Illinois State University ISU ReD: Research and eData
School of Music Programs Music
10-22-2019
Guest Artist Recital Series, October 22, 2019
Michael Harley Bassoon
Phillip Bush Piano
Follow this and additional works at: https://ir.library.illinoisstate.edu/somp
Part of the Music Performance Commons
Recommended Citation Harley, Michael Bassoon and Bush, Phillip Piano, "Guest Artist Recital Series, October 22, 2019" (2019). School of Music Programs. 4288. https://ir.library.illinoisstate.edu/somp/4288
This Performance Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. Voice), Phillip Bush has established a performing career over the past three decades Illinois State University that is noted for its remarkable versatility and eclecticism, with a repertoire extending from the 16th century to the 21st. Wonsook Kim College of Fine Arts School of Music Since the launch of his career upon winning the American Pianists Association Fellowship Award and subsequent New York recital debut at the Metropolitan Museum of Art in 1984, Mr. Bush has appeared as recitalist throughout North America as well as in Europe, Asia and the Caribbean. His Carnegie Hall concerto debut with Oliver Knussen and the London Sinfonietta was hailed by the New York Times for its "impressive last-minute heroics," as he substituted for an ailing Peter Serkin on short Guest Artist Recital Series notice in concerti by Stravinsky and Alexander Goehr. Mr. Bush has also appeared as soloist with the Osaka Century Orchestra, Cincinnati Symphony, Houston Symphony and a number of other orchestras, in repertoire ranging from the Beethoven concerti to the American premiere of Michael Nyman’s Concerto for Harpsichord. ______Bush is widely acknowledged as one of the most experienced American chamber music pianists of his generation: the Kansas City Star referred to him as "the ideal chamber musician." He has performed and recorded with the Chamber Music Society of Lincoln Center, appeared innumerable times on Brooklyn's Bargemusic series, and has performed at the Grand Canyon Music Festival, Newport Music Festival, New Music for Bassoon and Piano Bridgehampton Chamber Music Festival, Cape Cod Chamber Music Festival, Strings in the Mountains (Colorado), Sitka Music Festival (Alaska), St. Bart's Music Festival, Music at Blair Atholl (Scotland), Cape May Music Festival, and at many other festivals. Michael Harley, Bassoon He has collaborated in recital and chamber music with concertmasters and principal players of many of the world's great orchestras, including Berlin, Chicago, Los Angeles, Phillip Bush, Piano Metropolitan Opera, Philadelphia, New York, Cleveland, and Houston. Mr. Bush has also made guest appearances with the Kronos, Miami, Parker, Jupiter, Lutoslawski, and Carpe Diem string quartets, and has performed with members of the Emerson, Guarneri, Tokyo, Orion and St. Lawrence quartets. ______
A devoted advocate for contemporary music, Bush performed worldwide for 20 years with both the Philip Glass Ensemble and Steve Reich and Musicians, in venues ranging from the Sydney Opera House to the Acropolis in Athens. He has also worked first- hand with many of the most significant American composers of our time, from John Adams to Charles Wuorinen. The New York Times has said "Mr. Bush may be one of the few pianists who can play both Elliott Carter’s music and Philip Glass' with equal persuasiveness." Mr. Bush's efforts on behalf of contemporary music have earned him grants and awards from the Mary Flagler Cary Charitable Trust, the Aaron Copland Fund, ASCAP, Chamber Music America and the National Endowment for the Arts. His discography as soloist and chamber musician has now reached over 45 recordings on labels such as Sony, Virgin Classics, Koch International, ASV, New World Records,
Denon, Cedille, and many others.
Mr. Bush is a graduate of the Peabody Conservatory, where he studied with Leon Kemp Recital Hall Fleisher. From 2000 to 2004, Mr. Bush taught piano and chamber music at the October 22, 2019 University of Michigan, and he has also served as Visiting Faculty at the University of Tuesday Evening North Carolina. Since 2012 Phillip Bush has been a member of the piano and chamber 7:30 p.m. music faculty at the University of South Carolina School of Music. This is the thirty-first program of the 2019-2020 season. Program About the Artists . . . .
Michael Harley enjoys a diverse career as a teacher, performer, and music advocate. Please silence all electronic devices for the duration of the concert. Thank you. Associate Professor of Bassoon at the University of South Carolina, he teaches bassoon, coaches chamber music, and is artistic director of the award-winning Southern Exposure New Music Series. Past full-time teaching positions include posts at Ohio University, Wright State University, and Goshen College. His performances have been Totality (2016) Reginald Bain called “spectacular” (Washington Post) and “exquisite” (Columbus Dispatch). Shadow Bite – Baily’s Beads – Diamond Ring A proponent of contemporary music, Mike is a founding member of the acclaimed Corona chamber orchestra Alarm Will Sound, called “new music luminaries” and “one of the Reappearance most vital and original ensembles on the American musical scene” (New York Times). AWS were artists-in-residence at the Metropolitan Museum of Art in 2013-14. Mike has worked with and premiered pieces by many of today’s most distinguished composers, Alarums and Excursions: Carl Schimmel including John Adams, John Luther Adams, Derek Bermel, Harrison Birtwistle, Caleb A Puzzle-Burlesque in Four Polymythian Acts (2017) Burhans, Donnacha Dennehy, Michael Gordon, Aaron Jay Kernis, David Lang, Meredith Monk, Nico Muhly, Steve Reich, Roger Reynolds, Wolfgang Rihm, Augusta Act I Read Thomas, Ken Ueno, and Charles Wuorinen. A versatile musician, he has been Act II featured as a soloist with AWS both as a bassoonist and singer. He has recorded on the Act III, Scenes 1-5 Nonesuch, Cantaloupe, New Amsterdam, Centaur, and Sweetspot record labels. Most Cadenza recently, he gave the world premiere of Muhly’s Reliable Sources, for bassoon and wind Act IV, Scenes 1-3 ensemble, and released his first solo album, Come Closer (New Focus Recordings), with pianist Phillip Bush.
Lament (2017) Fang Man As a recitalist, chamber, and orchestral musician, Mike has played in diverse venues on five continents, ranging from nightclubs and bars (Le Poisson Rouge and the Roxy in NYC) to Lincoln Center, Carnegie Hall, Walt Disney Concert Hall, the Barbican Harbinger of Sorrows (2017) Caleb Burhans (London), and the Hermitage Theatre (St. Petersburg); and with groups including the indie rock group Dirty Projectors, the jazz trio Medeski, Martin and Wood, Dance Heginbotham, and the orchestras of Charleston, Columbus, Fort Wayne, South Bend, Miphadventures (2017) Stefan Freund and Augusta, the South Carolina Philharmonic, and the Long Bay Symphony (Myrtle Longingly Beach). Current chamber music adventures include the bassoon groups Dark in the Excited Song and the Rushes Ensemble, formed to perform and record Michael Gordon’s pathbreaking concert-length for seven bassoons, Rushes. Festivals and conference performances include Lucca Opera Theater (Italy), Piccolo Spoleto, Music on the Hill Rhode Island, Mizzou New Music, Kent Blossom, the International College Music Society conference, and numerous International Double Reed Society conferences.
Mike has degrees from the Eastman School of Music (D.M.A.), where he was awarded the Performer’s Certificate, the Cincinnati College-Conservatory of Music (M.M.), and Goshen College (B.A., English and music). His teachers include John Hunt, William Winstead, Gwendolyn Rose, and Sharon Trent. He lives in Columbia, SC with five lovely ladies: his wife, flutist Jennifer Parker-Harley, daughters Ella and Lucia, a dog, and a cat.
Acclaimed as "a pianist of poetry, elegance, and power" (American Record Guide), "a pianist of exceptional, cherishable finesse" (Los Angeles Times), and "one of those rare pianists who combine structural intelligence with a hundred color gradations" (Village