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UW Symphony: Strings Faculty Showcase

  • Orchestra bass section

David Alexander Rahbee directs the UW Symphony and UW Strings faculty Saeunn Thorsteinsdóttir, Melia Watras, Rachel Lee Priday, Jordan Anderson, and Valerie Muzzolini in a program including the world premiere of a new work by violist/composer Melia Watras, and music by Tchaikovsky, Prokofiev, Bottesini, Brahms, and Giuseppe Sammartini

Masks are recommended in all indoor spaces. Proof of vaccination remains a requirement for everyone 12 and over at Meany Hall and all ArtsUW Ticket Office events, including Meany Center, DXARTS, Dance Department, School of Drama, and School of Music. Individuals unable to be fully vaccinated, including people with a medical or religious exemption, must have proof of a negative provider-administered COVID-19 test (taken within 72 hours of the performance). UW staff will check for proof of vaccination and negative COVID tests at the doors as a condition of entry. Proof of negative test result must come from a test provider, a laboratory or a health care provider. Home or self-administered tests will not be accepted.  Details of these policies and procedures are at 


University of Washington Symphony
Strings Faculty Showcase
David Alexander Rahbee, Daren Weissfisch, conductors

Classical Symphony, op.25 (Symphony No. 1)……Serge Prokofiev (1891-1953)
I. Allegro con brio
II. Larghetto
III. Gavotte: Non troppo allegro
IV. Finale: Molto vivace
A brazen butterfly alights (2021) …………………….…….Melia Watras (b. 1969)
Melia Watras, viola; Valerie Muzzolini, harp
Song: An Endless Flight, poem by Herbert Woodward Martin
Herbert Woodward Martin, recorded voice
Gran duo concertante………………….……….Giovanni Bottesini (1821-1889)
Rachel Lee Priday, violin; Jordan Anderson, bass
In celebration of the composer’s 200th birthday
Pastorale, from Concerto grosso in G minor, op.5, no.6…………….Giuseppe Sammartini (1695-1750), orchd Giuseppe Martucci (1856-1909)

Variations on a Rococo Theme, Op. 33…..Piotr Ilych Tchaikovsky (1840-1893)
Sæunn Thorsteinsdóttir, cello
Academic Festival Overture, Op. 80 ….….. Johannes Brahms (1833-1897)
 Daren Weissfisch, conductor

Program Notes

Serge Prokofiev: Classical Symphony, op.25 (Symphony No. 1) 

Composed the year of the Russian Revolution in 1917, Prokofiev’s Classical Symphony is a look to the past but also perhaps a delivery of the past into the future. He was inspired by the desire to write a piece as if a classical composer like Mozart or Haydn were a contemporary of his, and thus the title Classical was given by Prokofiev himself. While he certainly achieved his goal, the symphony is also injected with enough of his own sensibilities such as dissonances, unexpected harmonies, and sharp melodies to make it something else entirely. It was also his first major work to be composed without a piano, as he felt that the orchestra sounded more natural without that particular aid. It was written according to the traditional movements of the Classical period: the first movement being a lively Allegro, the second a more lyrical Larghetto, a dance-like third movement (replacing the typical minuet with a courtship dance, the gavotte), and a rondo finale in a quick molto vivace. Prokofiev composed this work in the countryside near Petrograd, now named St. Petersberg, often while taking long walks.  – Katie Tchida

Melia Watras: A brazen butterfly alights

Melia Watras:  A brazen butterfly alights (2021)  takes its title from a line in the poem Song: An Endless Flight by Herbert Woodward Martin, poet extraordinaire whom I’m grateful to call a longtime family friend. Herb dedicated the work to me and my husband, Michael Jinsoo Lim, and, on the occasion of our wedding, included it in his memorable reading. My piece is an exploration of the different worlds I find myself in when hearing, reading and ruminating on this poem. The work is written in gratitude and dedicated to Herbert Woodward Martin, the fantastic harpist Valerie Muzzolini and expert conductor David Rahbee. Valerie’s generosity in sharing her knowledge of the harp was instrumental in the creation of the work, and I am always so excited to share the stage with this world-class performer. I am thankful to David for including A brazen butterfly alights on tonight’s program and providing it with its premiere.

Giovanni Bottesini: Gran duo concertante 

Although Botttesini was a bassist, he began his studies on the violin. His switch to bass was necessitated in order to gain a scholarship to attend the Milan Conservatory, where he studied with Luigi Rossi. He gained such success as a soloist that he became known as the “Paganini of the double bass”. Bottesini also frequently wrote for his own instrument, including other concerti and chamber works featuring the double bass. His Gran duo concertante, originally written for two basses, was arranged for bass and violin by Paganini’s only student Camillo Sivori. At the time talented violinists were much more common than bassists, and this move greatly expanded the piece’s capability for performance. Bottesini performed it with a number of well-known violinists including Sivori himself and, among others, Henry Wieniawski.  

Giuseppe Sammartini,: Pastorale, from Concerto grosso in G minor, op.5, no.6 (orchestrated by Giuseppe Martucci)

Giuseppe Sammartini in his time was regarded as both a great composer and a talented oboist, although slightly overshadowed as a composer by his younger brother Giovanni Battista. Both brothers were taught the oboe by their father, and found their success not in their home country but in London. Sammartini composed a plethora of instrumental works, often in what has come to be known as the rococo style. This style refers to a specific point in the transition between the Baroque and Classical eras, characterized by simple elegance, light and pleasant phrases, and frequent ornamentation. The title Pastorale is referring to a style of music invoking a rural scene, usually accompanied by a sustained note in a lower register and a simple melody. Sammartini ended up in the service of Frederick, the Prince of Wales, as his Music Master, and dedicated many of his works to him and his family. Giuseppe Martucci was a conductor, composer, pianist, and teacher. Unusual amongst his fellow 19th-century Italian composers, he wrote no operas, instead focusing on absolute music (music that is non-representational). He orchestrated this work in the late 19th century, including pairs of woodwinds that capture the pastoral sound in the expanded orchestra. 

Piotr Ilych Tchaikovsky: Variations on a Rococo Theme, Op. 33

When Tchaikovsky’s Variations on a Rococo Theme was premiered in 1877, performed by William Fitzhagen, he was not in attendance, being at the time out of the country recovering from his failed marriage. Although the premiere was done according to Tchaikovsky’s original manuscript, the piece as it is commonly performed today is actually a result of significant changes from Fitzhagen. Those changes include the cutting and reordering of variations and adding detail to the solo part. Upon learning of the numerous revisions, Tchaikovsky was upset but ultimately let it lie, having reportedly said “The Devil take it! Let it stand as it is". Although the original piece has been fully reconstructed and was published in 1956, Fitzhagen’s version remains predominantly performed. Tchaikovsky was inspired by the rococo period, but the theme he wrote was an original in the rococo style rather than a borrowed theme.

Johannes Brahms: Academic Festival Overture, Op. 80

Johannes Brahms was never a student himself, but when he was twenty he was able to experience the life of one. Upon being fired from touring with the violinist Eduard Reményi after an unfortunate encounter with Franz Liszt, he stayed with the violinist Joseph Joachim (to whom he later would dedicate his Violin Concerto) at Göttingen. There he enjoyed many aspects of student life, including among other things the local student songs. Four years after his successful premiere of his first symphony, he was offered an honorary doctorate in philosophy from the University of Breslau. Though originally intending to simply write a thank you note he was convinced by Bernard Scholz, the music director at Breslau, to instead compose a piece. The melodies of this piece come from student songs (“Wir hatten gebauet ein stattliches Haus”, “Der Landesvater”, “Was kommt dort von der Höh”, and “Gaudeamus igitur”), and the piece itself was described by Brahms as “a very boisterous potpourri of student songs.”. Brahms conducted the premiere in January of 1881, according to some sources with the accompaniment of students singing along. – Katie Tchida

University of Washington Symphony Orchestra

David Alexander Rahbee, Music Director and Conductor

Rylan Virnig and Daren Weissfisch, Assistant Conductors


Katelyn Campbell                        Biochemistry, Applied Music (Orchestral Instruments) 

Megan Hutchison                         Music (Woodwinds) 

Elizabeth Nilles                           Biology/Music minor

Emily Lee                                   Music

Stephanie Chuang                       Computer Science/Cinema and Media Studies



Cassie Lear                                DMA Woodwinds



Daren Weissfisch                         DMA Orchestral Conducting

Kamil Tarnawczyk                        Music 

Helena Potter                              Garfield High School senior



Megan Rideout Redeker               Music Performance 

Khang Zhie Phoong                     Computer Science 



Julien Tsang                               Accounting Masters

Pascal Lovre                               Chemistry 

Parker Chu                                 Biochemistry, Music minor



Anna Perry                                 Music (Brass) 

Nicholas Hidy                              Music (Brass) 

Kiyoshi Colon                              Chemistry

Thomas Dylan                             Bioengineering



Joe Yang                                   Geology, Trumpet Performance 

Jennifer Stump                            Pre Sciences 

Carter Archuleta                          Physics, Astronomy



Neal Muppidi                              Physics, Music

Sean Grimm                               Statistics

Clayton Thomas                          Electrical Engineering



Nikolas Wooden                          Neuroscience



Sophie Schmidt                           Percussion Performance



Cyrus Grahan                             History 

Jonathan Rodriguez                     Percussion Performance

Scott Farkas                               Percussion Performance

Ryan Baker                                Music



Christine Chu                              Communication, Violin Performance 

Constance Aguocha                     Violin Performance 

Dalma Ashby                              Violin Performance 

Sejon Ashby                               Biochemistry 

Ido Avnon                                  Computer Science, Education

Kelly Chiang                               Psychology, Marketing

Hannah Chou                             Violin Performance 

Kellen Cribbs                              Music Education, History 

Teela Damian                             Music 

Rylan Ferron-Jones                      Engineering Undeclared 

Nicholas Gjording                        Biology (Molecular Cellular & Developmental) 

Terri Ji                                       Music Theory

Kara Johnson                             Pre Major (Arts & Sciences) 

Allison Kam                                Pre Sciences, Linguistics 

Meiqi Liang                                 Pre Public Health 

Audrey Lin                                  Computer Science

Paige Michal                               Music Education

Hannah Peña-Ruiz                       Music (Strings) 

Bianca Ponnekanti                       Physics, Astronomy 

Sean Sasaki                               Music 

Selina Siow                                Music (Strings) 

Olivia Wang                                Computer Science, Music 

Ethan Wu                                   Biochemistry



Elena Allen                                 Applied Music (String Instruments), Biochemistry 

Eugene Chin                               Applied Music (String Instruments) 

Nathan Hatch                              Robotics 

Angielena Luong                         Pre Sciences 

Brian Pham                                Biochemistry

Mari Morikawa                            Biology (Physiology) 

Meghna Shankar                         Computer Science, Physics 

Kareena Sikka                            Biology (Molecular, Cellular, & Developmental) 

Katie Tschida                              Music

Randy Zhang                              Computer Science 



Bashir Abdel-Fattah                     Mathematics 

Savannah Helming                       Cello Performance

Breanna Humphrey                      Pre Sciences 

Sarah Johnson                            Music 

Youngbin (Young) Kim                  Cello Performance 

Gene Liu                                    Engineering

Bennett Olsen                             Geography: Data Science 

Cameron Ray                             Nursing

Amanda Song                             Business Administration 

Ignacio (Nacho) Tejeda                 Mathematics



Alejandra (Ale) Heringer                English 

Eddie Nikishina                           Music 

Ethan Park                                 Pre Sciences 


The UW Symphony is the top orchestral ensemble on campus, performing major symphonic literature and presenting six to seven concerts per year (an average of two per quarter). The orchestra is made up of music majors and non majors alike. Seating auditions are held at the start of each academic year; seating rotates throughout the year. The ensemble is open to both undergrads and graduate students. Under the leadership of Dr. Rahbee since the fall of 2013, the UW Symphony has performed over 180 works, spanning from the early baroque through contemporary. The orchestra collaborates regularly with distinguished faculty soloists as well as with members of the Seattle Symphony and other local and national arts organizations, and performs annually with the combined university choirs. Performances are given in Gerlich Theater (formerly known as Meany Theater), and occasionally at Benaroya Hall. 

The UW Symphony has been nationally recognized with numerous awards from The American Prize non-profit competitions in the performing arts. Winner of the 2021 American Prize in orchestral performance (small program, college/university division), the orchestra has placed in the finals in the category of orchestral performance for each of the last three seasons, and in the category of orchestral programming for the past six seasons.

Melia Watras (Photo: Michelle Smith Lewis)

Melia Watras has been hailed by Gramophone as “an artist of commanding and poetic personality” and by The Strad as “staggeringly virtuosic.” As a violist, composer and collaborative artist, she has sustained a distinguished career as a creator and facilitator of new music and art. The 2023-24 season includes the release of her new album Play/Write, which features her own compositions and works by Anne Leilehua Lanzilotti and Frances White; the world premiere of Watras’s Fantasies in alto clef for viola ensemble, commissioned by the American Viola Society for their 2024 festival in Los Angeles; and the debut of Watras’s Sarabanda for solo viola, which will be premiered and recorded as part of Atar Arad’s project, Partita Party.

Watras’s discography has received considerable attention from the press and the public. Her album String Masks, a collection of her own compositions including the titular work which utilizes Harry Partch instruments, was praised for “not only the virtuoso’s sensitive playing, but also her innovative and daring spirit,” by the Journal of the American Viola Society. Her compositional debut album, Firefly Songs, was hailed for “distilling rich life experiences into strikingly original musical form” by Textura. Schumann Resonances was described by the American Record Guide as “a rare balance of emotional strength and technical delicacy.” The Strad called 26 “a beautiful celebration of 21st century viola music.” Ispirare made numerous Best of 2015 lists, including the Chicago Reader’s (“Watras knocked the wind out of me with the dramatically dark beauty of this recording”). Short Stories was a Seattle Times Critics’ Pick, with the newspaper marveling at her “velocity that seems beyond the reach of human fingers.” Of her debut solo CD (Viola Solo), Strings praised her “stunning virtuosic talent” and called her second release (Prestidigitation) “astounding and both challenging and addictive to listen to.”

Watras’s compositions have been performed in New York City, Chicago, Seattle, Bloomington (IN), Columbus (GA), Denmark, Spain, Switzerland and Wales. She has been commissioned by the Avalon String Quartet, violinists Mark Fewer, Rachel Lee Priday and Michael Jinsoo Lim, cellist Sæunn Thorsteinsdóttir, pianist Cristina Valdés, accordionist Jeanne Velonis, violist Rose Wollman, and has had works performed by artists such as violist Atar Arad, singer Galia Arad, pianist Winston Choi, Harry Partch Instrumentarium Director Charles Corey, violinists Tekla Cunningham, Manuel Guillén and Yura Lee, vocalist Carrie Henneman Shaw, percussionist Bonnie Whiting and the ensemble Frequency. Her music has been heard on National Public Radio’s Performance Today, and can be found on the albums Play/Write; String Masks; 3 Songs for Bellows, Buttons and Keys; Firefly Songs; Schumann Resonances and 26. Watras’s adaptation of John Corigliano’s Fancy on a Bach Air for viola is published by G. Schirmer, Inc. and can be heard on her Viola Solo album.

For twenty years, Watras concertized worldwide and recorded extensively as violist of the renowned Corigliano Quartet, which she co-founded. The quartet appears on 13 albums, including their recording on the Naxos label, which was honored as one of the Ten Best Classical Recordings of the Year by The New Yorker.

Melia Watras studied with Atar Arad at Indiana University, earning Bachelor’s and Master’s degrees and the prestigious Performer’s Certificate. While at Indiana, Watras began her teaching career as Professor Arad’s Associate Instructor, and was a member of the faculty as a Visiting Lecturer. She went on to study chamber music at the Juilliard School while serving as a teaching assistant to the Juilliard String Quartet.

Watras is currently Professor of Viola and Chair of Strings at the University of Washington, where she holds the Ruth Sutton Waters Endowed Professorship and was awarded the Adelaide D. Currie Cole Endowed Professorship, the Donald E. Petersen Endowed Fellowship, the Kreielsheimer and Jones Grant for Research Excellence in the Arts, and the Royalty Research Fund. Watras has given viola and chamber music classes at schools such as Indiana University, Cleveland Institute of Music, Strasbourg Conservatoire (France), and Chosun University (South Korea). She frequently returns to her alma mater, Indiana, to teach as a guest professor. She plays a viola made by Samuel Zygmuntowicz.

Saeunn Thorsteinsdottir

Icelandic-American cellist Sæunn Thorsteinsdóttir enjoys a varied career as a performer, collaborator and educator.  She has appeared as soloist with the Los Angeles Philharmonic, NDR Elbphilharmonie Orchester, BBC Symphony Orchestra, Toronto Symphony Orchestra and Iceland Symphony, among others, and her recital and chamber music performances have taken her across the US, Europe and Asia.  Sæunn has performed in many of the world’s prestigious halls including Carnegie Hall, Suntory Hall, Elbphilharmonie, Barbican Center and Disney Hall and the press have described her as “charismatic” and “riveting” (NYTimes) and praised her performances for their “emotional intensity” (LATimes).

An avid chamber musician, she has collaborated in performance with Itzhak Perlman, Mitsuko Uchida, Richard Goode and members of the Emerson, Guarneri, St. Lawrence and Cavani Quartets and has performed in numerous chamber music festivals, including Santa Fe, Seattle, Stellenbosch, Orcas Island, Bay Chamber, Prussia Cove and Marlboro, with whom she has toured. She is cellist of the Seattle-based group, Frequency, and cellist and founding member of Decoda, The Affiliate Ensemble of Carnegie Hall.

In the 2018-2019 season, Sæunn makes her debut with the BBC and Seattle Symphonies performing the award-winning cello concerto,Quake, written for her by Páll Ragnar Pálsson. Chamber music appearances take her to Carnegie Hall in New York City, Glasgow, and Los Angeles, as well as recitals in Reykjavík, Seattle and Chicago following the Spring 2019 release of “Vernacular”, her recording of Icelandic solo cello music on the Sono Luminus label.

Highlights of the 2017-2018 season included the US premiere of Betsy Jolas’ Wanderlied and the Hong Kong premiere of Sofia Gubaidulina’s Canticle of the Sun, as well as recitals and chamber music appearances in New York City, San Francisco, Seattle, Glasgow, London and Reykjavík. In addition to collaborating with Daníel Bjarnason on his award-winning composition Bow to String, Sæunn enjoys close working relationships with composers of our time such as Páll Ragnar Pálsson, Halldór Smárason, Melia Watras, Jane Antonia Cornish and Þuríður Jónsdóttir. 

Sæunn has garnered numerous prizes in international competitions, including the Naumburg Competition and the Antonio Janigro Competition in Zagreb. She received a Bachelor of Music from the Cleveland Institute of Music, a Master of Music from The Juilliard School and a Doctorate of Musical Arts from SUNY Stony Brook.  Her teachers and mentors include Richard Aaron, Tanya Carey, Colin Carr and Joel Krosnick.

Born in Reykjavík, Iceland, Sæunn serves on the faculty of the University of Washington in Seattle, teaching cello and chamber music. For more information, please visit


Rachel Lee Priday, violin

Violinist RACHEL LEE PRIDAY (PRY-day) is a passionate and inquisitive explorer in all her musical ventures, in search of contemporary relevance when performing the standard violin repertoire, and in discovering and commissioning new works. Her wide-ranging repertoire and eclectic programming reflect a deep fascination with literary and cultural narratives.

Rachel Lee Priday has appeared as soloist with major international orchestras, including the Chicago, Saint Louis, Houston, Seattle, and National Symphony Orchestras, the Boston Pops, and the Berlin Staatskapelle. Recital appearances have brought her to eminent venues including the Mostly Mozart Festival at Lincoln Center, Musée du Louvre, Verbier Festival, Ravinia Festival and Dame Myra Hess Memorial Series in Chicago, Mecklenburg-Vorpommern Festival in Germany, and tours of South Africa and the United Kingdom.

Committed to new music, and making enriching community and global connections, Rachel takes a multidisciplinary approach to performing that lends itself to new commissions organically merging poetry, dance, drama, stimulating visuals and music. Recent seasons have seen a new Violin Sonata commissioned from Pulitzer Prize Finalist Christopher Cerrone and the premiere of Matthew Aucoin’s “The Orphic Moment” in an innovative staging that mixed poetry, drama, visuals, and music. Rachel has collaborated several times with Ballet San Jose, and was lead performer in “Tchaikovsky: None But The Lonely Heart” during a week-long theatrical concert with Ensemble for the Romantic Century at the Brooklyn Academy of Music (BAM). Her work as soloist with the Asia America New Music Institute promoted new music relationships and cultural exchange between Asia and the Americas, combining new music premieres and educational outreach in the US, China, Korea and Vietnam. 

Rachel began her violin studies at the age of four in Chicago. Shortly thereafter, she moved to New York to study with iconic pedagogue Dorothy DeLay, and continued her studies at the Juilliard School Pre-College Division with Itzhak Perlman. Rachel holds a B.A. degree in English from Harvard University and an M.M. from the New England Conservatory, where she studied with Miriam Fried. Since Fall 2019, she serves as Assistant Professor of Violin at the University of Washington School of Music.

Recent and upcoming concerto engagements include the Pacific Symphony, Buffalo Philharmonic, Johannesburg Philharmonic, Kwazulu-Natal Philharmonic, Stamford Symphony, and Bangor Symphony. Since making her orchestral debut at the Aspen Music Festival in 1997, she has performed with numerous orchestras across the country, such as the symphony orchestras of Colorado, Alabama, Knoxville, Rockford, and New York Youth Symphony. In Europe and in Asia, she has appeared at the Moritzburg Festival in Germany and with orchestras in Graz, Austria, Hong Kong, Singapore, and Korea, where she performed with the KBS Symphony, Seoul Philharmonic and Russian State Symphony Orchestra on tour.

Rachel has been profiled in The New Yorker, The Los Angeles Times, Family Circle, and The Strad. Her concerts have been broadcast on major media outlets in the U.S., Germany, Korea, South Africa, and Brazil, including a televised concert in Rio de Janeiro, numerous radio appearances on 98.7 WFMT Chicago radio, and American Public Media’s Performance Today. She been featured on the Disney Channel, “Fiddling for the Future” and “American Masters” on PBS, and the Grammy Awards.

Praised by the Chicago Tribune for her “irresistible panache,” Rachel Lee Priday enthralls audiences with her riveting stage presence and “rich, mellifluous sound.” The Baltimore Sun wrote, “It’s not just her technique, although clearly there’s nothing she can’t do on the fingerboard or with her bow. What’s most impressive is that she is an artist who can make the music sing… And though her tone is voluptuous and sexy where it counts, she concluded the ‘Intermezzo’ with such charm that her listeners responded with a collective chuckle of approval as she finished.”

She performs on a Nicolo Gagliano violin (Naples, 1760), double-purfled with fleurs-de-lis, named Alejandro.

Harpist Valerie Muzzolini joined the School of Music faculty in Fall 2011 as a part-time lecturer in the Instrumental Performance division. She has been a member of the Seattle Symphony Orchestra since 2000 and has held the position of Principal Harp of the Seattle Symphony Orchestra since the age of twenty-three.

In demand both nationally and internationally, she has performed as guest Principal Harp of the Orchestre Philharmonique de Radio France and the Nice Philharmonic, and has also appeared with the Philadelphia Orchestra. She has performed at prestigious festivals worldwide, and has played under the batons of such renowned conductors as Sir Simon Rattle, Wolfgang Sawallisch, Kurt Masur, Seiji Ozawa, and Bernard Haitink.

An active chamber musician and avid proponent of new music, she performs regularly with the Seattle Chamber Players, the Seattle Chamber Music Society, and Music of Remembrance.

Born in Nice, France, she began her musical education at the Nice Conservatory, from which she received top honors. She continued her studies at the Curtis Institute with Marilyn Costello and Judy Loman, followed by graduate work at Yale University with Nancy Allen.

Jordan Anderson, double bass

Jordan Anderson has served as Principal Bass of the Seattle Symphony Orchestra and Seattle Opera since fall 2000. He has also served as Principal Bass of the Bellingham Festival of Music Orchestra since 2015.

Anderson has soloed with the Seattle Symphony, Cascade Symphony Orchestra and Seattle Chamber Orchestra. In April 2013, Anderson performed his composition Traction for Solo Double Bass at [untitled], the Seattle Symphony’s new-music series. In November 2007 he performed the Washington State premiere of John Harbison’s Concerto for Bass Viol and Orchestra with the Seattle Symphony.

Recent music festival appearances include performances at the Seattle Chamber Music Society where he is a frequent participant at their summer and winter festivals. Anderson’s awards include Grand Prize in the David Walter Memorial Double Bass Composition Competition. He is passionate about teaching and enjoys playing recitals and giving master classes around the United States. Anderson has a Bachelor of Music degree from the Curtis Institute of Music, where he studied with Harold Robinson, Principal Bass of The Philadelphia Orchestra.