Bradley Fuller

Producer, Host

Originally from Greenwood, South Carolina, Bradley Fuller has maintained a deep interest in classical music since the age of six. With piano lessons throughout grade school and involvement in marching and concert bands on the saxophone, Bradley further developed musical abilities as well as an appreciation for the importance of arts education.

After high school, he pursued a Bachelor of Arts in Music at the University of South Carolina, studying under Phillip Bush. Bradley also acquired an economics degree while there. During the summer months, he gained media experience working for the McCormick Messenger newspaper as a reporter and advertising sales representative. In his free time, Bradley likes to read, explore the outdoors, go thrifting, and play piano.

Ways to Connect

South Carolina Public Radio

In this episode of Spoleto Backstage, Geoff Nuttall and Bradley Fuller revisit another unforgettable program from the past decade of the Spoleto Festival USA Chamber Music Series. Before moving to the music itself, the two hosts talk about what makes this 2016 concert a top-pick performance. Opening the program are two dazzling violin showpieces by Fritz Kreisler—his Praeludium and Allegro, as well as the Caprice Viennois, Op. 2. Violinist Benjamin Beilman performs both, accompanied by pianist Pedja Muzijevic. Composer Osvaldo Golijov then introduces his “Drag Down the Sky” (an aria from the opera Iphigenia), performed by baritone Tyler Duncan and the St. Lawrence String Quartet. The concert concludes with Pyotr Ilyich Tchaikovsky’s captivating String Sextet in D minor, “Souvenir de Florence,” Op. 70. After the music, Geoff is joined by star cellist Alisa Weilerstein for a conversation covering everything from her current projects to a memorable interaction with pianist and conductor Daniel Barenboim. 

South Carolina Public Radio

This episode of Spoleto Backstage showcases a 2012 chamber series program bookended by late Romantic American works. Opening with Arthur Foote’s A Night Piece, the concert also features Joseph Haydn’s Symphony No. 101 in D Major, “The Clock” (arr. Salomon) before concluding with Amy Beach’s Piano Quintet in F-sharp minor, Op. 67. Geoff Nuttall and Bradley Fuller talk about the selections and the backgrounds of those who wrote them ahead of the music itself.

Following the concert, Bradley speaks with countertenor Anthony Roth Costanzo about his recent engagements, from performing in the lead role of the Metropolitan Opera’s 2019-20 production of Philip Glass’s opera Akhnaten to keeping busy with a variety of projects which don’t involve performing before a live, in-person audience. Anthony also shares about his beginnings as a singer and how he envisions the future of the countertenor repertoire.  

South Carolina Public Radio

This episode of Spoleto Backstage features another of Geoff Nuttall’s favorite programs from the past decade of the Spoleto Festival USA Chamber Music Series. Before listening to the 2018 concert, Geoff and Bradley Fuller discuss the selections, paying special attention to the opening Vivaldi concerto for oboe and violin and emphasizing how the baroque composer’s hundreds of other concertos are anything but nothingburgers. Balancing the Vivaldi is the program’s concluding work: Johannes Brahms’ passionate Piano Quartet No. 1 in G minor, Op. 25. After the music, Geoff catches up with pianist and frequent chamber series performer Inon Barnatan. The two talk about his career, special pandemic projects, and fond memories of past festivals.

South Carolina Public Radio

In this episode of Spoleto Backstage, Geoff Nuttall and Bradley Fuller look back on a concert performed as part of the 2016 Spoleto Festival Chamber Music Series. After discussing what makes it one of the most memorable performances from the past decade of the series, the two enjoy a listen to the program. Andrew Norman’s Garden of Follies comes first, featuring oboist James Austin Smith and pianist Pedja Muzijevic. Next is a baroque-era work inspired by a Cervantes novel: Georg Philipp Telemann’s Ouverture-Suite, TWV 55:G10 “Burlesque de Quixotte.” The concert concludes with Sergei Rachmaninoff’s Sonata in G minor for Cello and Piano, op. 19, performed by cellist Alisa Weilerstein and pianist Inon Barnatan. After the concert, Bradley catches up with pianist and chamber-series regular Pedja Muzijevic to learn more about his current projects, programming decisions, and musical career—including what makes his involvement with Spoleto Festival so rewarding.

South Carolina Public Radio

In this episode of Spoleto Backstage, Geoff Nuttall introduces Bradley Fuller to another of the most memorable Spoleto Festival USA chamber music programs from the past decade. This 2016 concert includes moving arias by Handel (with countertenor Anthony Roth Costanzo performing), an expressive keyboard sonata by CPE Bach, and César Franck’s intensely passionate Piano Quintet in F minor. Following the performance, Bradley speaks with violist, educator, and intended composer-in-residence for the 2020 chamber music series Jessica Meyer. A recording of Meyer’s Seasons of Basho—a work slated for performance in the chamber series—comes after their conversation.

South Carolina Public Radio

In this episode of Spoleto Backstage, Geoff Nuttall shares with co-host Bradley Fuller about one of his favorite Spoleto Festival USA Chamber Music Series concerts from the past ten years: a 2011 program featuring Osvaldo Golijov’s “Lullaby and Doina” from The Man Who Cried, Louis Moreau Gottschalk’s “The Union: Concert Paraphrase on National Airs,” and Franz Schubert’s String Quintet in C Major, D. 956, also known as his “Cello Quintet.” After performances of the solo and chamber selections, Spoleto Festival General Manager Nigel Redden joins Bradley to discuss the difficult decision to cancel the two-week arts event for 2020 and to highlight some of its next steps.

South Carolina Public Radio

On this first episode of Spoleto Backstage for 2020, hosts Bradley Fuller and Geoff Nuttall discuss one of Geoff’s most memorable performances from the past decade of the Spoleto Festival USA Bank of America Chamber Music Series: a 2013 concert including Antonio Vivaldi’s Chamber Concerto in G minor, RV 107, Max Bruch’s String Octet in B-flat major, and André Messager’s “Tzigane” Theme and Variations from Les Deux Pigeons as arranged by longtime chamber series clarinetist Todd Palmer. Following a recording of that performance, Palmer shares how he came to discover the Messager work. 

Bradley Fuller / South Carolina Public Radio

Those who insist that speaking about music is akin to dancing about architecture would do well to take a few preliminary steps with Columbia-based conductor Nisan Ak. A native of Istanbul, Turkey, Ak knows that a little preparation before taking in a performance can go a long way.

Bradley Fuller / South Carolina Public Radio

“If you’re afraid of getting into Shakespeare, start with the music.”

For Dr. Sarah Williams, associate professor of music history at the University of South Carolina, the sometimes-challenging task of understanding the works of William Shakespeare can be made easier -- and more enjoyable -- through music. A specialist in the popular music and culture of England in Shakespeare’s time, Sarah suggests that common notions about the playwright and his works often miss the mark.

Bradley Fuller / South Carolina Public Radio

For many composers, getting started on a symphony can be a serious challenge. Johannes Brahms famously spent some twenty years completing his first such work.

But for South Carolina composer Meira Warshauer, inspiration was a bit easier in coming. She found it in the world around her.

“I knew that I wanted to write something about the Earth,” Meira says. “Really, since the first Earth Day in 1970, I’ve been an environmentalist.”

It’s not every day that the musicians of Fort Jackson’s 282nd Army Band have the opportunity to perform alongside an organist.

“This is very unique. This usually doesn’t happen,” Bandmaster George T. Bauer says of the ensemble’s upcoming Veterans Day Concert. With fifteen brass players, three percussionists, and an organist performing selections by composers ranging from J.S. Bach to Maurice Duruflé, the concert is far from what many might think typical for one given by a military band.

Courtesy of the artist

For violinist Benjamin Beilman, the music of Johannes Brahms has timeless appeal. Striking what he considers a “perfect balance” between the personal and the objective, works like the German Romantic composer’s Violin Concerto in D major, op. 77, still have the power to move performer and listener alike.

Courtesy of the artist

The expressive capabilities of a lone guitar are not lost on Jason Vieaux. In 2015, the guitarist’s recordings for the album Play (Azica Records) won him that year’s Grammy Award for Best Classical Instrumental Solo. But for this versatile artist, it’s not all about solo performance; Jason finds rich rewards in the collaborative atmosphere of chamber music as well.

Pedja Muzijevic.
pedjamuzijevic.com

At home performing the sonatas of both Joseph Haydn and John Cage, Pedja Muzijevic is a versatile musician. Pedja’s skills as a pianist and harpsichordist make him an important part of the Spoleto Festival USA Bank of America Chamber Music Series at Dock Street Theatre, which features works from the Renaissance to the twenty-first century over the course of eleven programs.

This year, Pedja is taking his talents beyond the Dock Street’s stage to the Charleston Gaillard Center, where he’s performing a piano concerto by his favorite composer for the genre: Wolfgang Amadeus Mozart.

Reggie Workman at the Charleston Jazz Academy.
Leigh Webber

Working with jazz legends like John Coltrane, Art Blakey, Thelonious Monk, and numerous others has given double bassist Reggie Workman more than a little perspective on music-making. On Monday, June 4th, the eighty-year-old exponent of hard bop and avant-garde jazz shared some of that perspective with students through a lecture/demonstration at the Charleston Jazz Academy. The academy, located on West Montague Avenue in North Charleston, absorbed the Leonard School of Music in 2017, and is the educational arm of Charleston Jazz.

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