Re: Re: Re: Re: I ACTUALLY attended Curtis


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Posted by Eric Bubacz on June 29, 2001 at 23:22:53:

In Reply to: Re: Re: Re: I ACTUALLY attended Curtis posted by anon on June 27, 2001 at 09:20:27:

OK, Let's get right down to it. You repeatedly asked about Paul's teaching ability since you felt that none of us summarized that enough, although by now, I think that(anon) you have seen much in Paul's defense. Let's just begin by making sure that you have reread Matt Good's second paragraph in the original "Did you attend Curtis" thread. Then refer to Gary Press's statements in my "I ACTUALLY attended Curtis thread". I am surprised by what these people have said included with my coments that you would still bash poor Paul and continue one. Paul really is a very nice guy and I am sure that you have seen that your negative comments went over like a turd in a punch bowl!

To begin with, I learned very early with Paul that, no matter what ensemble I would by playing in, I would have to know intimately my musical role with each and every note/phrase that I played. For example, in Gary Press's comment he talked of how Paul would grill him on the orchestration of Prokofiev's 5th Symphony. This is very important with interpreting a piece. Next, Paul di spend some time with me working on my sound concepts. I remember this from my very first lesson with him when I was considering a transfer from Eastman to Curtis Institute(this was an intense 3 hour lesson at his home that only cost me about $35 in 1991!). (A side note) One of my semester's at Eastman, Don Harry was substituting as instructor while Cherry was away and he prompted me to audition that year to go to the audition. His earlier students Matt Good and Ed Diefes both did and they have jobs! He also taught me verbally(by what he would say or would NOT SAY about others) and through osmosis to be highly professional in and out of the work place. He also taught me to learn by listening closely to MANY different recordings of a work. You did say that you would not study with anyone who could not currently play; there are a great number of musicians who don't play anymore, but we learn from thier verbal teachings AND from hoe they played on earlier recordings. A well-rounded learning experience is not just about how to hold your horn correctly!! In retrospect, there are still some gems that I got from him then that only in my maturity am I beginning to incorporate. I did not even realise it then, but I really do now.

Let's get to your referral of small studios like Warren Deck's and Chester Schmitz's. These are definitely two fine musicians and they both have had successful students. Whereas they may work with three or more people a year in their studios, again Paul has only one. Let's look at Paul's track record going back to the '80-81 school year.
Sumner Erickson '81 - principal tuba - Pittsburgh Symphony
Matt Good '85 - principal - Dallas Symphony and prior Jacksonville Symphony
Craig Knox '89 - Center City Brass Quintet(they just recorded their 4th CD and just returned from a tour in Japan) Craig has been principal in Sacremento Symphony and substitute constantly with San Francisco Symphony
Edwin Diefes '92 - principal tuba - Syracuse Symphony - Ed substitutes constantly with Philadelphia orchestra and he was even one of the last 5(or so) finalists in the Boston Symphony audion.
Eric Bubacz '95 - principal tuba - Canton, OH Symphony and Reading, PA Syphony - I also substitute with Cleveland Orchestra, Pittsburgh Symphony, Philadelphia Orchestra and even the River City Brass Band(not just once or twice either) I have also won awards in solo and chamber music competitions, but even though I do quite well, compared to my predecessor's "I am the weakest link". I would say that with this consecutive number of successful students that Paul is not doing badly! Besides that, you can look at nearly any big job opening that there has been and any one of us, if not more than one, has made finals(or simply won the job).

The next thing is very important. You had asked "why attend a school merely for the lure of a school's name". You stated this as a 'caveat' about attending what is considered to be the finest performance school in the world. NO SCHOOL has a track record like Curtis Institute's. A school like this is not simply about working just with a teacher; it's about actually applying what you learn every day in some of the best ensembles anywhere. This is not going to happen with one of the 'top 10 or 15' teachers at South Buttercup University. There is no school where you are the only tuba student who plays a different concert program every week with world-renowned guest conductor's and also play other music in repertoire class, brass choir and brass quintet(all of these are going to sound great too).

You griped about spending a lot of money to have a lesson with an undesirable teacher. Unfortunately, this is something that has happened to all of us in our lifetime. Like Chris Hall had said, take what works for you and if you really hated it, don't go back or to school with said person. Also, we simply must spend some money for disappointments. This is going to happen on the audition circuit; it has happened to all of us. If you luck out and win one on the first try, I'll be the first to praise you.

Finally, FLAME THROWING. I have now seen many instances where the highest qualified performer did not obtain a coveted position because of their mouths. In the final round of almost any job audition, the partition comes down(I know because I've been there). Often times, if any indecision exists, one's reputation becomes a factor. I would not want to be the person who, because of my slanders of professionals in a public medium(which I do not do) would not have obtained a job because of what has gotten to the committee. One would then have to memorize the following two phrases:
DO YOU WANT FRIES WITH THAT?
WOULD YOU LIKE THAT SUPER-SIZED?
Eric C. Bubacz
bubatuba71(AT)aol.com


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