your past do you share most frequently when teaching?

TVD: What I like to pass on is excitement and an intense energy in the process of discovery. It happens when you are really in the zone and you have an extreme, selfless excitement about figuring out what you’re playing. You have this feeling of infectious enthusiasm, and you get to the point where you are no longer thinking about yourself while you’re playing.

Q: What specific lessons or memories do you take with you from your time at Settlement?

TVD: When I first joined the Arco Chamber Orchestra at Settlement, I said, “Am I really ready for this?” I thought that everyone was already so good and I had this sense of insecurity, which motivated me to work really hard. I remember thinking while practicing, “this is my own thing.” That’s where I really developed a sense of ownership: from figuring out things on my instrument and discovering it for myself. It became a process of working to get better day to day, month to month, and year to year.

This post is adapted and expanded from Settlement Music School's fall 2013 newsletter. Read more online here.

Woodwind Center Renamed in Honor of Founder and Teacher

In order to audition for the Shirley Curtiss Center for Woodwind Studies, many talented young woodwind students will come to Settlement Music School for the first time this week. To help them understand the tradition in which they are following, as well as the hard work and dedication that has gone into shaping Settlement's woodwind program, we've featured Mrs. Curtiss and her legacy of teaching as the cover story for our Fall 2013 newsletter. 

Shirley Curtiss (center), with past members of the
Rosalie Magen Weinstein and Matthew B. Weinstein
Advanced Study Woodwind Ensemble

In the greater Philadelphia region, the name Shirley Curtiss is synonymous with woodwind teaching. In nearly 50 years of teaching at Settlement Music School, Mrs. Curtiss’ achievements have gone beyond guiding and instructing young musicians. She has shaped talented individuals who play flute, oboe, clarinet, French horn, and bassoon into cohesive ensembles. Many of these musicians have reached the top echelon of orchestral and chamber music playing—including the New York Philharmonic, Philadelphia Orchestra, Metropolitan Opera, and more.

Judith LeClair, principal bassoon with the New York Philharmonic, says that even after more than 30 years with one of the world’s great orchestras, her experience playing in an ensemble coached by Mrs. Curtiss were what helped her reach the top. “Shirley coached us to sound like a top professional group,” she says. “I loved every second of it and lived for our hours together, and I knew beyond a doubt that this was going to be my life.” Read more of Judith's tribute to Mrs. Curtiss here.

In recognition of and thanks for Mrs. Curtiss’ impact on the woodwind program that she founded in 1964 and grew to national renown, this program has been named the Shirley Curtiss Center for Woodwind Studies, encompassing every wind ensemble program at all of Settlement’s Branches, from introductory-level groups to students playing in the most advanced chamber ensembles.

Flutist Mimi Stillman will be
lead member of the Shirley Curtiss
Center for Woodwind Studies

Shirley and her husband Sid, another longtime faculty member and chamber music coach, have dedicated more than 80 years of combined service to Settlement, and they have made provisions for the Center to thrive in the future by the establishment of a distinguished faculty position, named the Shirley and Sidney Curtiss Distinguished Faculty Chair. Mimi Stillman, a noted flutist, Yamaha Performing Artist, and founder of the Dolce Suono Ensemble, will be the first faculty member in that position. As coach of many of the Center’s ensembles, Ms. Stillman will maintain and grow the program which Mrs. Curtiss established and which, since its inception, has grown to more than a dozen ensembles. “It is a great honor to become the Shirley and Sidney Curtiss Distinguished Faculty Chair, following in the illustrious tradition of wind chamber ensemble instruction Mrs. Curtiss has built at Settlement,” Ms. Stillman says. “I look forward to working with fellow faculty, staff, and the talented students at Settlement Music School.

Happily, Mrs. Curtiss’ presence at the School will continue this fall, as she will remain as coach of the Rosalie Magen Weinstein and Matthew B. Weinstein Advanced Study Woodwind Quintet in this upcoming school year.

A woodwind tribute by a member of the New York Philharmonic

On Thursday, September 19, talented young woodwind students from throughout the Philadelphia area will audition for a spot in the newly renamed Shirley Curtiss Center for Woodwind Studies. News of the Center, the appointment of Mimi Stillman as lead faculty member and Shirley and Sidney Curtiss Distinguished Faculty Chair, and the dedication by longtime faculty members Shirley and Sid Curtiss that it reflects, have resulted in tributes pouring in from many of Mrs. Curtiss' former students. Here's the most in-depth reflection we've received to date; it's also the most touching. It's from Judith LeClair, Principal Bassoon with the New York Philharmonic and a member of the Settlement 100, a group of 100 eclectic individuals honored and recognized during Settlement's Centennial in 2008.

Judith LeClair, principal bassoon
with the New York Philharmonic

I started studying privately with Shirley when I was just 14 years old. At one of my first lessons, I said I wanted to play the Mozart Bassoon Concerto. She told me that you needed to be either 14 or 40 to play it... so started my lifelong endeavor of trying to master this wonderful piece!

Shirley was very particular about working on orchestral excerpts, something that has been extremely beneficial for me. She demanded that I learn to double tongue and, being quite stubborn, I refused. Shirley prevailed after a few months, and now I silently thank her every time I have to play Figaro, Beethoven's Fourth Symphony, or the Haffner symphony! I remember one time I brought in the Berceuse from The Firebird. One slur just wasn't clean, and she turned to me and said, "Don't you like to perfect anything?" Harsh words, but they forever changed how I practiced.


I was fortunate enough to be placed in a dynamite quintet for my three years at Settlement. The highlight of my week was taking the train on Saturdays to Philadelphia -- I lived in Newark, Delaware at the time -- and rehearsing with my new found friends and colleagues. I knew I was sort of the "runt of the litter" and needed to learn loads of repertoire pretty fast. I think playing with my woodwind quintet in Shirley's studio at 4th and Queen are some of the happiest memories of my life.

Our group won an audition to play Mozart's Sinfonia Concertante with the Philadelphia Orchestra the following year. I think Shirley coached us to sound like a top professional group, well beyond our tender age of 15. I loved every second of it and lived for our hours together. I knew beyond a doubt that this was going to be my life.

After playing Principal Bassoon with the New York Philharmonic for 32 years, I still feel that my early chamber music experiences with Shirley were what got me there. We have had over 40 years of friendship and love, of cooking, drinking great wines, and training Airedale Terriers together. I send my love and best wishes for the continued success of Settlement Music School.

Settlement Alumni Offer Tributes to Shirley Curtiss

Last month, we announced that our woodwind program is being renamed in honor of Shirley Curtiss, founder of Settlement's woodwind program and longtime faculty member and chamber coach. The announcement has prompted many of Shirley's former students to write in with stories about what they learned from Shirley, how her teaching has shaped their lives and careers, and what woodwind players who come to study at Settlement can expect. 

This one comes from an oboist who went on to a career as an orchestral musician. She said that coming up with a tribute to Shirley was a daunting prospect, but her memories of Shirley's high standards and down-to-earth words of wisdom certainly ring true. Look for more tributes to Shirley over the next month in our Fall 2013 newsletter and on our Facebook and Twitter pages.


 

Emily (third from right, next to Mrs. Curtiss) as a member of the
Weinstein Advanced Study Woodwind Quintet in 2001

Mrs. Curtiss demanded that I have high expectations of myself and of those around me, even as a scrawny 10 year old oboist. To this day, when I hear myself playing something that wouldn't have been up to her standards, I can hear her voice in my head: "Close only counts in horseshoes and hand grenades!” “That crescendo was between you and God, and even HE'S not sure!" 

She taught me to work hard in order to have pride in my performance and to demand excellence at every turn. To this day, the woodwind quintet program at Settlement is still one of the best chamber music experiences I've ever had -- a sentiment that I've heard echoed many times from other Settlement alums through the years.

-- Emily Brebach, English horn and oboe, Atlanta Symphony Orchestra. Emily was a member of the woodwind program at Settlement from 1993 to 2001.


Auditions for all Center ensembles will be held Thursday, September 19 from 3 to 9 PM at the Mary Louise Curtis Branch and are open to musicians between the ages of 12 and 18 and who play flute, oboe, clarinet, bassoon and French horn. More information on the Center and auditions is available at www.smsmusic.org/woodwinds

Piano faculty member shares keys to success

As the school year draws to a close, two upcoming events—the Open House at all branches on June 8, and the Annual Concert on June 9—really show the best of Settlement: our programs for all ages, our classes and ensembles that help produce both talented musicians and well-rounded individuals, and our remarkable faculty. Over the next several weeks, we'll feature some of our faculty members who will be part of Open House or whose students will be performing at the Annual Concert, starting with piano faculty Dolly Krasnopolsky. She's a fixture at Settlement and an important part of the Russian-speaking community in Philadelphia, especially near the Kardon-Northeast branch, and her students all sing her praises—even ones, like Pulitzer Prize-winning alumna Quiara Hudes, that haven't played for many years.

Dolly Krasnopolsky, longtime piano faculty at Settlement

Piano instruction has been at the center of Settlement since its founding, and for over two decades, Dolly Krasnopolsky has had a profound impact on many young pianists. Now serving as the Ann Stookey and Joseph W. Waz, Jr. Distinguished Faculty Chair, Dolly has taught at four Settlement branches over the course of 24 years since emigrating from the Soviet Union. She now teaches at three branches—Mary Louise Curtis, Kardon-Northeast, and Willow Grove —and spends long days, packed with students, at each. Through recommendations and requests over the years, students of all ages have sought her out; her youngest is 6, the oldest well past retirement age.

Whatever their ages, her students receive a thorough grounding in what Dolly calls the “musical apparatus”: the alignment and coordination of wrists, hands and fingers that control the fundamentals of playing piano. It’s a process from A-to-Z influenced by her education in conservatories in Moldova, though instruction there “was a little more military,” she admits. Her pupils clearly benefit from this approach; they frequently play in performances at Settlement, competitions, and major events throughout the wider community.

Q: Over the years, what have you noticed that your students all have in common?

Dolly Krasnopolsky: At the beginning, everyone starts with music because it is fun, but they don’t realize that it is hard work. In every case, interest, aptitude and musicality all lead toward progress and development. Regardless of talent, I always have students who enjoy doing music as something for their soul. There’s
always variety among students, but as long as they have discipline and can find focus in music, there is always progress.

Q: How can parents best support their children in playing music, regardless of their ability?

DK: Early exposure to music—playing recordings, taking them to concerts—can help steer a child toward music, but it is not important that parents have musical knowledge themselves. What matters is to set aside the time for music and to stick to a schedule. Parents always ask me, “What age is good to start music?” They should know it is possible to jump into music too soon.

Q: What does it mean to you to see your students succeed in their musical careers?

DK: I love to see my students learn to play well enough to represent themselves and to develop skills in stage presentation. They can go from performance hours here to recitals to performances outside the school. This progression is very important, because it reflects well on them as well as on Settlement and our focused structure of teaching. Once you have the technical skills and the presentation skills, you can play anything, and I feel there’s a little more satisfaction in playing a very difficult classical program.

Q: What can you accomplish teaching at a place like Settlement that you couldn’t by visiting students’ homes?

DK: With the environment of the school, everything is possible; that’s what makes it a school of music. Students have so many opportunities to perform at different levels and on different stages. If they show an interest in composing, I can send them across the hall to study with one of my colleagues. They can study theory or composition. They can try out a choir or an orchestra. They can play in small groups and chamber ensembles. Out of those roots, they can branch out.

A version of this interview appeared in the spring 2013 issue of our NOTES newsletter.

Interview with Settlement alum and Pulitzer winner Quiara Hudes

Our Fall newsletter is in homes and at all the branches (and on our website, too) with stories of how our students, faculty, staff and donors are making an impact in the practice rooms, classrooms and the outside world. We included an item on a major accomplishment by a Settlement alum: Quiara Alegria Hudes winning the Pulitzer Prize for Drama for her play "Water by the Spoonful." 

Quiara Alegria Hudes, Settlement alum and winner of the 2012 Pulitzer Prize for Drama

We were very excited to hear of another Settlement alum going on to great things in life, not just in music. We caught another interview, by 215 magazine, that reveals more of her life as a playwright, but we wanted to know more about her time studying here and on the role music plays in her life. She filled us in on that and much more.
Q: When did you first begin studying music? What led you to start in the first place, and what led you study at Settlement?

QH: I was family-trained and self-trained. My aunt and uncle were musicians and exposed me to the widest range of excellent music imaginable: the Dirty Dozen Brass Band, Etta James, Steel Pulse, Bach solo cello... I had absorbed all that by the time I reached ten years old. To me, music was an endless world of sound and possibility. There were no boundaries. I took my first formal piano lesson in the eighth grade and found my way to Settlement by the ninth grade.

Q: When did you first move from writing music to writing plays? How are the two related?

QH: Music and literacy go hand in hand. My musical studies taught me concentration, listening, and the practice of silence. Those skills are important as a writer as well.

Q: What impact do you feel music and music education have in other areas of the arts? What about in areas outside of the arts?

QH: Since I didn't begin my formal music education until eighth grade, I was always behind the curve in terms of classical chops. I was never going to be a world-class concert pianist. That being said, every moment of my music education made me a better student, independent thinker, and citizen. Practicing rigorously every day taught me to motivate myself and structure my time. Getting better day by day, scale by scale, gave me a great deal of confidence, and also made me realize the connection between hard work and improvement. 

I have never had the illusion that talent or dreaming would earn me much. I knew those were starting lines for a life spent working hard and accomplishing goals. I savor the work ethic that music lessons instilled in me, in part because I learned how incredibly fun it can be to get better at something, step by step, and to use my creativity rigorously.

Q: What role does music play in your life and work now? Do you still write music or practice piano?

QH: I am not a musician now. I am a music lover, though. It's important for parents to believe in the value of musical training as a stepping stone to any kind of life. Don't send your kid to violin lessons just so they can play in the Philharmonic when they grow up; send them to violin lessons for all the pathways it may open them to.

Q: What impact has the Pulitzer had on your writing and your career?

QH: We are yet to see. Today I spent the day writing. I made my current project a little better. I had a few new ideas. That's what I'll do tomorrow as well.

Q: Any other thoughts or memories of your time at Settlement?

QH: I took piano with [Ann Stookey and Joseph W. Waz, Jr. Distinguished Faculty Chair] Dolly Krasnopolsky. She had nothing but the highest standards for me and would not accept if I had not worked up to my potential. It was tough love. She always challenged me. She banged my fingers into those keys, and told me to imagine every finger was a different member of the orchestra. She changed my life.

Widening the Stage: A new city-wide initiative for Settlement

Faculty, board members, the press, the Mayor of Philadelphia and a special celebrity guest were all on hand today at the Mary Louise Curtis branch for the announcement of a major grant and the start of a new, city-wide initiative. 

The Virginia-based Jack Kent Cooke Foundation has awarded $250,000 in funding for a program to enroll children ages 8 to 18 from lower-income families into a comprehensive music preparatory training program. It will also include Settlement's first-ever touring ensemble.

After an introduction by Settlement executive director Helen S. Eaton and Settlement Central Board of Trustees chair Barrie Trimingham, Mayor Michael Nutter delivered the announcement. "Settlement is really an incredible component of what we call in Philadelphia 'the creative economy'," Nutter said, noting that the program will enroll 80 students at Settlement's four Philadelphia-based branches.

Rock-and-roll legend and Settlement alumnus Chubby Checker made a special appearance after the announcement. He did "the Twist" and a few other dance moves, andd even gave a few staff members a sneak preview of a new composition -- listen up for it this summer!

The announcement received a lot of great media coverage by WHYY's Newsworks, Philebrity, and The Philadelphia Inquirer's Peter Dobrin, who covered the announcement on his ArtsWatch blog. He said, "In Philadelphia, where the need is great and resources strained, the news is doubly good when an organization wins an outside grant. The theory is, the award of local money means another local group needing it loses out, whereas money coming from a national source is a net gain into the community."

More information is available in our press room, and there will be more news here as the program gears up.

Settlement's 2009 Nutcracker Performance from a Parent's Perspective

I was a student in Olga Blumenkrantz's first class of ballet students at the Kardon-Northeast Branch about thirty years ago. I had taken nine years of ballet with Olga. In 1983, my class and I performed at the Academy of Music honoring Settlement Music School's 75th year. I can remember getting ready in the dressing room. I still have a framed program from 1986, when Robert Capanna was the Branch Director for the Kardon-Northeast Branch. Countless hours went into practicing ballet in order to achieve the prize of wearing toe shoes. After that, the goal switched to earning a solo, toe-shoe performance.

On December 22, 2009, I watched the annual version of The Nutcracker, choreographed by Olga Blumenkrantz. The festive decorations, Christmas tree, and brilliant lights transformed the stage. The performance was enhanced for me because my daughter, Ava, played the role of the Nutcracker. The most magical part for me came when my nine-year-old daughter, Chloe, danced the part of Clara wearing my toe shoes. To me, Chloe floated across the stage more gracefully than any professional I'd seen.

The audience, along with my husband, in-laws, aunt, uncle, and nieces enjoyed a wonderful, dynamic performance of The Nutcracker. Through my tears, I witnessed memories flooding back and experienced the passing of a beloved talent to the next generation with the help of Settlement Music School and the dedication of the Kardon-Northeast Branch founding ballet instructor, Olga.

My memories at SMS and recent experiences compelled me to join as a member of the Board of Directors. I wanted to give back something to an organization that had given me so much. Prior to joining the board, I knew the office personnel and my daughters' teachers. Now, I have the opportunity to engage with other parents, faculty and students by attending performance hours, recitals, and board meetings.

I wanted to share my story with other parents who are trying to give opportunities to their children and yet ask themselves, "Is it worth it?" Is it worth the drive? Is it worth the money? Is it worth the effort? I can tell you that, as a former ballet student and mother of current ballet and violin students, it is. They will carry the experience with them always, just as I do.

Julia C. Roberts
Settlement Parent
Kardon-Northeast Branch Board Member