San Francisco Conservatory of Music

At the San Francisco Conservatory of Music, we're advancing a new model of music education that sets students up for a rewarding career in music and a path of lifelong learning. With our partnerships with artist-management companies Opus 3 and Askonas Holt and record label Pentatone, and our faculty, facilities, and position at the heart of the San Francisco music scene, there is no music school with a comparable ability to prepare—and define—the 21st-century musician.

Get a sense of our approach.

True preparation for a life in music demands a transformative education.

We've been around for a little while.

SFCM is celebrating its 100th anniversary. That means it’s time to take a look back at where it all began.

We go way back.

Early Years

In the fall of 1917, pianists Ada Clement and Lillian Hodghead opened the doors to the Ada Clement Piano School at 3435 Sacramento Street, in the remodeled home of Lillian’s parents. A school newsletter from 1924 described that first semester of 1917: “The faculty numbered five. The school had four pupils. Four studios were used and only two were equipped with blackboards. Three pianos were donated by the Misses Ada Clement and Lillian Hodghead.”

Recognizing the need for a music conservatory on the West Coast, the school incorporated in 1923 as the San Francisco Conservatory of Music, offering classes in many orchestral instruments as well as theory, composition, and voice.

In 1924, the Conservatory engaged composer Ernest Bloch to teach a five-week summer course, which was a resounding success. Ada Clement said of the course, “We had a splendid big class which more than covered our expenses. And what a wonderful look into the great principles of music! The whole town was quite aroused.” Bloch was hired as artistic director the following year. During his tenure, Bloch’s musical vision, international reputation, and skill as a teacher spurred a tremendous expansion of the school. When Bloch left the Conservatory in 1930 to compose full time, Ada and Lillian resumed leadership of the growing institution.

Depression years at the Conservatory were difficult, but the school survived. Lillian Hodghead wrote of this time, “The Depression allowed no extra pennies for music lessons. The spirit of service that has always been in our school was exceptionally fine at that time. Without endowment or suBScribers or scholarship funds we managed to work together and survive. All of us gave of our time and strength to help the gifted who could not pay.”