Park University ICM Presents: An Intimate Christmas with the ICM Orchestra of Park University, 2023

PARK UNIVERSITY INTERNATIONAL CENTER FOR MUSIC PRESENTS

An Intimate Christmas with the ICM Orchestra of Park University

Photo: Larry F. Levenson

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A MESSAGE FROM PARK ICM’S FOUNDER Dear Esteemed Patrons and Devotees of Music, It’s not merely the notes that create a melody but the passion and dedication behind each one. As the Artistic Director of the International Center for Music, my journey in music has been deeply personal and profoundly enriching. The same fervor that drove me to delve into the depths of musical discipline drives our students, faculty, and guests artists. Their commitment to their craft is not only a source of endless inspiration but also what sets our program apart.

Kansas City is truly privileged, as within its bounds lies an audience with an appetite for genuine talent and a heart that beats in rhythm with the finest melodies. Our concert series provides an invaluable opportunity to experience this prodigious talent in an accessible manner, making worldclass music available to all.

Our mission at the International Center for Music at Park University has always been clear – to offer an environment reminiscent of the intensive training I was fortunate to undergo, a space free from distractions where the sole focus is on achieving musical excellence without the burden of financial pressures.

In addition to our homegrown prodigies, the ICM Concert Series is also graced by legendary guest performers, individuals whose contributions to the world of music have been monumental.

As we usher in another season of musical brilliance, I warmly invite you to be a part of our melodious journey. Come, immerse yourself in a world where past, present, and future converge in harmonious symphony.

With profound gratitude,

Stanislav Ioudenitch Founder and Artistic Director International Center for Music at Park University

P.S. Each performance is a manifestation of our shared love for music. Your presence and applause amplify our drive to elevate the art form further.

Programme

AN I N TI M AT E C H R I ST M AS W ITH THE I C M O R C HE ST R A O F PAR K U NI V ERSI TY STEVEN MCDONALD, MUSIC DIRECTOR

Organ Prelude: In Dulci Jubilo, BWV 751

........................................................ Johann Sebastian Bach (1685-1750)

Carol: O Come, all Ye Faithful J.F. Wade, arr. David Willcocks

....................................................... Ralph Vaughan Williams (1872-1958)

(audience please stand and sing)

Cantata Pastorale for the Nativity of Christ

............................................................... Alessandro Scarlatti (1660-1725)

Soyoun Lim Chun soprano

Les Patineurs (The Skaters)

................................................................... Emile Waldteufel (1837-1915)

Interlude, from A Ceremony of Carols

........................................................................ Benjamin Britten (1913-76)

Programme Continued

Carol: Silent Night

....................................................................... Franz Gruber (1787-1863)

(audience please remain seated and sing)

Pizzicato Polka

..................................................................... Johann Strauss II (1825-99) ........................................................................... Josef Strauss (1827-70)

Sihao Qin conductor

Carol: Hark! the Herald Angels Sing Felix Mendelssohn, arr. David Willcocks

....................................................................... Franz Gruber (1787-1863) (audience please stand and sing)

Radetzky March, op.228

.........................................................................Johann Strauss (1804-49)

O CO M E , A L L Y E FA I T H F U L O come, all ye faithful, joyful and triumphant!

O come ye, O come ye, to Bethlehem Come and behold Him Born the King of Angels Refrain: O come, let us adore Him O come, let us adore Him O come, let us adore Him Christ the Lord!

God of God, Light of Light Lo, He abhors not the Virgin’s womb Very God, Begotten, not created Refrain Sing, choirs of angels, sing in exultation Sing, all ye citizens of heaven above!

Glory to God in the highest!

Refrain Yea, Lord, we greet Thee, born this happy morning Jesus, to Thee be glory given Word of the Father Now in flesh appearing Refrain

C A N TATA PA S TO R A L E ( t ex t by Ca rdina l Anto nio Ott obon i)

Instrumental Sinfonia Recitativo

O di Betlemme altera povertà venturosa!

O noble and fortunate poverty of Bethlehem,

Se chi fece ogni cosa, se chi muove ogni sfera

If the maker of all, the mover of every sphere,

In te discende, e l’autor della luce,

Descends upon you, and the source of light,

Ne suoi primi vagiti a te risplende.

Giving his first cries, shines on you!

Aria

Dal bel seno d’una stella

From the shapely breast of a star

Spunta a noi l’eterno sole.

The eternal sun rises for us.

Dauna pura verginella

From a young pure virgin

Nacque gia l’eterna prole.

Eternal offspring is now born.

Recitativo

Presa d’uomo la forma, alle gelide tempre

Assuming human form,

D’inclemente stagione soggiace

The great infant is exposed

Il gran Bambino.

To the icy trial of inclement weather.

E d’acerbo destino per sottrarre al rigore

To save fallen humanity

L’humanita cadente

From the rigors of harsh fate

Del suo corpo innocente

His innocent body’s

Fa scudo a noi l’appasionato amore.

Passionate love is our shield.

Aria

L’autor d’ogni mio bene

The source of all my riches

Scioglie le mie catene

Wrapped in swaddling bands

E stretto, e in fasce.

Loosens my chains.

Il tutto ei fe dal nulla,

He made everything from nothing,

Eppur lo veggio in culla

And yet I see him in the cradle,

E in terra nasce.

Born upon earth.

Recitativo

Fortunati pastori giacchè v’è dato in sorte

Lucky shepherds, since it has fallen to your lot

Che il signor della vita immortale,

That the Lord of life, immortal, never created,

Increato respiri fra divoi l’aure primiere!

Should draw his first breaths in your midst!

Al dolce suon giulivo di zampogne innocenti

To the gentle, festive sounds of innocent bagpipes

D’un Dio fatto mortale

Rush to celebrate the lofty birth

Correte a celebrar l’alto Natale.

Of God made mortal.

Aria

Tocco la prima sorte a voi, pastori,

The greatest fortune was yours, shepherds,

Perche si fa Gesu di Dio l’Agnello.

For Jesus has become the Lamb of God.

Offrite alla sua cuna I vostri cuori Mirate quanto è vago e quanto è bello mirate.

Offer your hearts at his cradle, And marvel the miracle of his birth.

Lasciate I vostri armenti e la capanna

Leave your flocks and huts,

Abbandonate si le pecorelle.

Yes, forsake your sheep.

Ve’ una speranza in lui che non v’inganna

He embodies a hope that does not deceive you

E chi vi puo dar loco in fra le stelle speranza.

And can give you a place amongst the star

SILENT NIGHT Silent night, holy night!

All is calm, all is bright.

Round yon Virgin, Mother and Child.

Holy infant so tender and mild, Sleep in heavenly peace, Sleep in heavenly peace Silent night, holy night!

Shepherds quake at the sight.

Glories stream from heaven afar Heavenly hosts sing Alleluia, Christ the Savior is born!

Christ the Savior is born Silent night, holy night!

Son of God love’s pure light.

Radiant beams from Thy holy face With dawn of redeeming grace, Jesus Lord, at Thy birth Jesus Lord, at Thy birth

HARK! THE HERALD ANGELS SING Hark! The herald angels sing, “Glory to the newborn King!

Peace on earth and mercy mild, God and sinners reconciled.”

Joyful, all ye nations rise, Join the triumph of the skies, With th’angelic host proclaim: “Christ is born in Bethlehem.”

Hark! The herald angels sing, “Glory to the newborn King!”

Christ by highest heav’n adored, Christ the everlasting Lord!

Late in time behold Him come, Offspring of the Virgin’s womb.

Veiled in flesh the Godhead see, Hail the incarnate Deity, Pleased as man with man to dwell, Jesus, our Emmanuel.

Hark! The herald angels sing, “Glory to the newborn King!”

Hail the heav’n-born Prince of Peace!

Hail the Son of Righteousness!

Light and life to all He brings, Ris’n with healing in His wings.

Mild He lays His glory by, Born that man no more may die, Born to raise the sons of earth, Born to give them second birth.

Hark! The herald angels sing, “Glory to the newborn King!”

ABOUT TONIGHT’S MUSIC DIRECTOR Steven McDonald Originally from Reading, Mass., Steven McDonald, director of orchestral activities, has served on the faculties of the University of Kansas, Boston University and Gordon College. While in Boston, he conducted a number of ensembles, including Musica Modus Vivendi, the student early music group at Harvard University. McDonald also directed ensembles at the Massachusetts Institute of Technology, serving as founder and music director of the Summer Opera and Independent Activities Period Orchestra, and conductor of the MIT Chamber Orchestra and the Gilbert and Sullivan Players. At the University of Kansas, McDonald served as assistant conductor of the KU Symphony, and was the founder and music director of the Camerata Ensemble of non-music majors, and of the chamber orchestra “Sine Nomine,” a select ensemble of performance majors. Additionally, he has conducted performances of the KU Opera. He has also served as vocal coach at the Boston University Opera Institute and at Gordon College.

McDonald served as music director of the Lawrence (Kan.) Chamber Orchestra from 2007-14, during which time the group transformed into a professional ensemble whose repertoire featured inventive theme programs and multimedia performances. In 2009, he was selected to conduct the Missouri All-State High School Orchestra, and in 2011 was the first conductor selected as guest clinician at the Noel Pointer Foundation School of Music which serves inner-city students in Brooklyn, N.Y. An avid proponent of early music, McDonald has also taught Baroque performance practice at the Ottawa Suzuki Strings Institute summer music program, and regularly incorporates historically informed practice into his performances.

McDonald is a graduate of the Boston University School for the Arts, the Sweelinck Conservatory of Amsterdam (The Netherlands) and the University of Kansas School of Fine Arts.

ABOUT TONIGHT’S SOPRANO Soyoun Lim Chun Equally comfortable in opera as she is on a recital stage, as well as performing with an orchestra as she is within a chamber music setting, soprano Soyoun Lim Chun’s talent is undeniable!

She has received her doctorate degree, with honors, from the University of Kansas, a master’s from the New England Conservatory, and a bachelor’s from Seoul National University, as well as having participated in masterclasses at the famed Tchaikovsky Conservatory in Moscow. In addition, Soyoun has been teaching at Bethel College since 2006.

Soyoun has performed with Piu & Piu Opera in Seoul, Korea and at Wichita Grand Opera. Her recital appearances include a series at the French Cultural Institute in Seoul, Korea, a tour of Guatemala and performances on the renowned Cantata Singers Recital Series in Boston.

One of the cornerstones of Soyoun’s repertoire is a little-known single-act monodrama by Francis Poulenc, La voix humaine, a work which is a tour de force for the singer who is on stage by herself continually for 45 minutes, which she has sung to critical acclaim. In addition, she has performed works in extremely diverse genres and styles, from early music (Carissimi’s opera Jephte and Pergolesi’s Stabat Mater), to romantic-era and contemporary (Mahler’s Symphony No. 2 and William Bolcom’s song cycle Let Evening Come), along with many other works in between.

Soyoun regularly appears as a soloist at Bethel College’s Masterworks series, singing works such as Orff’s Carmina Burana, Bach’s Magnificat, Mozart’s Vespers , Verdi’s Requiem and Haydn’s The Creation.

Born in Seoul, Korea, Soyoun lives in Lawrence, KS with her musician husband Peter and three children, Suzy, Jake, and Darren.

ABOUT TONIGHT’S GUEST CONDUCTOR Sihao Qin Sihao Qin began playing piano at the age of 5. He was admitted to the Central Conservatory of Music Middle School in Beijing, China; and studied with Zhiwei Zhang and Qifang Li. Since 2017, he has attended The Barstow School and Young Artists Music Academy in Kansas City.

He currently studies with Stanislav Ioudenitch at Park University. He has received awards in several piano competitions including The Fourth Shenzhen Piano Open Competition and Young Musicians International Competition in Los Angeles. He Performed with National Symphony Orchestra of Uzbekistan and Jilin Symphony Orchestra.

ICM Orchestra

Steven McDonald, Music Director

Flute

Viola

Christina Webster Gina Hart-Kemper

Christian dos Santos, principal Victor Diaz Shelley Armer Andrew Bonci Peter Chun

Harp Deborah Clark

Percussion Mark Lowry

Violin I David Horak, concertmaster Mumin Turgunov Aviv Daniel Ilkhom Mukhiddinov Soobeen Nam Matthew Bennett

Violin II Alice Palese, principal Yin-Shiuan Ting Yuren Zhang Benjamin Lerman Casey Gregory

Cello James Farquhar, principal Otabek Guchkulov Mardon Abdurakhmonov Jordan Proctor Diyorbek Nortojiyev

Bass Kassandra Ferrero Krista Kopper

PROGRAM NOTES

Johann Sebastian Bach (1685-1750): Chorale Prelude In dulci jubilo for organ, BWV 751 J.S. Bach was more celebrated as an organist during his lifetime than he was as a composer. In keeping with the conventions of the 18th-century Kapellmeister, his job at church and court was to create music for essentially functional purposes. Yet he was, by all reports, one of the great keyboard virtuosos of the era, and musically astute contemporaries were probably as aware of this as they were of the quality of his compositions.

His output for organ is vast, and unlike other genres it spans every period of his life. There are more than 300 extant preludes and fugues, fantasias, canzonas, passacaglias, and above all chorale preludes — the latter essentially variations on an existing hymn or chorale tune. (In addition, many believe that as much as half of Bach’s music is lost.)

It was not uncommon for a composer to set a frequently used chorale multiple times throughout his or her career, and we have some half-dozen settings from Bach of In dulci jubilo — which most of us today know as “Good Christian Men, Rejoice.”

Dating probably from the 14th century, this tune has been set dozens if not hundreds of times over the centuries: for keyboard, in polyphonic settings, for chorales, and as a basis for cantatas. The setting we hear today is a simple chorale prelude featuring a pedal drone and straightforward contrapuntal repetitions of the hymn tune.

It is so straightforward, in fact, that scholars doubted its authenticity even before the 1984 discovery of the Neumeister Collection. Partly as a result of that find, it is now believed to be the work of Johann Michael Bach (1648-94), a first cousin of J.S. Bach’s father.

Nevertheless its elegance and grace offer a hint of the genius found throughout the Bach family, which produced dozens of master musicians and composers over several generations.

Ralph Vaughan Williams (1872-1958): Fantasia on Greensleeves Vaughan Williams often spoke of folk song as a “common stem” of music from which composers are free to draw — tunes that are an expression of national sentiment, in his case of Englishness. He devoted a great deal of time and attention to folk song, much as Bartók and Kodály had in Eastern Europe in the early-20th century and Alan Lomax would in the United States a generation later.

Folks songs are found in many of his works: not just in more conspicuous places such as the Five Variants of Dives and Lazarus, but in the very fabric of much of his vocal, chamber, and orchestral music. These tunes play a central role in the opera Sir John in Love (1928), for instance, a fanciful version of The Merry Wives of Windsor that uses folk songs as points of reference.

“Greensleeves” is placed into one of the opera’s loveliest moments: Mrs. Ford sings the tune, accompanying herself on the lute, as she waits for the notorious Sir John’s arrival. The composer also uses a second folk song, the bawdy “Lovely Joan,” in the opera’s second act.

Thus when composer-arranger Ralph Greaves prepared the Fantasia on Greensleeves for Vaughan Williams to conduct on a BBC Symphony concert in 1934, he simply adapted the two passages from Sir John in Love to create a symphonic work with an A-B-A structure: “Greensleeves” being the A section and “Lovely Joan” the B. This brief adaptation, which the composer performed in London and submitted for publication in 1937, has become one of his most beloved orchestral works.

Alessandro Scarlatti (1660-1725): Pastoral Cantata for the Nativity of Our Lord Scarlatti was to Baroque vocal music what the prolific Vivaldi was to instrumental music. The Sicilian-born master, who divided his career primarily between Naples and Rome, wrote more than 125 operas and serenatas, 100 motets, and dozens of oratorios, Masses, and other sacred works. Mostly astonishingly, he composed 500 chamber cantatas, chiefly for solo voice and orchestra: roughly the same number of cantatas as Vivaldi wrote concertos.

What is most surprising is that it has taken the music world so long to embrace this magnificent music to the extent it has that of Vivaldi, Corelli, or Telemann. A generation younger than Bach or Handel, Scarlatti wrote his first operas in the 1670s (before either of those composers was born) and was still producing peerless dramatic works and magnificent sacred music in the 1720s that rivaled the music of his younger contemporaries. Many of Alessandro’s mature works challenge Handel’s, even, in their sophistication of structure and chromaticism, expression and dramatic verve.

Composers of the 18th century owe a great deal to this innovator, who for all practical purposes “invented” the da capo aria (A-B-A, in which the B section contains a dramatic shift). It became the basis of sacred and secular music of the period and continued long into the Classical period — just as his experiments with the fast-slow-fast sinfonia (for his overtures) developed into the multimovement symphony of the later 18th century.

He wrote several Christmas cantatas: One of the most compelling is found a manuscript of 27 cantatas currently held in the British Library.

This Cantata Pastorale per la Nascità di Nostro Signore is exactly

that: a “pastoral” cantata that focuses on the “lucky shepherds” of the nativity story. Shepherds are often represented in the Baroque by pastoral music (often in 6/8 or 12/8 meter or siciliano style), meant to suggest their allegedly placid existence.

An instrumental introduction is followed by three arias of exceptional quality, each preceded by a short recitative. The pastoral mood is found especially in the first and third arias, but its sentiment pervades a specifically Christian message of the text: The humble sense of wonder that God’s hope for mankind has been born in remote Galilee, observed by poor, probably analphabetic sheep-herders.

The thought-provoking central aria, “L’autor d’ogni mio bene,” with its tender violin solo, suggests a subtle connection between the “bands” (fasce) of the infant Jesus’ swaddling clothes and the “chains” (catene) of sin that bind mankind. All in all, this is a work worthy to stand alongside those of other Baroque masters.

Émile Waldteufel (1837-1915): Les Patineurs (Skaters Waltz), Op. 183 The way to have good ideas, as the Nobel Prize-winning chemist Linus Pauling used to say, is to have lots of ideas. The Strasbourg-born Émile Waldteufel, who was part of a large French-German family of musicians, composed some 300 dances for orchestra, half of them waltzes, yet he is remembered chiefly for only one: the Skaters Waltz, published in London in 1882. Better one than none! Émile was born in Alsace when it was still French, but by the time he reached his mid-30s it had become part of Germany, in the aftermath

of the Franco-Prussian War. His work is of consistent quality and would probably be better-known if it were not for the more prevalent works of his frequent rival, Johann Strauss II. Like Strauss, Waldteufel was raised by a father who led a famous orchestra; when Émile’s brother, Léon, earned a spot to study violin at the Paris Conservatory, the whole family settled in the French capital.

Though sometimes viewed as the “French waltz king,” Waldteufel fils had already made a name for himself Britain and Berlin when he settled in Paris. There he was a fixture of formal balls and other high-end events. Les Patineurs was inspired by watching skaters at the Bois de Boulogne, an enormous park in the western portion of Paris.

Its buoyant energy embodies the grace and ease of a skilled skater enjoying the ice on an indolent winter afternoon.

Benjamin Britten (1913-76): Interlude from A Ceremony of Carols Britten settled temporarily in the United States in 1939, where he produced Les Illuminations for tenor and string orchestra, the Violin Concerto, and the Sinfonia da Requiem. But by 1942 he was growing homesick, and he began to feel goaded by conscience to return to his native England during its darkest hour. “You see, I’m gradually realizing that I’m English,” he wrote to a friend. “And as a composer, I suppose I feel I want more definite roots than other people.”

During the sea-passage home, at a stopover in Halifax, Novia Scotia, Britten picked up a copy of The English Galaxy of Shorter Poems, which he began to explore for what would become A Ceremony of Carols. He set this 11-movement reflection on Christmas poetry for

soloists, three-part treble chorus (later arranged for SATB), and harp.

He composed much of it on the voyage, completing a first version shortly after arriving home. An incomplete performance took place at Norwich Castle in December 1942. Both the Ceremony and the Hymn to St. Cecilia (also composed on the crossing) were received warmly by a Britain united through hardship — a nation in which musical life had taken on a burning new significance.

Squarely in the middle of the Ceremony, between No. 6 (“This Little Babe”) and No. 8 (“In Freezing Winter Night”), Britten gives the harp a delicate solo. This fanciful creation that shows both an understanding of the instrument and a knack for placing a pause at just the right moment in an emotionally charged work.

Johann Strauss II (1825-99) and Josef Strauss (1827-70): Pizzicato Polka It is said that Franz Joseph reigned over Austria only until Johann Strauss II died. So completely was the composer’s music associated with the latter years of the Hapsburg Empire that it is difficult to conceive of this era without also thinking of the music of the Waltz King, whose 500 compositions (operas such as Die Fledermaus) helped define late-19th-century Viennese culture.

His was a substantial contribution to 19th-century music. Even “serious” Brahms, a lifelong friend of Strauss, once expressed envy that it was Strauss, and not he, who had composed On the Beautiful Blue Danube. But in addition to these contributions to the waltz, Strauss also made a mark with distinguished contributions to the genres of polka, quadrille, and march, publishing almost as many

works in these genres as waltzes — some 125 polkas, 50 quadrilles, and 40 marches.

In 1869, Johann and his brother Josef were invited by the St. Petersburg Railway Company to conduct a concert of dance music in Pavlosk, suburban St. Petersburg. To commemorate the event, they composed the Pizzicato Polka together: This rare fraternal collaboration evidently arose when Johann tried to inspire his less ambitious brother to take initiative and write something for the occasion.

“He didn’t want to do it,” Johann wrote. “So finally I proposed to him that the polka should be created by the two of us. He agreed to this.

And just look, the polka caused a furore in the true sense of the word.”

The whimsical Pizzicato Polka caused such a reaction on the evening of its premiere in June 1869 that it had to be played nine times: and it still causes a minor stir today.

Johann Strauss Sr. (1804-49): Radetzky March, Op. 228 The Waltz King’s father, known as Johann Strauss Sr. (or “the Elder”), grew up during the period of early Romanticism, and thus his music is perhaps more straightforwardly Classical in its outlook than that of his sons. Strauss Sr. was orphaned as a child and apprenticed to a bookbinder, though his real love was music. He studied violin and viola and began composing a body of excellent works that would spur him to a life in music. He had a knack for the waltz and the quadrille, but he is best known for what is possibly the most famous march in history.

Strauss Sr. and his wife, Maria Anna (née Streim) had six children, of

whom Johann Jr. and Josef were the eldest (though not the only musicians in the family). It is true that “Johann II” would eventually eclipse his father’s achievements, but he held the music in high regard and frequently included it on his own programs.

Johann Sr. wrote the Radetzky March in 1848 to mark the victory of Field Marshal Joseph Radetzky at the Battle of Custoza. What has been dubbed the First Italian War of Independence was actually an attempt by the Kingdom of Sardinia to wrest itself from the Austro-Hungarian Empire — an offense that was quashed, though not easily, by the more powerful Imperial forces.

The Radetzky March was first performed in August 1848 and quickly became a favorite: not just in Austria but around the world. It was later arranged for full orchestra and remains a favorite encore at the annual New Year’s Concert of the Vienna Philharmonic Orchestra.

-Paul Horsley

SAVE THE DATE FRIDAY MARCH 8, 2024

Photographer Damian Gonzalez

KAUFFMAN CENTER FOR THE PERFORMING ARTS

THERE’S NEAR THE STAGE. THERE’S FRONT ROW. THEN THERE’S MEETING STARS FACE-TO-FACE. To receive an invitation, visit icm.park.edu/icm-gala/ or scan the QR code.

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PA R K U N I V E R S I T Y

INTERNATIONAL CENTER FOR MUSIC

PARK ICM FOUNDATION BOARD The Park University International Center for Music Foundation exists to secure philanthropic resources that will provide direct and substantial support to the educational and promotional initiatives of the International Center for Music at Park University. With unwavering commitment, the Foundation endeavors to enhance awareness and broaden audiences across local, national, and international spheres.

Vince Clark, Chair Steve Karbank, Secretary Benny Lee, Treasurer Marilyn Brewster Lisa Browar Stan Fisher Brad Freilich Holly Nielsen Ron Nolan John Starr Steve Swartzman Guy Townsend

PICTURED L-R: Julie Clark, Benny Lee, Shane Smeed, Park University President, Edith Lee, and Vince Clark.

PARK ICM FACULTY & STAFF

Photo: Damian Gonzalez

PICTURED L-R: Gustavo Fernandez Agreda, ICM Coordinator Daniel Veis, Cello Studio Lisa Hickok, Executive Director Ben Sayevich, Violin Studio Lolita Lisovskaya-Sayevich, Director of Collaborative Piano Steven McDonald, Director of Orchestra Stanislav Ioudenitch, Founder & Artistic Director, Piano Studio Peter Chun, Viola Studio Not pictured: Behzod Abduraimov, Artist-in-Residence

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Just as our faculty’s coaching is so fundamental to our students’ success, our Patrons’ backing provides direct support for our exceptionally talented students, concert season, outreach programs and our ability to impact the communities we serve through extraordinary musical performances.

We are continually grateful for each and every one of our Patrons Society members. For additional information, please visit ICM.PARK.EDU under “Support Us.” We gratefully acknowledge these donors as of November 7, 2023

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KC STUDIO NOVEMBER/DECEMBER 2022 VOLUME XIV, ISSUE 6

KCSTUDIO.ORG

COVERING KANSAS CITY’S PERFORMING, VISUAL, CINEMATIC AND LITERARY ARTS

NOVEMBER /DECEMBER 2022 VO LUME X IV, I S SUE 6 COVE R IN G K A N SA S CIT Y ’ S PE R F O R MIN G , VI SUA L , CINE M ATI C A ND LITE R ARY A R T S

Nov/Dec 2022

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P A R K U N I V E R S I T Y INTERNATIONAL CENTER FOR MUSIC

Internationally Famed Trio to Perform at 1900 Building The Rosamunde Trio was formed by three internationally acclaimed soloists: Martino Tirimo, piano; Ben Sayevich, violin; and Daniel Veis, cello. They have been performing together since 2002 and are pleased to present the Trio No. 1 in G minor for Piano, Violin and Cello, Op. 15, by Bedrich Smetana. Mr. Tirimo will also perform two works by Ludwig van Beethoven to open the concert.

ROSAMUNDE TRIO JANUARY 25, 2024, 7:30 P.M. 1900 BUILDING MISSION WOODS, KAN.

GENERAL ADMISSION $30. STUDENTS $10

ICM.PARK.EDU.

P A R K U N I V E R S I T Y INTERNATIONAL CENTER FOR MUSIC

ICM Orchestra’s

Annual Valelntine Concert The Orchestra of the International Center for Music will present its annual Valentine’s concert on Friday, February 9th, 7:30 PM, at the gorgeous Graham Tyler Memorial Chapel at Park University. The program will be under the direction of Kansas City favorite, guest conductor Timothy Hankewich, music director of Orchestra Iowa, who returns for his third appearance with the ICM Orchestra. Maestro Hankewich has selected music by Bach, Boccherini, Debussy, Schubert, Piazzolla, and Vivaldi, and the featured work will be Mozart’s Piano Concerto No. 21, K. 467.

PARK ICM ORCHESTRA WITH TIMOTHY HANKEWICH CONDUCTING GRAHAM TYLER MEMORIAL CHAPEL AT PARK UNIVERSITY. FREE WITH RESERVATION

ICM.PARK.EDU.

PA R K U N I V E R S I T Y I N T E R N AT I O N A L C E N T E R F O R M U S I C

PARK QUARTET CONCERT SERIES

DAVID HORAK, MUMIN TURGUNOV, CHRISTIAN SANTOS, AND JAMES FARQUHAR

FEBRUARY 24th, 7:00PM Outreach Restoration Branch 723 S Crysler Ave, Independence, Mo 64052 All Concerts are FREE of Charge (Optional Donation) No Tickets Required F o r a d d i t i o n a l i n f o r m a t i o n , v i s i t I C M . PA R K . E D U

I C M . PA R K . E D U

P A R K U N I V E R S I T Y INTERNATIONAL CENTER FOR MUSIC

The thrilling combination of husband-and-wife duo Violinist Ben Sayevich has established himself as one of the most distinguished violinists and teachers of his generation. His wife, Lolita, a reputed concert pianist in her own right, earned first prizes at the Chopin International Piano Competition and the Nikolai Rubinstein International Piano Competition. The highlight of the evening will be the famed Sonata in A Major for Violin and Piano by César Franck and other works.

BEN SAYEVICH, VIOLIN, LOLITA LISOVSKAYASAYEVICH, PIANO, FEBRUARY 29, 2024, 7:30 P.M. 1900 BUILDING MISSION WOODS, KAN.

GENERAL ADMISSION $30.

STUDENTS $10 WITH I.D.

ICM.PARK.EDU.

Help us ensure our pianos are the best.

Become a Park Piano Preservationist Today!

Behzod Abduraimov - Artist-in-Residence Park ICM

Behzod Abduraimov- Renowned Concert Pianist, Winner of the London International Piano Competition, Artist-in-Residence Park International Center for Music

Please help us ensure that our fleet remains what Steinway calls, “the peerless instruments of uncompromising expression.”

Park ICM students train on the best pianos in the world. Such intensity takes its toll on an instrument.

Since its founding in 2003 by Van Cliburn gold medalist, Stanislav Ioudenitch, the International Center for Music at Park University has been training piano protégés to become some of the finest concert pianists in the world. As a prestigious All-Steinway School, Park ICM’s uncompromising standards of excellence extended beyond our musicians to the instruments on they train.

It takes a great deal of funding to keep our fleet in what Steinway calls, “A circle of refinement.”

The fleet of Steinway pianos at Park University is special and each instrument deserves the highest level of care. But even in a conservatory of our size, ICM Steinways demand maintenance, upkeep and replacement which costs in excess of $150,000 per year.

PRESERVE OUR PIANOS PARK INTERNATIONAL CENTER FOR MUSIC

PA R K U N I V E R S I T Y

INTERNATIONAL CENTER FOR MUSIC

Learn more about Park ICM, visit

ICM.PARK.EDU

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Today’s Steinway:

WE STILL MAKE THEM LIKE WE USED TO...

. . . O N LY B E T T E R !

L e ar n m o re at steinway.com/today

s t e i n way p i a n o g a l l e ry 9512 marshall drive lenexa, ks 662 15 TEL: 913.815.1000 STEINWAYKC.COM

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Contact Laura Gabriel at 816.471.2800 to start your subscription.

“Providing care to people is a privilege.

I never forget that.”

- Becky N. Lowry, MD Physician Internal Medicine

For me, there’s nothing more rewarding than the meaningful connections I make with my patients. Maybe it’s growing up in a small town where those personal values remain strong. Or maybe it’s the belief, shared with all of my co-workers, that people come first. Whatever it is, the opportunity to provide care is a privilege I never forget.

To schedule an appointment, call 913-588-1227 or visit KansasHealthSystem.com/Appointments.