ABOUT
USCB CHAMBER MUSIC

From its founding in 1979 by USCB Art History Professor Mary Whisonant, USCB Chamber Music has presented internationally renowned artists such as pianists Jean Yves Thibaudet, Richard Goode, and Jeewon Parks; violinists Joshua Bell, Robert McDuffie, Tessa Lark, James Ehnes, Keven Zhu, Andrew Wan, and Stefan Jackiw; Valerie Muzzolini harpist; flautists Paula Robison and Ransom Wilson; cellists Carter Bray, Ani Aznavoorian, Alice Yoo, Rafe Bell, Jan Volger, and Edward Arron; clarinetist Yoonah Kim; saxophonist Alison Shearer; marimbist Eriko Daimo;  accordionist Ryan Corbett; the Brooklyn Rider, Emerson, Tokyo, St. Lawrence, and Ehnes String Quartets.

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Following Professor Whisonant’s retirement, Harriet Keyserling prevailed upon the legendary Charles Wadsworth to assume directorship and bring to Beaufort the chamber music riches he had unearthed for New York’s Lincoln Center and Charleston’s Spoleto. At that time, Mr. Wadsworth had been entertaining audiences by providing informative and lively introductions of artists and compositions and his inimitable style at the piano for over thirty years. A world-class raconteur as well as musician, he was a favorite with audiences across the US and Europe. In fact, he has been credited by some with saving the art form of chamber music from extinction.

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During his two-decade tenure in Beaufort, he drew many new fans to USCB Chamber Music. Local audiences became accustomed to inventive programming and the very best young talent the world had to offer. The Lowcountry was blessed beyond what one would expect in this out-of-the-way spot.  It was with great sadness that the Beaufort community learned of Mr. Wadsworth’s death in 2025. There is no doubt but that he set us on the path that led us to the Series’ recent subscribers-only, sold-out seasons, and we are forever indebted to him.

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Cellist Edward Arron spent two years assisting Mr. Wadsworth, getting to know the Lowcountry audience, allowing the audience to enjoy his artistry and thoughtful commentary, and appreciating his connectivity to the most significant young artists playing and composing chamber music. As one of those significant young artists himself and as the Artistic Director for the Metropolitan Museum’s Artists in Concert Series for ten seasons, he was uniquely qualified to take the reins and ensure the continued high standards of the concerts. For a dozen brilliant years, Mr. Arron brought extraordinary talent to the stage at the Arts Center. Having helped us celebrate our 40th anniversary season, he felt it was time to pass the baton. Once again, he reached for the stars and introduced USCB Chamber Music to its present Artistic Director--the very talented and delightfully engaging pianist Andrew Armstrong. In the midst of the pandemic, through every new restriction and variant, these two managed to continue offering concerts to our artists and our audiences…not missing a beat.

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With financial stability established by the Endowment and the constancy of our Friends and subscribers, even COVID did not stop our forward movement; we were able to continue the five-concert seasons when major venues around the country were dark. We found a brilliant videographer and offered both limited-live seating and virtual concerts, keeping our artists engaged and employed and our core audience intact.  Because virtual options expand our audience to those who cannot attend in person, we shall continue them as long as it is financially possible.  We are pleased to welcome virtual audience members from Kiawah's Seafields, Charleston’s Bishop Gadsden, and USCB OLLI.  We have said farewell to Woodlands at Furman because Andy, who continues to grow chamber music in South Carolina, is debuting a five-concert series at Furman this season.

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Heading into another SOBS (sold-out-by-subscription) season - TYA (thank you all) - with four brilliant string players and Schubert’s “Trout,” we should be sustained until the new year when Orion Weiss and Miss Flora will take center stage for her 40th and share only a small space with the Series first percussionist, I-Jen Fang.  The dreariness of February will be alleviated by a first-time mega-star from the West Coast, Simone Porter, and her incomparable 1740 Carlo Bergonzi, with perhaps a surprise visit from Charlie Chaplin.  The Childs Family brings us our fourth Youth Concert on Saturday and welcomes March with an unusual combination of instruments-clarinet, French horn, flute, and our first-ever bassoon and oboe-on Sunday.  Our April finale will return last year’s sensation-Ryan Corbett and his Bugari Spectrum accordion- and a first-time violinist, Blake Pouliot.

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Considering that this Series began when USCB was a poorly funded, two-year branch campus of USC and the historic Beaufort College was decked out in avocado green shag carpet, we can rightly be proud of not only surviving, but thriving.  In those early years, Professor Whisonant was not only the artistic director but also the ticket seller, airport taxi, caterer, and donor seeker, and then there was a time when cutting back on Mr. Wadsworth’s concerts in favor of “smoking pianos” was threatening the continuation of the Series as we know it.  Let’s allow ourselves to be relieved and proud that this community insisted on the best and still has music and artists coming five times each year that make us the cultural envy of much larger, much wealthier, and much less fortunate towns and cities. For that the University is grateful to all who subscribe and support Chamber Music so generously.