Christopher Hutton is an avid performer and is the cellist for the Greenville-based Poinsett Piano Trio. A native of New Zealand, Hutton has performed across the globe and worked with a number of orchestras, including the New World Symphony and the New Zealand Symphony Orchestra. He has recorded for New Zealand's Concert FM and Germany's SWF Radio as well as Albany Classics for a disc of contemporary chamber music for Albany Classics. Hutton plays on a cello made by John Betts in c. 1795.

A graduate of Boston University and the University of Rochester's Eastman School of Music, Hutton taught at the University of Rochester, the University of North Carolina at Greensboro and the University of Delaware before coming to Furman. He has twice led Furman students to Arezzo, Italy for the music department's "Music in Italy" study away program. When he's not playing cello or teaching, Hutton is an enthusiastic runner. He has run several marathons, including the Boston Marathon.‚Äč

Name Title Description

MUS-051

Colloquium

MUS-072

String Ensemble

MUS-073

String Quartet

MUS-101

Introduction to Music

Introduction to the fundamentals of music, exploring a variety of musical genres, and developing an appreciation of the diverse musical genres. Although the focus157 for each section varies, all sections address certain fundamentals of music: listening skills, cultural context, historical development, musical vocabulary, musical structure, and style. Requires out-of-class listening and attendance at live concerts. Descriptions of the sections are published during the enrollment period for each term.

MUS-120

Introductory Music Literature

Exploration of important composers and works, topics will include: recurring cycles of classicism and romanticism, performance practice, sacredness in music, the nature of creativity, translations of vocal music and the changing roles of the composer, performer and audience in society.

MUS-320

Music History II

The stylistic development of Western European art music within the broader context of European history. It will also explore the relationship of music history to other forms of historical inquiry.

MUS-381

American Music before WWI

This course considers music in North America from Native Americans, to the Colonial period, the building of institutions, to the creation of a specifically ?American? musical voice at the end of the 19th century.

MUS-420

Literature of the Instrument

Survey of the musical literature of a particular performance area. Students (typically performance majors) channel their research and study toward their own performance specialty and survey the general body of compositions written for that medium

MUS-424

Beethoven's Ninth

Beethoven's Ninth Symphony was recognized as a landmark work even before its first performance in 1824. In the decades following its influence was keenly felt by every composer contemplating writing a symphony. This course will use a seminar format to study Beethoven's most influential work and its aftermath.

MUS-426

Symphonic Sojourn

An opportunity to immerse oneself in orchestral music, through a number of complete works. Students will read a variety of articles and experience performances of symphonies and other works for symphony orchestra, which will become the basis of seminar discussions. Students will prepare a final presentation and paper on a topic to be selected in collaboration with the instructor.

MUS-427

Opera Overload

Opportunity to intensively study several complete operas. Students will prepare a variety of readings and watch video performances as a group of operas to become the basis of seminar discussions. Students will prepare a final presentation and paper on a topic to be selected in collaboration with the instructor.

I consider it a privilege to make my life as a musician. I work with my students in much the same way that I approach my own practice and performing. All cellists must build a solid foundation of technical fluency and a flexible palette of tone colors. While the paths to success will be different for every cellist, being able to transcend the technical challenges of playing the instrument is what allows one to be virtuosic, stylish, and-most importantly-expressive.

Education
M.M.
Eastman School of Music
D.M.A.
Eastman School of Music
B.M.
Boston University
Licentiate Diploma
Royal Schools of Music
Training Under
Paul Katz and Steven Doane
Eastman School of Music
Leslie Parnas
Boston University
Jules Eskin, Stephen Geber, David Geringas, Ronald Leonard, Mstislav Rostropovich, Fred Sherry, Tsyoshi Tsutsumi and Richard Weiss
Master classes

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