Keywords Music Schools and Conservatories Universities/Colleges

From its inception, the conservatory was a large-scale enterprise with its activities organized under two departments - the Academic, for young students and amateurs, and the Collegiate, which offered programs in professional training for performers and teachers. Examinations at the Junior, Intermediate, and Final levels led to the Associate diploma (ATCM). The Fellowship (FTCM, begun in 1890 and offered until 1914 when it was replaced by the Licentiate, LTCM; see also Diplomas) was awarded to students who completed two advanced courses of study. The exacting standards of advanced work at the conservatory were recognized by the University of Toronto; recipients of conservatory diplomas were exempted from the first and second year B MUS examinations. The first graduate in pianoforte was J.D.A. Tripp in 1889; in 1891 169 certificates were issued and 25 students received diplomas. The remarkable growth in these early years was associated with the appointment of many distinguished musicians to the teaching faculty. A three-manual organ was installed by Warren and Sons in 1889 in the nearby YMCA Association Hall used by the TCM, to the considerable benefit of the work of the organ teachers, A.S. Vogt and J.W.F. Harrison. J. Humfrey Anger, appointed in 1892, developed an outstanding theory program.

When it opened, the conservatory occupied two upper floors over a music store at the corner of Yonge St and Wilton Ave (later Dundas Square) and was able to increase the size of these premises in 1892, but in 1897 a new building with more extensive facilities was erected at the south-west corner of College St and University Ave. This structure included a reception hall, offices, 25 classrooms, a lecture hall, and a concert hall in which the Warren organ was housed. In 1899 25 studios were added, as well as a two-manual practice organ built by Edward Lye and Sons. To accommodate out-of-town students, in 1902 two adjacent houses (to the south) were remodelled as a ladies' residence, and another house (to the west) provided 15 additional teaching studios. This expansion of physical facilities was required to cope with the tremendous growth in all departments during Edward Fisher's regime, 1886-1913.

Shortly after moving to College Street, the conservatory introduced the Fletcher Music Method for young children and operated a special Normal Session in the summer of 1898, and in that same year established local examination centres in several Ontario towns. The conservatory extended its teaching with the establishment in 1905 of the first branches in residential areas of Toronto, and by 1915 there were eight of these. Bertha Drechsler Adamson formed the Conservatory String Quartet (1901-4) and later developed a string orchestra. In 1906 Frank Welsman founded and directed the Toronto Conservatory Orchestra which, two years later, became the TSO. Some of the graduates of this early period were Frank Blachford (violin 1897), Mona Bates (piano 1907), and Cora Ahrens (piano 1911).

In 1910 the board of directors reorganized the conservatory into a private trust to ensure that all profits would remain for artistic development. By 1912 there were 2000 students registered and among the staff were outstanding musicians such as A.T. Cringan (school music), Albert Ham (singing and organ), Frank Blachford (violin), Edward Broome (organ), and Leo Smith (cello and theory). By the time of Fisher's death (1913) the institution was exerting a significant influence on music education in Canada.

Augustus Vogt, widely known as the conductor of the Toronto Mendelssohn Choir, became principal of the conservatory in 1913. He worked closely with Sir Edmund Walker, president of the conservatory, in developing closer ties with the university in order to provide continuity and financial stability for the TCM; at that time, Walker was chairman of the university's board of governors. By an act of the Ontario Legislature (1919), the property and assets of the conservatory were vested in the university, and in 1921 the conservatory's operation came under the control of the university through a board of trustees, whose members were appointed annually by the university. The fusion of the two institutions had been reinforced further in 1918 by the appointment of Vogt as dean of the Faculty of Music which opened in 1919. This dual appointment, together with the physical presence of both institutions in the same building (until 1962) did much to cement the relationship.

In 1924 the conservatory purchased the Canadian Academy of Music, and its president, Col Albert Gooderham, was appointed chairman of the board of trustees of the TCM. By the late 1920s the large number of conservatories in Toronto had dwindled to two - the other being the Hambourg Conservatory. These developments enabled Vogt to consolidate the position of the TCM; it had been the largest in the city probably from the beginning of the century and was soon virtually without a rival in Toronto. Vogt gave vigorous leadership to the institution in several ways. One of the most significant developments was the resident program in performance (1914-52) leading to the Licentiate diploma. During Vogt's term Healey Willan, who had succeeded Anger as head of the theory department, was appointed vice-principal (he served 1920-36) and Luigi von Kunits in 1924 became conductor of the Conservatory Orchestra. Vogt increased the number of local centres of examination, and near the end of his regime (1913-26) the number of students had grown to almost 7500 and the number of examination candidates exceeded 16,000.

Ernest MacMillan was named principal in 1926, and in the following year became dean of the Faculty of Music. The early years of his term were characterized by a diversity of artistic activities and developments. Efforts were made to improve the library. Courses in Dalcroze eurhythmics were introduced in 1927. MacMillan conducted the Conservatory Choir, which gave annual presentations of the St Matthew Passion and performed other large choral works, giving concerts in co-operation with the TSO. The Conservatory String Quartet (1929-46, re-established by Elie Spivak; its predecessor flourished 1901-4) created much interest in chamber music. In 1930 Donald Heins succeeded von Kunits as conductor of the Conservatory SO. An opera company was formed which staged several productions during its existence 1928-30 (see University of Toronto Opera Division).

A number of significant curriculum changes occurred in the 1930s, such as a major revision of the piano syllabus in 1934, improvements in sight-reading and ear tests, and more rigorous theory requirements for the Associate diploma. In 1935 the examination system based on grades I to X was introduced, and by an agreement with the Ontario Dept of Education credit could be claimed for conservatory grades in secondary schools and as entrance requirements for university admission. Frederick Silvester's career - as registrar of examinations 1929-46 and registrar of the conservatory 1946-66 - was associated with many of these developments.

At the request of the university president and conservatory board, and with the support of the Carnegie Foundation of the USA, Ernest Hutcheson (then president of the Juilliard School) undertook a feasibility study concerning the expansion of music education in Canada. He found the conservatory to be less of a school than a clearing house for private teachers - the conservatory furnished studio facilities and administrative services for which the teachers returned a percentage of their fees. Hutcheson suggested that teachers who were not salaried would be interested primarily in maintaining gifted students for their own classes and would be concerned somewhat less with providing a well-rounded education in all aspects of music, including theoretical subjects. He therefore advocated a smaller faculty, to be hired on a salary basis, with a greater commitment to comprehensive programs for senior students of professional calibre. He recommended also a preparatory division and summer courses.

Although the Hutcheson Report (1937) was not implemented at the time (partly because of World War II), its recommendations led in 1946 to the establishment of a senior division within the conservatory. The Depression and the war also help explain a drop in registration. In the 1940-1 season there were 4654 students registered for tuition and 12,495 for examinations. In 1942 the burden of other duties prompted Sir Ernest MacMillan's resignation as principal. His successor, Norman Wilks, died in 1944 after a short term as principal, and Charles Peaker served as director until 1945.

The long association between the TCM and the Frederick Harris Music Company dates back to the first publication of the conservatory's introductory piano books in 1916 and vocal studies in 1924. Other firms which published conservatory examination books were Anglo-Canadian, Heintzman, Nordheimer, Gordon V. Thompson, and Whaley Royce, but by 1944 Frederick Harris had become the TCM's exclusive publisher. In that year Harris turned over his shares in the firm to the conservatory, stipulating that the profits be used for scholarships and bursaries and in effect vesting control of the company in the University of Toronto.

In recognition of the conservatory's wide influence, and with the consent of King George VI, its name was changed 1 Aug 1947 to Royal Conservatory of Music, Toronto, and the names of the diplomas were changed to conform. The ATCM became the ARCT (Associate, Royal Cons of Toronto) and the LTCM became the LRCT.

During Ettore Mazzoleni's term as principal - 1945-68 - the school grew at an unprecedented rate, owing in part to the return of World War II veterans whose studies were supported by DVA allowances. Mazzoleni had been director of the Conservatory Orchestra since 1934. Two other prominent figures who contributed to the achievements of this period were Edward Johnson, who served 1947-59 as chairman of the board, and Arnold Walter, who was appointed director of the new Senior School in 1946. The senior school offered a two-year program with professional performance training combined with related courses in theory and history. The initial success of the project gave rise to other curriculum revisions including, in 1948, a three-year program leading to an Artist Diploma. Walter also headed the conservatory's Opera School (begun in 1946), which provided training in all aspects of opera production. Nicholas Goldschmidt (music director), Felix Brentano and later Herman Geiger-Torel (stage director), and Mrs Floyd S. Chalmers (women's opera and concert committee) assisted Walter in the exciting developments that led to the Opera Festival and the eventual formation of the COC in 1959.

The artistic excellence achieved in these new ventures was accompanied by the sense of excitement brought by the war veterans and other students to the many challenging opportunities which arose after the difficult years of World War II. Some of the most gifted young Canadians converged on the RCMT and the University of Toronto in the late 1940s and early 1950s to take full advantage of the new programs. Among those who went on to develop distinguished musical careers were John Beckwith, Mario Bernardi, George Crum, Ray Dudley, Victor Feldbrill, Gisèle MacKenzie, Glenn Gould, Elizabeth Benson Guy, Betty-Jean Hagen, Gordon Kushner, Andrew MacMillan, Lois Marshall, James Milligan, Mary Morrison, Phil Nimmons, Clermont Pépin, Patricia Rideout, and Jon Vickers. Others such as Lorne Betts, Harry Freedman, Harry Somers, and Andrew Twa studied composition on an individual basis with John Weinzweig. Together with students enrolled in the new Faculty of Music degree program, performers and composers thrived in a climate of artistic accomplishment and optimistic enthusiasm for the future.

The activities of the Senior School were integrated (in an atmosphere of controversy and discord, during which MacMillan resigned as dean), in the overall reorganization of 1952 when the university created two main operational divisions under the omnibus designation Royal Conservatory of Music: the School of Music with Mazzoleni as principal continued the traditional conservatory programs in preparatory teaching and examining, continued to offer the Associate diploma (ARCT), and retained responsibility for the Opera School; the Faculty of Music with Arnold Walter as director offered programs leading to degrees and to the Licentiate (taken over from the School of Music) and Artist diplomas of the University of Toronto; and Boyd Neel became chief administrative officer in 1953 when he was appointed dean of the Conservatory. In 1952 the Licentiate in its new setting became a teacher's diploma; the Artist Diploma had superseded it as the credential of the advanced program in performance. In 1954 the original letters patent of the TCM were revoked and all its assets were assigned to the University of Toronto.

The continued growth of both institutions in the 1950s created serious space problems, necessitating once again an expansion and improvement of physical facilities. The property at College St and University Ave was sold by the university to Ontario Hydro in 1962 and in 1963 the School of Music was moved to the old McMaster Building on Bloor St whose renovated quarters included a 265-seat Concert Hall, a recital hall, three organs, and two small electronic music studios. In 1962 the Faculty of Music moved to the new Edward Johnson Building of the University of Toronto. The Artist Diploma continued in coexistence with the Faculty's degree program in performance, introduced in 1965.

David Ouchterlony, supervisor of branches 1947-68, became principal of the School of Music in 1968, at a time when further administrative changes were about to take place. In 1969 responsibility for the Opera School was transferred to the university. In 1970, with a reorganization of its music departments, the university restored to the School of Music the more historically accurate name 'Royal Conservatory of Music' and the dean of the Faculty of Music became the chief executive of music with the right to wield authority over both the faculty and the conservatory. Although such an arrangement existed during John Beckwith's term as dean (1970-7), the conservatory functioned in fact as a separate unit along the same lines that had prevailed until 1952. Under Ouchterlony 1968-77 it was responsive to a growing interest in the study of music as a humanizing, avocational activity in contemporary life. Gordon Kushner served as acting principal in 1978, prior to the appointment of Ezra Schabas as principal later that year. During the latter's tenure, the Orchestral Training Program, sponsored on an annual basis by Employment and Immigration Canada, was established in 1979; the teaching staff, particularly for orchestral instruments, was enlarged significantly; and the program for musically gifted children was developed. Some of these initiatives exacerbated the continuing question of jurisdiction between the faculty and conservatory.

The conservatory's summer activities began in 1938, with courses in ear training and piano pedagogy by Charles Peaker, Alberto Guerrero, and Boris Berlin. The principal of the conservatory was automatically director of the summer school, until 1950 when the position was made separate. Frederick Silvester was the first incumbent, followed by Berlin in 1952 or 1953, and Mazzoleni in 1956. In Mazzoleni's last term (summer 1962) an expanded special Orff course was introduced. These were the first classes offered in the new Edward Johnson Building. Under Richard Johnston (director 1962-8), and Gordon Kushner (1968-78), followed by others including Susan Wilson and John Barnum, the summer school has become an increasingly important part of the conservatory's program In 1989 the RCMT instituted the two-week residential Summer Performance Academy, at Appleby College, Oakville, Ont. By 1991 130 performance students were enroled in the four-week program directed by Angelo Calcafuoco.

Over the years the conservatory has had a faculty of teachers of whom many have achieved national recognition, and some international. Among them have been Boris Berlin, Hayunga Carman, Reginald Godden, Alberto Guerrero, Gordon Hallett, Marek Jablonski, May Kelly Kirby, Antonín Kubálek, Earl Moss, Ernest Seitz, and Pierre Souvairan (piano); Greta Kraus (harpsichord); Irene Jessner, Emmy Heim, Weldon Kilburn, George Lambert, Dorothy Allan Park, and Ernesto Vinci (voice); Géza de Kresz, Moshe Hammer, Eugene Kash, John Montague, Kathleen Parlow, and Elie Spivak (violin); Marcus Adeney and Leo Smith (cello); Frederick J. Horwood, Eric Rollinson, and Molly Sclater (theory); Samuel Dolin (who also established an electronic music studio in 1966), and John Weinzweig (composition); and Madeleine Boss Lasserre (eurhythmics). Warren Mould (registrar 1966-76) recorded eight graded albums of the conservatory's books of piano music in 1971 (RCP-GI to RCP-GVIII). Visiting instructors in the master classes for the professional studies program (see below) have included Lise Elson, Leon Fleisher, José Luis Garcia, and Jaime Laredo.

The existence of what had become an essentially community-based music school, with its long-standing national examination system, within the confines of a post-secondary institution with a Faculty of Music, inevitably created problems in both administrative and academic areas. With increasing frequency (1973, 1977, 1981) studies and reports made recommendations on the organization and operation of the school and the faculty and the areas of their responsibility. However none dealt effectively with the realities of the situation. In January 1983 the university appointed another committee whose stated purpose was to develop a plan 'for the integration of the two divisions through which the University offered music studies.' When the committee tabled its report, 19 Jun 1984, it rejected this mandate and recommended that the RCMT become autonomous. Governing Council approved this in principle 18 Apr 1985; then the university appointed, April 1986, an advisory board to the conservatory to facilitate the necessary negotiations for separation. These were protracted. They continued until 8 Feb 1990 when Governing Council approved the final terms of separation, which included the transfer of assets such as the McMaster Building, the branch locations, and the Frederick Harris Music Co. The Royal Conservatory of Music Act (Bill Pr 70) passed by the Ontario legislature establishing The Royal Conservatory of Music/Le conservatoire royal de musique as an independent entity, received Royal assent the next day, 27 Jun 1991.

As recommended by the 1984 report and concurrent with the separation negotiations, the RCMT undertook an intensive examination of its programs and operations. For example, as a result of its plan for academic development, led by Robert Creech (vice-principal 1987-91), the RCMT added to its general studies, the professional studies program - four diploma programs for post-secondary students. The four-year Performance Diploma, a licentiate (LPRCM), and the two-year Artist Diploma were initiated in 1987; the four-year Resident ARCT Honours, and the three-year Artist-Teacher licentiate diploma in performance and pedagogy (LPPRCM) in 1988. By 1990 professional studies included two pre-college, part-time programs for gifted children.

The Royal Conservatory of Music Commission on the National Examination System, issued in 1991 by commissioners, Norman Burgess, Warren Mould and Campbell Trowsdale, not only reviewed the RCMT's national system and made extensive recommendations for its improvement, but also provided a comparative survey of other examination systems in use throughout the world. John Kruspe prepared a review of the theory and history curriculum and teaching methods; Trowsdale examined the publications procedures and relationship with the Frederick Harris company.

Leadership of the RCMT during the 1980s was given by Schabas, who was succeeded in 1983 by Gustave Ciamaga, acting principal 1983-4; Robert Dodson, acting principal 1984-7, principal 1987-8; and Gordon Kushner, acting principal 1988-91. Peter C. Simon became president 1 Sep 1991. Simon, (b Hungary 1949) moved to Toronto in 1956, studied piano at the RCMT, at Juilliard, and at the University of Michigan, taught at the University of Western Ontario, then joined the staff of the RCMT in 1986. He was president 1989-91 of the Manhattan School of Music in New York prior to his return to Toronto.

Other events that occurred during the decade deserve recognition. The conservatory's Faculty Association (formed in the mid-1970s), was certified as a collective bargaining unit, 26 Oct 1984. The RCMT celebrated its centennial season in a variety of ways including a special concert by the 'Stars of the Conservatory' at Roy Thomson Hall, 10 Feb 1987, broadcast by the CBC on radio and TV; it received a special award from the Canadian Music Council recognizing its unique 100-year contribution; and it published, in 1988, the Centennial Celebration series of graded piano repertoire books (recorded that same year by RCMT teachers). In June 1989 it was host to the 'Partners in Music' national conference on the role of conservatory training in Canada, presented by the Association of Colleges and Conservatories of Music. An agreement between the conservatory and the Manhattan School of Music in New York was signed 18 Apr 1991. The Royal/Manhattan exchange program included joint faculty appointments and allowed RCMT graduates access to degree programs.

By 1991 the RCMT offered instruction in keyboard, voice, and orchestral and other instruments and a complete range of theoretical studies, speech arts, and drama, as well as conducting, early music studies, and children's and youth programs. In addition to the main Bloor St building, there were nine branches: six in metropolitan Toronto, and one each in Brampton, Mississauga, and Oakville. The conservatory conducted graded examinations of 86,000 candidates in 228 centres throughout Canada and in 8 centres abroad, leading to grade certificates and Associate diplomas in performer, teacher, and composer categories. Among other continuing features of its operation were the summer school, special workshops, correspondence courses in theory, and instrumental and choral ensembles for every level of ability. The Wednesday Noon Hour Recital Series, the Thursday Twilight Concerts, and the evening and orchestral series of concerts have become familiar recurring events in the musical life of Toronto, whether held at the RCMT or in such other locations as the Art Gallery of Ontario or the CNE. The tradition of free student recitals is long established.

The conservatory began awarding honorary diplomas in 1982 when Louis Applebaum received an ARCT. Others so honoured have been Zara Nelsova (1986), Nicholas Goldschmidt (1987), and Adelmo Melecci (1988). Honorary Artist Diplomas have been presented to Leo Barkin and Peter C. Simon in 1989, and to Norman Burgess and John Kruspe in 1991. RCMT teachers Irene McLellan, Eugene Kash, and Gordon Kushner received the newly established Fellowship (FRCMT) in 1991.

Publications
The Conservatory Bi-Monthly (Jan 1902-1912)

The Conservatory Monthly (1912-Oct 1913)

Toronto Conservatory of Music Alumni Gazette (1916-18)

The Conservatory Quarterly Review (1918-35)

The Toronto Conservatory of Music Bulletin (1935-47)

Royal Conservatory of Music of Toronto Monthly Bulletin (1948-64)

The Bulletin (1964-74)

ConNotes (May 1980-Sep1986)

The RCM Bulletin (Nov 1986-) issued as insert in Music (Nov-Dec 1987-May-Jun1991)

RCM Newsletter 1988-90; retitled RCM Dialogue 1990-

Author J. Paul Green, Patricia Wardrop

Bibliography

Horwood, F.J. The Toronto Conservatory of Music, A Retrospect (1886-1936) (Toronto 1936)

Links to Other Sites
Royal Conservatory of Music
This extensive website for the Royal Conservatory of Music and the Glenn Gould Professional School features a detailed guide to classes, concerts, the RCM examinations and more. Check out "Our Building" for details about their performance venues.

The WholeNote
The WholeNote magazine covers Toronto ’s classical and contemporary concert scene. Check out the online articles and other features.

Artists of The Royal Conservatory
The ARC, the Royal Conservatory of Music's resident ensemble, is devoted to “the traditional canon of chamber repertoire” as well as lesser known works. This website features musicians’ biographies and background notes for ARC performances.

Kathleen Parlow - The Parlow String Quartet
This site is dedicated to internationally acclaimed virtuoso violinist Kathleen Parlow. Features a biography, documents and many audio clips of her music. Search the database for more information about specific recordings. From the Virtual Gramophone website.

Calgary Suzuki Strings Association
An organization for Suzuki Method string teachers in the Calgary region. Features information about music instruction and an interesting selection of entertaining and informative links for students.

The Frederick Harris Music Co.
The website for Frederick Harris Music Co., Limited, a leading print music publisher. Click on "About Us" and then "Our Authors and Composers" for brief biographies.