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Old 08-06-2008, 01:24 PM   #46
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Thank you, binx, for advising HarttAdmissions. I think the thread has been re-titled now.
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Old 08-07-2008, 03:08 PM   #47
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Hartt School of Music Visit

My wife and I just returned from a visit to Hartt where our son and his new wife will be entering as grad students--he in composition and she in piano. They auditioned and visited Hartt, Boston U, Minnesota, Kansas, and were accepted in several places. They chose Hartt because the faculty displayed personal interest in their goals and interests, unlike some of the other schools. My son has just finished a masters in trumpet from a small Christian university with an outstanding reputation in music. He felt very much at ease in the Hartt environment and in studying trumpet at Hartt although his interest is now in composition. As a young composer, he has won the MTNA Warner-Bros Composition Contest, was second place in the NATS art song composition contest, won a first place in the National Federation of Music Clubs composition contest, and this year was awarded a $5000 first prize for a choral composition by the John Ness Beck Foundation. He has two wind band works recorded by different bands in the US and premiered his own trumpet concerto in 2007 with our university orchestra. He is not a slouch composer or performer. He developed a short list of criteria for the composition masters and Hartt and the profs met (actually, surpassed) them all. West Hartford, as we found on our visit, is a delightful and beautiful town. The school is in a very nice area. Hartford itself is typical of Northeastern big cities and should not be a concern unless one's child is prone to wander alone and off the beaten path into the sub-standard areas. Pastorale settings offer as much opportunity for trouble as do big cities and campuses everywhere have their problems.
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Old 08-08-2008, 07:36 AM   #48
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Just want to say, too, that West Hartford is typical of Northeastern cities--I went to grad school as a young woman in the Morningside Heights section of NYC before it was "gentrified" and had a great experience. We loved Hartford when we visited too. I guess some students feel more comfortable in suburban settings or on rolling rural campuses, but musicians might do well to learn to love cities!
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Old 08-31-2008, 08:22 PM   #49
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Hartt Question

We visited Hartt this summer with our S and he had a wonderful experience there. He had a lesson and met with several teachers and a very encouraging Admissions Director, possibly the Hartt Admissions poster here. We made sure to spend most of our time in the West Hartford area to make sure he had a positive impression and I must say that when driving through downtown for a little tour we were impressed. It is not nearly as bad as the Harford I remembered from 30 years ago. S is planning on applying under the Early Notification option.
Although there has been a lot of positive information about Hartt on this forum and we had such a positive visit, we have been advised by a well respected music teacher that it is not a good place to study and that he should not apply there. We were told that the facilities were not great and that they have had trouble attracting high caliber teachers. This is disappointing a little disturbing to us since we had such a good impression of the school. We really don't mind the somewhat older facilities but the other issue is a bit concerning. We would appreciate any comments and insight regarding this issue. Thanks.
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Old 08-31-2008, 09:13 PM   #50
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Slovesviola - I can't address Hartt or viola teachers specifically. (Violadad's your guy there!) But we found ourselves in situations a couple times, where digging a little deeper helped us get a better understanding of what was going on. I'll share some of our experiences to explain.

1. S2 (horn player)'s teacher steered him away from a couple schools for one reason or another. When everything else about the school seemed positive, and this was the only negative, we didn't necessarily cross it off the list. This is where it really helps to have more than one professional contact - like from summer camps. When we started hearing the same sort of thing over and over, we took it more seriously.

2. It helps to know exactly what the teacher doesn't like, and why. Sometimes it just means the teacher is having a bad day! Once I made careful notes about a school the teacher told S2 NOT to apply to, and the next time I saw him, he actually recommended the school to us!

There was one school where one of S2's teacher and the school's teacher have had some sort of falling out or ego-bruising. It took awhile to figure this out. All we knew was that many people raved about this school, and S2's teacher was discouraging him from applying. (The teacher never said anything bad or slanderous; he's not that kind of teacher! So it was hard to figure out what was going on. We finally pried enough out of him to make a guess.) S2 ultimately did not apply there, for several reasons. But the discord between the two teachers may have sealed S2's fate, anyway!

3. There were times when teachers were able to give us very specific advice simply because they knew S2, and they knew the teachers at the school - and they had an idea of what sort of teacher S2 would do best with. In general, we found this to be pretty accurate advice. However, I have to say that S2 ended up studying with someone that one of his teachers had told him "wouldn't be the best teacher for you." And it was a perfect fit.

4. Some of the teachers advising S2 had "inside information." They knew when there was a shake-up in the music department, or infighting among the section, etc. I know we wouldn't have gotten this kind of info from the college itself.

5. We took all info with a grain of salt - simply one more piece to consider. Remember that it's one person's opinion. How much you revere and respect that person will change how much you weight the opinion, of course!

There are no perfect schools out there. S2's final list had 4 good schools on it; none of them perfect. The school he chose has been criticized by many for one thing or another. He's been happy as a clam, though.

In your situation, I certainly think your S should proceed with his application. It sounds like a place where he has a good chance. And early notification (as long as it isn't binding in any way) can be wonderful to have going into later auditions. Something calming about knowing that you have options!

Meanwhile, your S is going to probably have the chance to explore some more schools, visit some more teachers, and find several places he'd be happy at.
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Old 08-31-2008, 09:45 PM   #51
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The nice thing about that early December audition date is that your son will have a decision and any music performance scholarship money info before Christmas (well..my son did when he did the same audition). The acceptance is non-binding and your son can still audition at other schools, take lessons and either change his mind or matriculate at Hartt if accepted. It's a great option. Plus, it's nice to do an early audition...most of the others are in Jan, Feb or March.
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Old 08-31-2008, 11:03 PM   #52
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slovesviola, binx is right. As is thumper. I'll give you my impressions based on his experience, and my observations as a non-musical parent.

As for the comment regards facilities, I've stated it in a number of places before, most recently here http://talk.collegeconfidential.com/...86-post14.html.

I've also stated that both he and (we as parents) were extremely happy with his overall experience, including but not limited to level of peers, orchestral experience, all music faculty, playing opportunities and exposure. His peers were non-competitive and cooperative, he made lasting friendships and professional associations.

He had one bad faculty experience, a dual performance conflict that took a department head to resolve, early in his tenure; it was based on miscommunication and the offending faculty member acknowledged in the end it was his, not my son's error.

The administration, faculty and support staff were always supportive.

As for string faculty in general, the names don't jump of the pages as at CIM, Juilliard or NEC. Robert Black on bass, Anton Miller on violin,Mihai Tetel and Terry King on cello, usually ring bells, as do Dick Shillea clarinet(now retired), Bert Lucarelli, oboe, and others. A Hartt grad student of King's won the Tchaikovsky competition within the last two years. I've commented elsewhere on his knowledge of the other violin faculty (perhaps within this thread).

His private instructor, Steve Larson, was the second place winner the year Kim Kashkashian won the Tertis competition (1972?). His credentials are in his faculty bio. He's an acclaimed chamber artist, and continues to perform extensively in the States and in Canada. He has been/ continues to be on faculty at Orford and a UK program which I believe is called Stamford.

Other viola faculty during my son's time were Melina Daetsch, a nationally noted Suzuki specialist, and Anthea Kreston. I believe Daetsch was his instructor in orchestra rep studio; he had some coachings with Kreston, whom he respected and admired. He had coachings witn Chauncey Patterson of the Miami SQ, who has subsequently retired for health reasons. My son had great respect for Patterson and felt lucky to have the opportunity. Yu Jin, who replaced Patterson joined the Miami afterwards, and she is a recent Tertis placer as well. Son never worked with her.

Larson was the perfect teacher for my son. He was always demanding, but easy to work with. The chamber emphasis is exactly what my son wanted. My son was and is a "technical perfectionist" and "artistic master" These are not my words, but gleaned from faculty recommendations. He grew immensely as both through the experience. He also held the principal or co-principal Hartt chair, from as early freshman year forward. It was a non-rotating chair.

I can't say enough about Hartt's 20/20 program. This chamber immersion was incredible, the level of peers, coaching extraordinary. Granted, it is a full scholarship program, but my son played his way into it because of the quality of the experiences he was involved in.

The chamber emphasis is what drew him to Hartt initially. He did not leave disappointed.

I will be honest and say there is an opening for a viola professor/assistant prof actively being advertised, start date is fall '09. I came across it in looking at the pro boards. Whether this is to supplement or replace existing faculty, I know not. I'm assuming an inquiry to Hartt admissions would clarify. I do know that the recent hires of Miller and Tetel added to faculty.

Is Hartt right for your son? I can't answer that.

Mine won a pro chair on his fourth audition. He is on faculty at a summer chamber program that includes NY and Philly pros. He will probably apply to grad programs at Yale, NEC, and has every confidence in his training and his abilities. As do we.

Would mine have grown as much (or more) at NEC, Juilliard, or CIM? I can't answer that. I honestly don't know.

From the results we've seen, I can only say that this school was right for my son. I cannot say if it is the right one for yours.

If this is your first visit, you will have more comparisons. There are excellent faculty everywhere: Oberlin, Juilliard, NEC, Mannes, MSM, CIM. You need to choose what is right (or feels right). Do not discount Hartt, but do not judge by our experience, nor judge by heresay. There are others in the admission/decisions master threads with string acceptances. If no one replies here, seek them out by email or pm.

Last edited by violadad; 08-31-2008 at 11:20 PM.
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Old 09-01-2008, 12:16 PM   #53
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Thanks binx, thumper and violadad, always good advice. S will ask some more questions, to the Hartt School and his teacher for clarification. It is still up there on his list, just something to investigate further. It seems to be a good fit for him and at this point he plans to go forward with his application.
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Old 09-04-2008, 09:29 AM   #54
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Hartt Viola Full Time Position Open, Larson to stay

Hello All,

Not to worry about Hartt’s viola search. Steve Larson will remain on our faculty. This is a new position for an additional viola faculty member.

Please contact Hartt Admissions at 860.768.4465 with any further questions.
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Old 09-11-2008, 09:27 AM   #55
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Three New Performance Venues at Hartt

Berkman Recital Hall:
Berkman Recital Hall, in the Fuller Music Center, has undergone a complete renovation, turning a former recital hall/black box theater/dance rehearsal space into a dedicated 80-seat recital hall. Berkman has a direct recording studio connection to The Hartt Recording Studio, Green Room facilities, and piano storage.

Black Box Theaters:
Housed in the Handel Performing Arts Center are the 300-seat Edward C. and Ann T. Roberts Foundation Black Box Theater and the 100-seat McCray Black Box Theater, given through the generosity of Kent (’51) and Susan McCray. Each theater has Robbins sprung floors and a state-of-the-art computerized light board and sound equipment. Virtually any stage configuration is possible in these venues, providing designers, directors, and choreographers complete flexibility for innovation. Many of Hartt’s Theatre and Dance Division performances, as well as Hartt’s Community Dance Division performances, plus recitals, lectures, and concerts are held in these venues each year.

Further details about our other performance venues may be obtained at: THE HARTT SCHOOL: MUSIC-DANCE-THEATRE
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