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"Failed" Musician Becomes the Voice of Chicago Symphony

Phillip Huscher ’71 came to Colorado College from small-town Kansas pointed vaguely toward art, but what kind — visual arts? music? “I had no idea which way the pendulum would swing,” he says now. His first assignment from music Professor Albert Seay was an eye-opener: list the pieces of classical music you love most. “I didn’t know many,” says Huscher. “That was illuminating for me!”

Huscher also found illumination in campus life. “I had classmates from all over the country, and other countries too. I learned how much we all have in common, and that has been in play throughout my career. And CC was the first place I was taught the importance of rigor and elegance and precision in writing. I didn’t think at the time it would be so important to me, but it’s extraordinarily vital to what I do.”

Indeed, Huscher daily combines music and writing, as the full-time concert lecturer and program annotator for the Chicago Symphony. “My role is to be the link between composer, performer, and listener; I put the three together in the same ‘room of thought,’” he says. “I help people find their way into pieces of classical music. I’m not as interested in communicating the historical circumstances of its creation or the analytical details of the piece as its importance.
Phillip Huscher and Professor Michael Grace '63 came to CC the same year - one as a freshman, the other as a "fresh" professor. Grace remembers Huscher as "a blond skinny kid from Kansas, a serious and talented pianist. "I knew immediately that his intellect matched his performance talent. He excelled in music history - in research skills, critical thinking, determining what was important in the music he studied, and in his ability to articulate in writing what he saw and heard in the music itself. That was why I encouraged him to pursue graduate study at a prestigious university." Ten years ago at an orchestra concert in Chicago, Grace was dumbfounded to see program notes written by one Phillip Huscher. "It had to be the same person! I was very proud of the student who had shown such prowess at CC."
“Behind every great piece of music is a great story, and that’s how we unlock that piece of music. For program notes, you must write as though making that connection matters as much as anything else in life, and that I got from Michael Grace. For him, music is not just an academic pursuit — he is passionate about it! Michael made me see how big the world of classical music is — it doesn’t matter just to old people and those in foreign lands. He ushered me into the fact that classical music was a cool world to live in.”

It could have gone the other way for Huscher, who calls himself a “failed” musician. “I never wanted a career as a performer,” he says. “I dreaded recitals. I just wanted the hands-on experience of music. I loved playing the piano, but I lacked technique. Max Lanner, the gatekeeper of all the great piano music, helped me uncover its secrets. I was never one of his star piano students, but he sensedI was genuinely passionate about music.”

After CC, Huscher started graduate work in music history at the University of Chicago, aiming for an academic career. “After five years of wonderful training,” he says, “it was time to turn in the microfilms and stop working on my dissertation.” He found a comfortable niche in music criticism, publishing columns in the Chicago Magazine and the Chicago Daily News, and has written radio and television scripts, program notes for the Santa Fe Opera, and liner notes for the last two Yo-Yo Ma albums, the most recent of which just won three Grammys.

When the Chicago Symphony’s long-time program annotator retired in 1987, Huscher was asked to apply, but at first demurred. “This poor person sits in a dark room and researches old music and writes about it,” he thought. “Then I realized that’s exactly what I like to do! Landmarks of classical music aren’t frozen in time. They continue to be relevant to us — they still speak to us.”

– Anne Christensen

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