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"From the day he joined the Pittsburgh Symphony Orchestra, his play has been as sterling as his instrument."
PITTSBURGH POST GAZETTE
Bio
Craig Knox is Principal Tuba of the Pittsburgh Symphony Orchestra, and a founding member of the Center City Brass Quintet. With these ensembles and others, he has performed for audiences across the U.S., Europe, and Asia, and been heard on recordings, and radio, television and internet broadcasts around the world. As a soloist he has played the world-premiere performances of concertos by Jennifer Higdon and Andre Previn, appeared with the Pittsburgh Symphony Orchestra, U.S. Army Band (Pershing's Own), and Tokyo Symphony Orchestra, and released an album titled A Road Less Traveled.
Mr. Knox works regularly with music students through his teaching positions at the Carnegie Mellon University School of Music in Pittsburgh, and the Curtis Institute of Music in Philadelphia, as well as at music festivals, seminars and conservatories around the world, where he appears as a guest clinician.
Sharing the beauty of music with others is a lifelong pursuit and passion of Mr. Knox, which is realized by his performance and teaching activities.
Media
Recordings
Listen to Craig on the following commercially available recordings:
Teaching
I'm lucky to have had fantastic teachers - world-class players who were knowledgeable and passionate about music, and committed to the success of their students. I benefited from the great teaching I received, and it's my goal to pass on what I've learned to the next generations of musicians. One of the things I most enjoy about teaching is establishing a direct connection with each student and crafting a unique approach that is most effective for their individual needs and style of learning. I frequently present master classes and workshops at schools, seminars, and festivals around the world, and am on the faculty at the Curtis Institute of Music and Carnegie Mellon University. Graduates of my collegiate tuba studios now hold permanent positions in professional ensembles around the country, including the Seattle Symphony, Phoenix Symphony, Louisville Orchestra, U.S. Naval Academy Band, River City Brass Band and others, as well as teaching positions at the collegiate, high school and grade school levels. In addition to working with tuba players, I regularly work with conservatory and professional musicians on every orchestral instrument, helping them to prepare for auditions and competitions, and achieve their highest potential as performers.
Frequently Asked Questions
How many students are in your studios?
I typically have 4-6 tuba students at Carnegie Mellon University and 1 tuba student at Curtis.
How many openings do you anticipate for next Fall?
There is an anticipated opening at Curtis for the Fall of 2024 for either an undergraduate or graduate student. Likewise, there is one opening for my Carnegie Mellon University studio for the Fall of 2024, for either an undergraduate or graduate student.
How good are scholarship opportunities for students at both schools?
At Curtis, all students attend on a full-tuition scholarship. An additional allowance is granted for living expenses, and the school is committed to its students graduating without student-loan debt.
Carnegie Mellon University offers graduate assistantships covering up to full tuition cost. Undergraduates are eligible for university financial aid and additional merit scholarship aid.
Do you teach private lessons?
Private lessons can be arranged as my schedule allows, and take place in Pittsburgh or via Zoom. Please contact me directly for more information if you are interested in scheduling a private lesson.
Do you offer trial lessons to prospective students?
I receive many requests from prospective students who would like to schedule a trial lesson. Please note that due to the large number of these requests, I cannot offer private lessons at no charge. The one exception is for prospective Carnegie Mellon University students who schedule a campus visit on a day I am teaching, who are welcome to observe my entire teaching day, and for whom I will make time for a brief introductory private session. My schedule while teaching at Curtis generally does not allow for outside private or introductory lessons in Philadelphia.
How important are introductory lessons with regards to the admission process?
I always want to make clear that private or introductory/trial lessons are not part of the audition process. My auditions are thorough and allow me to make admissions decisions without any additional meetings. Therefore, prospective students should not feel the need to schedule a lesson in order to be seriously considered for admission to the studio. Consider scheduling a lesson if you are looking for an educational session. Also, please note that I will schedule lessons at no charge (in-person or zoom if necessary) for students who are accepted into the studio, in order to help them make their decision about where to enroll.
I encourage students who are considering applying to the tuba studio at Carnegie Mellon University or the Curtis Institute of Music to read the information on both sides of the boards below and visit the university websites. If you still have specific questions, you may e-mail me at psotuba@gmail.com.
Resources
In addition to practicing your instrument, it is crucial to study the performances of the great musicians in order to develop your musicianship. Below is a short list of recordings by other artists which I have enjoyed and found helpful and inspirational.
VOCALISTS
When trying to develop a beautiful sound, you can certainly benefit from listening to fine players of your own instrument; but don’t neglect to seek out great artists on other instruments as well. As I’ve looked for models of beautiful bass sound, I’ve found that the male voice, as sung by these great vocalists, provides a great standard to emulate. These are the recordings I have listened to the most, and which have inspired me to play with a beautiful sound and phrasing.
BORIS CHRISTOFF
RUSSIAN OPERA ARIAS AND SONGS
In looking for a sound to model on the CC contrabass tuba, I have always imagined the stereotypical Russian operatic bass-baritone with a barrel-chested voice that resonates the entire room. Randy Hawes turned me onto Boris Christoff, who is the quintessential version of just such a singer. The ease with which he produces a massive resonance in the low register is something I try to emulate when I play the tuba.
BUY FROM AMAZON.COM (mp3)
BUY FROM AMAZON.COM (CD)
THOMAS QUASTHOFF
MOZART ARIAS
I have many recordings by this amazing German musician, but I cannot tell you how many times I have listened to this one. His warm, effortless sound, and smooth, expressive phrasing is something I try to achieve every time I play.
BUY FROM AMAZON.COM (mp3)
BUY FROM AMAZON.COM (CD)
DIETRICH FISCHER-DIESKAU
MAHLER SONGS
Fischer-Dieskau is one of the greatest baritones in history, and this recording is a classic. He brings a huge range of color and expression to everything he sings.
BUY FROM AMAZON.COM (mp3)
BUY FROM AMAZON.COM
FRITZ WUNDERLICH
Fritz Wunderlich was a German tenor with a very different sound from the typical operatic tenor of today. His sound is lean, clean, and bright, and without strain. I often imagine his voice when I am playing a passage in the highest register.
BUY FROM AMAZON.COM (mp3)
MATTHIAS GOERNE
BRAHMS SONGS
Matthias Goerne is one of the great living baritones. Over the years he has collaborated many times with the Pittsburgh Symphony Orchestra, and I have always been inspired by the beauty and expressivity of his singing. He is well recorded, and I highly recommend you listen to his work. This recording of Brahms is a good starting point.
YO-YO MA
BACH CELLO SUITES
Yo-Yo Ma is one of the single greatest artists of our time, and the Bach Cello Suites are timeless masterpieces that give endless inspiration for how to express music on a solo bass instrument.
ARNOLD JACOBS
PORTRAIT OF AN ARTIST
This CD (as well as the follow-up volume: Legacy of an Artist ) is a compilation of live performances, interviews and master class lectures by Arnold Jacobs, the tubist of the Chicago Symphony for over 40 years, and one of the great teachers. Many of Jacobs’ lectures center on how to maintain a focus on the conception and delivery of musical thought.
BUY FROM AMAZON.COM (CD)
CHICAGO SYMPHONY LOW BRASS SECTION
This is a classic recording which was made in 1971 by the low-brass section of the Chicago Symphony Orchestra of the time: Jay Friedman, James Gilbertson, Frank Crisafulli, Edward Kleinhammer and Arnold Jacobs. Their performances of chamber music and orchestral excerpts represent the standard for low brass playing, and have served to inspire generations of trombone and tuba players.
BUY FROM WINDSONG PRESS.COM (CD)
THE ANTIPHONAL MUSIC OF GABRIELI
Another classic brass recording, this one features the brass sections from the Philadelphia Orchestra, the Cleveland Orchestara, and the Chicago Symphony Orchestra as recorded in 1968. The tuba players at that time were Abe Torchinsky, Ronald Bishop and Arnold Jacobs, respectively. This was truly a ground-breaking recording at the time it was made, and it has stood the test of time as one of the most important brass recordings ever made.
BUY FROM AMAZON.COM (mp3)
BUY FROM AMAZON.COM (CD)
VAUGHAN WILLIAMS TUBA CONCERTO
JOHN FLETCHER
There are numerous fine recordings of the Vaughan Williams Concerto. This is the one I grew up on, and John Fletcher’s beautiful playing opened my eyes to what the tuba could do. I think this recording still represents the gold standard for this concerto.
BUY FROM AMAZON.COM (mp3)
STRAUSS HORN CONCERTOS
DENNIS BRAIN, HORN
Dennis Brain (1921-1957) was one of the great soloists of all time on any instrument. His father and grandfather were noted horn players, and he himself was principal horn of the Philharmonia and Royal Philharmonic orchestras of London. He collaborated with some of the greatest conductors (Karajan, Sawallisch, Beecham), and his recordings of the Strauss Concertos and the Mozart Concertos for horn stand out as some of the most important recordings of a brass instrument. His impeccable tone, intonation, articulation and musicianship are unparalleled.
BUY FROM AMAZON.COM (mp3)
MUSSORGSKY/RAVEL: PICTURES AT AN EXHIBITION
NEW YORK PHILHARMONIC/SINOPOLI
There are truly countless recordings of orchestral works that are worthy of note. I single this one out because Principal Trumpeter Philip Smith’s opening Promenade changed the way I thought of playing a brass instrument. The live, brilliant, singing sound that continues from the beginning of one note into the next is an example that had a profound effect on the development of my own playing. It perfectly illustrates the concept of “staying in the sound” which I try to impart to my students. Warren Deck sounds phenomenal as well!
BUY FROM AMAZON.COM (mp3)
In addition to practicing your instrument, it is crucial to study the performances of the great musicians in order to develop your musicianship. Below is a short list of recordings by other artists which I have enjoyed and found helpful and inspirational.
VOCALISTS
When trying to develop a beautiful sound, you can certainly benefit from listening to fine players of your own instrument; but don’t neglect to seek out great artists on other instruments as well. As I’ve looked for models of beautiful bass sound, I’ve found that the male voice, as sung by these great vocalists, provides a great standard to emulate. These are the recordings I have listened to the most, and which have inspired me to play with a beautiful sound and phrasing.
BORIS CHRISTOFF
RUSSIAN OPERA ARIAS AND SONGS
In looking for a sound to model on the CC contrabass tuba, I have always imagined the stereotypical Russian operatic bass-baritone with a barrel-chested voice that resonates the entire room. Randy Hawes turned me onto Boris Christoff, who is the quintessential version of just such a singer. The ease with which he produces a massive resonance in the low register is something I try to emulate when I play the tuba.
THOMAS QUASTHOFF
MOZART ARIAS
I have many recordings by this amazing German musician, but I cannot tell you how many times I have listened to this one. His warm, effortless sound, and smooth, expressive phrasing is something I try to achieve every time I play.
DIETRICH FISCHER-DIESKAU
MAHLER SONGS
Fischer-Dieskau is one of the greatest baritones in history, and this recording is a classic. He brings a huge range of color and expression to everything he sings.
FRITZ WUNDERLICH
Fritz Wunderlich was a German tenor with a very different sound from the typical operatic tenor of today. His sound is lean, clean, and bright, and without strain. I often imagine his voice when I am playing a passage in the highest register.
MATTHIAS GOERNE
BRAHMS SONGS
Matthias Goerne is one of the great living baritones. Over the years he has collaborated many times with the Pittsburgh Symphony Orchestra, and I have always been inspired by the beauty and expressivity of his singing. He is well recorded, and I highly recommend you listen to his work. This recording of Brahms is a good starting point.
YO-YO MA
BACH CELLO SUITES
Yo-Yo Ma is one of the single greatest artists of our time, and the Bach Cello Suites are timeless masterpieces that give endless inspiration for how to express music on a solo bass instrument.
ARNOLD JACOBS
PORTRAIT OF AN ARTIST
This CD (as well as the follow-up volume: Legacy of an Artist ) is a compilation of live performances, interviews and master class lectures by Arnold Jacobs, the tubist of the Chicago Symphony for over 40 years, and one of the great teachers. Many of Jacobs’ lectures center on how to maintain a focus on the conception and delivery of musical thought.
CHICAGO SYMPHONY LOW BRASS SECTION
This is a classic recording which was made in 1971 by the low-brass section of the Chicago Symphony Orchestra of the time: Jay Friedman, James Gilbertson, Frank Crisafulli, Edward Kleinhammer and Arnold Jacobs. Their performances of chamber music and orchestral excerpts represent the standard for low brass playing, and have served to inspire generations of trombone and tuba players.
THE ANTIPHONAL MUSIC OF GABRIELI
Another classic brass recording, this one features the brass sections from the Philadelphia Orchestra, the Cleveland Orchestara, and the Chicago Symphony Orchestra as recorded in 1968. The tuba players at that time were Abe Torchinsky, Ronald Bishop and Arnold Jacobs, respectively. This was truly a ground-breaking recording at the time it was made, and it has stood the test of time as one of the most important brass recordings ever made.
VAUGHAN WILLIAMS TUBA CONCERTO
JOHN FLETCHER
There are numerous fine recordings of the Vaughan Williams Concerto. This is the one I grew up on, and John Fletcher’s beautiful playing opened my eyes to what the tuba could do. I think this recording still represents the gold standard for this concerto.
STRAUSS HORN CONCERTOS
DENNIS BRAIN, HORN
Dennis Brain (1921-1957) was one of the great soloists of all time on any instrument. His father and grandfather were noted horn players, and he himself was principal horn of the Philharmonia and Royal Philharmonic orchestras of London. He collaborated with some of the greatest conductors (Karajan, Sawallisch, Beecham), and his recordings of the Strauss Concertos and the Mozart Concertos for horn stand out as some of the most important recordings of a brass instrument. His impeccable tone, intonation, articulation and musicianship are unparalleled.
MUSSORGSKY/RAVEL: PICTURES AT AN EXHIBITION
NEW YORK PHILHARMONIC/SINOPOLI
There are truly countless recordings of orchestral works that are worthy of note. I single this one out because Principal Trumpeter Philip Smith’s opening Promenade changed the way I thought of playing a brass instrument. The live, brilliant, singing sound that continues from the beginning of one note into the next is an example that had a profound effect on the development of my own playing. It perfectly illustrates the concept of “staying in the sound” which I try to impart to my students. Warren Deck sounds phenomenal as well!
THE BRASS PLAYER’S COOKBOOK: CREATIVE RECIPES FOR A SUCCESSFUL PERFORMANCE
ED. BY KENNETH AMIS
This book is a compilation of short articles by well-known brass players, edited by Kenneth Amis, tubist of the Empire Brass. Each musician has selected an element of brass performance to discuss. Topics range from breathing and warm-ups to phrasing and musicianship. Contributors include Roger Bobo, David Kirk, Mike Roylance, Charlie Vernon, Dale Clevenger and many others. You can read my own article from this book HERE (reprinted with permission). A Meredith Music publication
SOUND IN MOTION: A PERFORMER’S GUIDE TO GREATER MUSICAL EXPRESSION
BY DAVID MCGILL
In this very interesting book, author David McGill, Principal Bassoon of the Chicago Symphony, and former Principal Bassoon of the Cleveland Orchestra, makes a case that phrasing and musicianship can be taught and developed in a methodical way, rather than relying purely on innate “talent” and instinct. In his discussions, he explains the teachings of renowned oboist and teacher Marcel Tabuteau, former Principal Oboe of the Philadelphia Orchestra.
TUNEUP SYSTEMS: THE ART OF FINE INTONATION
BY STEPHEN C. COLLEY
This is a training method to help musicians improve their intonation. The book starts with a detailed explanation of the principles of intonation and the author’s approach to applying that information to play in tune in any context. The book comes with a CD which the musician uses to play or sing along with. The books/CDs are tailored to each instrument. This is a progressive and comprehensive system; it’s not easy, but it really produces results. I highly recommend this! Available as a physical book or digital download.
THE INNER GAME OF TENNIS
BY TIMOTHY GALLWEY
“The Classic Guide to the Mental Side of Peak Performance” is the subtitle which sums up this book. It is written as a manual for tennis players, but has been used for decades as an analogous method for players and performers of all kinds. Sam Pilafian made me read this book when I was a teenager, and it serves as the basis for my approach to achieving my best performance as a musician. The book outlines the power of trusting and relying on your subconscious when undertaking a complex task. Highly recommended!
FIGHT YOUR FEAR AND WIN
BY DON GREENE
Don Greene teaches peak performance techniques at the New World Symphony and the Juilliard School, as well as to olympic athletes, actors and business professionals. This book outlines a comprehensive plan to assess your strengths and weaknesses as a performer, and develop an approach that will help you play at your best when it counts the most. Purchase of the book includes participation in an on-line survey which will help identify areas you need to address. This book made the difference for me as I worked on achieving success in auditions and on the job.
Peak Performance: Elevate Your Game, Avoid Burnout and Thrive with the New Science of Success
By Brad Stulberg and Steve Magness
If I could distillate everything I have learned over the last four decades about efficient practicing and effective performing, it would look a lot like this book! I wish it had been available for me at a young age, because there’s no question it would have hastened and eased my journey to a career in music. I’ve recommended this book to numerous students who swear by it. We call it “THE book”!
Articles by Craig Knox:
The Rest of the Story: what you won’t find in my bio
Some lessons I have learned which may be of help to the aspiring musician.
Thoughts about what equipment does – and does not – provide.
This article appears as a chapter in the book The Brass Player’s Cookbook, a compilation of short articles by 52 well-known brass performers and teachers. Reprinted here by permission.
This interview appears on the website of the International Tuba and Euphonium Association, as part of the “Players Project”.
Interview with Craig Knox on “The Fourth Valve”
This interview appears on the Dave Brubeck’s popular interview series “The Fourth Valve”.
This is the list of required and recommended music and materials I use with my students.
Contact Craig
email: psotuba@gmail.com or use the form below.