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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."
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“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.”
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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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