Park University International Center for Music Presents
STANISLAV IOUDENITCH PIANO STUDIO
Thursday, October 24, 2024 • 7:30 p.m.
Photo: Damian Gonzalez
Connect With Your Audience
WELCOME TO OUR 22ND SEASON!
Dear Esteemed Patrons and Lovers of Music,
As we embark on a new season at the International Center for Music at Park University, I find myself reflecting on the profound impact that music has on our lives. It’s not just the sound that resonates, but the emotion and dedication behind every performance that truly moves us. As Artistic Director and founder of this institution, I am continuously inspired by the exceptional talents of our students, faculty, and guest artists who pour their hearts into their craft. Kansas City is a remarkable place, home to a community that cherishes and supports the arts with unparalleled enthusiasm. Our concert series is designed to bring you closer to the magic of live music, offering an intimate and accessible way to experience the brilliance of our performers.
Our mission remains steadfast: to create an environment where musical excellence thrives, free from the distractions and financial burdens that often hinder artistic growth. At Park ICM, we are committed to nurturing the next generation of musicians with the same intensity and focus that shaped my own musical journey.
This season, we are proud to present a lineup that includes not only our extraordinary students and faculty but also internationally acclaimed guest artists whose contributions to the world of music are nothing short of legendary. In keeping with our mission, we will also introduce you to the newborn stars, the bright talents who represent the future of classical music. Each concert is an opportunity to witness the convergence of passion, discipline, and talent, creating moments that linger in the heart and mind.
I invite you to join us in celebrating the transformative power of music. Your presence and support are invaluable to us, fueling our drive to reach new heights of artistic achievement. Together, let’s create a symphony of shared experiences that transcends time and space.
With deep 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
Stanislav Ioudenitch Studio in Recital
TWELVE PRELUDES FROM 24 PRELUDES, OP. 28
Frédéric Chopin (1810-49)
LA CAMPANELLA
Franz Liszt (1811-86)
Ali Mammadoff, piano
BARCAROLLE IN F-SHARP MAJOR, OP. 60
..........................................................................................
Frédéric Chopin
DANCE MACABRE ...............................................................
Camille Saint-Saëns (1835-1921)
Franz Liszt
Vladimir Horowitz (1903-89)
Jiarui Cheng, piano
LES OMBRES ERRANTES FROM PIÈCES DE CLAVECIN
François Couperin (1668-1733)
OVERTURE TO “TANNHÄUSER”, S. 442
Richard Wagner (1813-83)/Franz Liszt
Yangrui Cai, piano
Intermission
PROGRAMME (CONTINUED)
Stanislav Ioudenitch Studio in Recital
SONATA NO. 31 IN A-FLAT MAJOR, OP. 110
Ludwig van Beethoven (1770-1827)
Tatiana Dorokhova, piano
WORKS BY PYOTR ILYICH TCHAIKOVSKY (1840-93):
Scherzo à la russe in B-flat major, Op. 1 No. 1
Nocturne in F major, Op. 10 No. 1
Humoresque in G major, Op. 10 No. 2
FUNÉRAILLES FROM HARMONIES POÉTIQUES ET RELIGIEUSES,
S. 173 NO. 7
Ilya Shmukler, piano
Franz Liszt
ABOUT TONIGHT’S ARTISTS
Ali Mammadoff
Praised by The Examiner as a “piano protege” and an “award winning talent” Ali Mammadoff has been captivating audiences around the globe with his virtuosity, depth, sensitivity and individuality. His exceptional pianistic abilities have taken him all over the world from Europe to the United States. He appeared numerous times both as a soloist and with the orchestra in the United States, England, Germany, France, Italy, Turkey, Ukraine and Azerbaijan. His most recent highlights include the performance of Rachmaninoff’s Third Piano Concerto in D minor and Prokofiev’s Concerto no 3 in C major with maestro Fuad Ibrahimov, which was received with a huge ovation. His breathtaking performances have won him prizes at international competitions both as a pianist and a composer.
Born in Baku, Azerbaijan the future musician began to show curiosity in piano at the age of five. Noticing his passion, at the age of 7 his mother took him to the Special Music School named after Bülbül in Baku, where he studied music fundamentals with Adelya Rahimova and composition with Pike Akhundova. Despite early successes with winning local competitions; orchestrating and performing his own works with orchestra, he wasn’t sure whether he is going to continue with music. However, Mr. Mammadoff decided to make a life-long professional commitment to music from the age of 16. As a huge fan of jazz music Mammadoff wanted to pursue his career as a jazz pianist first, but then he decided to leave it as a hobby. His exceptional talent and passion for music brought him to Manhattan School of Music in New York, where he studied under Phillip Kawin and immediately was awarded the Harold and Helene Schoenberg scholarship. He also received lessons from Israeli pianist Alon Goldstein, Rena Shereshevskaya, William Grant Nabore, etc. at the age of 24.
As a part of the “New Names” project, Mammadoff performed for the first time with the symphonic orchestra one of the most difficult concertos in piano literature— Rachmaninoff’s Third Piano Concerto in D minor. After this sensational performance, he was immediately invited to perform this concerto at the 13th Gabala International Music Festival with maestro Fuad Ibrahimov in the open air concert. In the interview, Mammadoff said that he couldn’t have done it without a guidance of his mentor Stanislav
In October 2023 Mammadoff participated in the “World Concerto Tour” project by Stanislav Ioudenitch celebrating Sergei Rachmaninoff’s 150th anniversary featuring the composer’s complete piano concerti. In March 2024, as a part of “New Names” project Mr. Mammadoff was invited again to perform Prokofiev’s Third Piano Concerto with maestro Fuad Ibrahimov at the Azerbaijani State Philharmonic Hall which was received with huge success. In April 2024, he was invited to perform at David Dubal’s Piano Evenings series. In the summer 2024, Mr. Mammadoff recorded a complete set of 24 Preludes and Fugues from the second book of Well Tempered Clavier by J.S. Bach, which will be released in January 2025.
Currently Mr. Mammadoff studies at Park University International Center for Music under 2001 Van Cliburn Gold medalist Stanislav Ioudenitch.
Jiarui Cheng
Jiarui Cheng from Nanjing, China, is known for his blend of artistic nuance and bravura pianism. He is hailed for his affinity for a wide range of stylist traditions. Cheng has performed as a concerto soloist and recitalist in China, United States and Europe. He has been featured as concerto soloist with the Shanghai Conservatory of Music Symphony Orchestra for the Conservatory’s 70th Anniversary Celebration Concert, performing Beethoven Piano Concerto No. 4 in Shanghai Symphony Hall. He subsequently performed Beethoven No. 4 with the Grossetto Symphony Orchestra in Italy.
Cheng has been a prizewinner in multiple competitions including the Scriabin International Piano Competition and the National Piano Competition in Shanghai. In 2019 he performed Rachmaninoff’s 3rd Piano Concerto to great acclaim with The Cleveland Institute of Music Orchestra as winner of the CIM Concerto Competition. As recipient of the Niu Ende Piano Scholarship, Cheng studied at the Shanghai Conservatory of Music with Professor Jin Tang. He also studied at The Cleveland Institute of Music as an Artist Certificate candidate with Kathryn Brown. He was one of semi-finalists of the Cleveland International piano competition and Ioudenitch, because of whom he left everything in New York City to move to Kansas City.
Santander International piano competition. In 2023 he performed Grieg piano concerto with the Aspen Conducting Academy orchestra as winner of Aspen concerto competition. He also performed Beethoven Piano Concerto No. 4 with Tongyeong Music Festival Orchestra as prize winner of ISANGYUN International Piano Competition.
Cheng is pursuing a Bachelors in Music Performance and is part of the Piano studio under the tutelage of Stanislav Ioudenitch.
Yangrui Cai
Born in November of 2000, Chinese Pianist Yangrui Cai began his piano study at age 4. Between the ages of 8 and 12, he studied with Jay Sun and continued under Dr. Vivian Li of the Xinghai Conservatory of Music since age 12 until college. In 2016, Yangrui was admitted to the Xinghai Conservatory Middle School with a firstplace ranking in the national audition. He has since then taken top prizes in all the major national competitions in China. In the past few years, Yangrui has won prizes at major international competitions such as the 7th Sendai International Music Competition in Japan, the 9th Bösendorfer & Yamaha USASU Competition for Young Artists in USA and the most recent Sydney International Piano Competition in 2021. He has also distinguished himself at the Cliburn International Piano Competition 2022 with an impressive performance. Yangrui was awarded 4th prize in The Ljubljana Festival International Piano Competition 2023 in Ljubljana, Slovenia. He was also awarded 1st Prize in 2023 Japan Piano Open international piano competition. He was recently named a semifinalist in the 2024 Gina Bachauer International Piano Competition.
Since a young age, Yangrui has given solo recitals in China, Japan, Germany, Denmark, Italy, France, Canada and the United States; appeared as soloist with Hong Kong Youth Philharmonic Orchestra, Guangzhou Symphony Orchestra, Hangzhou Philharmonic Orchestra in China, Sendai Philharmonic Orchestra in Japan, TIMM Ensemble in Italy, RTV Slovenia Symphony Orchestra in Slovenia, Azerbaijan State Philharmonic Orchestra and Armenian State Symphony Orchestra. Yangrui was a full scholarship recipient of numerous influential music festivals such as Morningside Music Bridge and Tanglewood Music Festival. He has performed in masterclasses with Dmitri Bashkirov, Antonio Pompa-Baldi, Stanislav Ioudenitch, Yoheved
Kaplinsky, Lev Natochenny, Michel Dalberto, Krzysztof Jablonski, Peter Donohoe, Chengzong Yin, Thai Son Dang, Horacio Gutirrez, Robert Spano and Yefim Bronfman.
Upon his graduation with distinction at the Middle School of Xinghai Conservatory in July 2019, Yangrui was admitted to several prestigious conservatories in the USA with full scholarships. He recently received his Bachelor of Music degree at Oberlin Conservatory and is continuing to pursue his Master of Music at Park University ICM, studying under the tutelage of world-renowned pianist, Professor Stanislav Ioudenitch.
Tatiana Dorokhova
Tatiana Dorokhova was born in 1991 in Volgograd in a family of musicians. She started playing the piano at the age of six and went on to graduate from the Children’s Music School No. 14 in Volgograd (class of Mrs. Anna Cherfas), the Central Music School in 2009, and the Tchaikovsky Moscow State Conservatory (class of Prof. Alexander Mndoyants) in 2016. She has also participated in master classes of outstanding musicians, including Dmitry Bashkirov, Paul Badura-Skoda, Dina Yoffe, Richard Goode, Leon Fleischer and others.
Tatiana is a laureate of many International music competitions, including: the International Piano Competition of the City of Jaen (Spain, 2011, 2nd Prize and prize for the best performance of a compulsory work); the Johann Nepomuk Hummel International Piano Competition (Bratislava, Slovakia, 2017, 3rd Prize); the 28th New Orleans International Piano Competition (USA, 2022, 2nd Prize); the Gurwitz International Piano Competition (USA, 2024, 2nd Prize and the Audience Favorite Award), the Santa Cecilia International Piano Competition (Porto, Portugal, 2024, 3rd Prize).
Tatiana took part in the recording of the Anthology of Russian and Soviet Piano Music CD series released by the “Melodiya” record company. Currently Tatiana is a student of Professor Stanislav Ioudenitch at Park University in Parkville, Missouri.
Photo: Emil Matveev
Ilya Shmukler
“Shmukler is a volcano; the name of Ilya Shmukler should be remembered!” – that is how the Frankfurter Allgemeine Zeitung described this pianist after his triumph at the world-renowned Concours Géza Anda 2024 in Zurich,Switzerland, where he won four special awards in addition to the First Prize.
When he was 3 years old, Moscow native Ilya Shmukler’s mother found him jumping on the bed and beautifully singing Robertino Loreti’s “Jamaica”. Thus recognizing his talent, she immediately made him take his first music lessons. It was important to Ilya’s non-musician parents, however, that he be raised as a well-rounded person, so his early years were also spent with school, table tennis, and ballroom dancing. But at 10, he says, his life changed after applying for and winning his first music competition and attending the subsequent international summer academy: “There I discovered a true musical life, and I fell in love with it, inspiring me to commit my life to music.”
He performed his first recital at age 12, and made his orchestral debut at 14. Since then, he made solo appearances in Europe and North America, and performed with such artists as Mikhail Pletnev, Paavo Järvi, Marin Alsop, Nicholas McGegan, Junichi Hirokami, Anne-Marie McDermott, Anton Nel and David Radzynski. Ilya Shmukler’s collaborations include the Tonhalle-Orchester Zurich, Musikkollegium Winterthur, the Mariinsky, Fort Worth Symphony, Sendai Philharmonic, Kansas City Chamber, BayerSymphoniker, and New Music Orchestras.
Besides the Concours Géza Anda, Ilya is a laureate of many international piano contests, taking top prizes at the Wideman (Shreveport), Lewisville Lake Symphony, Artist Presentation Society (St. Louis), Shigeru Kawai (Tokyo) Competitions. To have become a finalist of the 2022 Cliburn Competition, where he also received the award for the “Best Performance of a Mozart Concerto”, is a milestone in his career. As a winner of the Carnegie Weill Recital Hall Debut Audition he made his New York debut at the venerated venue on December 13, 2022.
An alumnus of the Tchaikovsky Moscow State Conservatory under the guidance of Professors Elena Kuznetsova and Sergey Kuznetsov, Ilya continues his studies at Park University (USA) with Professor Stanislav Ioudenitch, so he combines diverse approaches in piano playing. Ilya’s dear teacher Stanislav Ioudenitch characterized him as “an exceptionally talented pianist with a unique blend of imagination and individuality.”
PROGRAM NOTES
Frédéric Chopin (1810-49):
Twelve Preludes from the 24 Preludes, Op. 28
Many of Chopin’s short piano pieces are titled according to their function or musical character: The études are, to an extent, “study pieces,” while the Nocturnes are reflections on night moods. The mazurkas, polonaises, and waltzes were inspired by dance-rhythms of national character, and the ballades by narrative designs of the poet Adam Mickiewicz. Even the scherzos seemed to have picked up on the frenetically dark comedy that Beethoven mined in his some of his late works.
Chopin’s use of the word “prelude” is more enigmatic. When examining the character of Op. 28, the set of miniatures in all 24 major and minor keys that Chopin published in 1839, one element stands out prominently: that of improvisation. Perhaps Chopin’s concept harkens back to the Baroque or even Renaissance periods, when composers compiled volumes of preludia in various keys that could be used to precede a fugue, toccata, chorale, or other larger work for concert or ecclesiastical use.
More recent examples of these carry this tradition into the 19th century, when we know that concert pianists often used transitional passages to join pieces of a recital into a continual flow. Richard Taruskin suggests that Chopin probably owned Moscheles’ 50 Preludes, Op. 73, in addition to the two books of Bach’s Well-Tempered Clavier that served as his primary model. Chopin’s Op. 28 was composed at Majorca, where he and George Sand had traveled in 1838 escape the Paris winter. In a departure from Bach’s procedure, in which preludes and fugues move up the chromatic scale, Chopin’s move up by fifths. They range widely in length, texture, mood, and emotional content; and although each is its own distinct entity, the effect of hearing several in a row is of a peculiar sense of wholeness.
Photo: Damian Gonzalez
Portrait by Maria Wodzińska
PROGRAM NOTES (CONT.)
Franz Liszt (1811-86): La Campanella
If Chopin transformed the means through which the piano could express chromaticism and color, Liszt assimilated aspects of Chopin’s coloristic approach while imbuing his own solo works with a level of virtuosity that stretched the limits of what pianists, and pianos, were able to negotiate.
The majority of his 700 or so compositions involve piano. La Campanella, one of his foremost “etudes,” grew from the composer’s inspiration upon hearing, in 1832, Niccolò Paganini’s Second Violin Concerto, subtitled La Clochette (The Little Bell) because of the use of a tiny bell in the third movement. Liszt used this as the subject for his La Campanella, which appeared in a 1838 collection of Transcendental Etudes after Paganini, in a version in A-flat minor.
In 1851, Liszt published the version we know best today, as the third of six Grandes études de Paganini, S. 141, this time in G-sharp minor. The virtuosic filigree remains complex (and grows increasingly so throughout) but the tessitura is higher and the texture feels more transparent. This increased “elegance” may well be the result of Liszt having performed the piece on his concert tours — learning much about his own innovative and spontaneous pianistic style along the way.
Frédéric Chopin (1810-49): Barcarolle in F-sharp major, Op. 60
Among Chopin’s later “character pieces,” two works stand out as particularly vivid examples of illustrative music. The Berceuse, Op. 57 is a lullaby that uses a continuous bass “rocking” figure over which Chopin etches an embroidered set of variations in the right hand. The Barcarolle, Op. 60 (1845-46) is likewise inspired by an existing programmatic format, but this time the image is of a gondolier whose plaintive song undulates in unison with his boat as it sways through lazy Venetian canals.
Photo by Franz Hanfstaengl
Photo by Louis-Auguste Bisson
PROGRAM NOTES (CONT.)
This is surely one of the most eloquent moments in 19th-century music: chromatically dense, imbued with a gauntlet of emotions, and employing a strain of bel canto melody. This and the Berceuse are “elevated” works — music meant to appeal to the sophisticated circle that Chopin had gathered around himself. Shortly afterward the composer’s health dropped off precipitously, yet it was he who played the Barcarolle at the last of his rare public performances, in February 1848 in Paris.
Camille Saint-Saëns (1835-1921) )/Liszt/ Horowitz:
Danse Macabre, Op. 40
Saint-Saëns was one of the truly dynamic figures on the rich canvas of 19th-century music, and his voluminous output includes operas, concertos, first-rate symphonies, and chamber works. To much of the concert public, however, he is known as the composer of the dry-bones rattle of the Danse Macabre (1874). One of four “tone poems” he wrote during the 1870s, this bizarre piece was inspired by a poem of Henri Cazalis, which begins: Zig and Zig and Zig: hark! Death beats a measure. / Drums on a tomb with heels hard and thin. / Death plays at midnight a dance for his pleasure, / Zig and Zig and Zig, on his old violin.
After a lugubrious introduction, the listener is besieged by a jarring series of tritones. Midnight is nigh, and a ghostly, aberrant dance draws skeletons from their graves to waltz and sway. After a discursive central section that includes a fugato and cascades of virtuosic display, one hears the strains of the Dies irae sounding the Last Judgment. A rooster announces the break of day, skeletons recede into their graves, and all is still. Liszt’s charged arrangement already brought fresh energy to Saint-Saëns’ textures, and Horowitz cranks up the volume even further in his version.
Photo by Charles Reutlinger
PROGRAM NOTES (CONT.)
François Couperin le grand (1668-1733): Les Ombres errantes from Pièces de Clavecin
François Couperin was as important to French Baroque keyboard music as J.S. Bach was to the German repertoire, composing dozens of dynamic suites and garrulous, colorful programmatic pieces that employed a highly systematized ornamentation that would distinguish the French style for more than a century. His harpsichord music was admired not just by Bach himself but by composers of subsequent generations as well, most notably Brahms, Richard Strauss and Ravel: The latter immortalized him in his own Baroque-inspired Le Tombeau de Couperin.
In addition to his large lifelong output of vocal music, concert works, and organ music, late in life he produced four massive volumes of music for harpsichord containing some 250 pieces, published from 1713 to 1730. Bach was known to have admired these works and was intimately familiar with them. Couperin was in ill health as he composed the fourth and final volume: Les Ombres errantes (Errant Shadows) finds its way into the 25th suite from that volume.
“My hope is that my family will discover in my portfolios something that may cause my passing to be lamented,” the composer wrote, “if indeed lamentations serve any purpose when life is over.” Some have suggested that the strains of Les Ombres errantes are meant to evoke the spirits that accompany a soul languishing in limbo.
Richard Wagner (1813-1883) / Franz Liszt: Overture to Tannhäuser
A substantial portion of Liszt’s output for piano is devoted to transcriptions, arrangements, orchestrations, variations, fantasies, and “reminiscences” of everything from Bach cantatas to Beethoven symphonies, from Mozart sacred works to Schubert lieder. Many of these focus on opera: elaborations of various kinds on such works as Mozart’s Don Giovanni or Bellini’s Norma, which
Photo by Pierre Petit
PROGRAM NOTES (CONT.)
could serve as a sort of “sampler” of highlights from an opera that members of the public might not have seen in performance.
Many of the Wagner transcriptions are of a different order, as Liszt commented to the publisher Breitkopf & Härtel in 1875, underscoring that these more literal keyboard versions “served only as modest propaganda for Wagner’s noble genius using the meagre possibilities of the piano.” By the 1850s, works such as The Flying Dutchman, Tannhäuser, and Lohengrin were known chiefly through performances at the Weimar court, conducted by Liszt, who continued to promote them for the rest of his life.
Liszt calls his piano version of the Tannhäuser Overture a “Concert Paraphrase,” and it does stick more closely to the substance — if not always the texture — of Wagner’s original. It alternates between literal transcription and pianistically daring attempts to evoke the sensuous dazzle of Wagner’s orchestration. Thus Liszt is able to convey, in 15 minutes, something of the power of Wagner’s three-and-a-half-hour opera.
Ludwig van Beethoven (1770-1827): Sonata No. 31 in A-flat major, Op. 110
If Beethoven could have heard the music he was composing during his final years, his “late style” might have taken a different direction. Almost entirely deaf and thus unfettered by the limitations of actual sounds, he forged an unprecedented musical language in the late Piano Sonatas (181822), the Missa Solemnis and Diabelli Variations (1822-23), the Ninth Symphony (1823-24), and the final string quartets (1824-27).
Without doubt trauma, sorrow, and the anxieties of middle age played a role in forging this style. As he gradually resigned to being a lonely bachelor in his creativity, he began to see himself unmasked, psychologically speaking, for the first time, according to biographer Maynard Solomon’s analysis. The ego-driven heroics of the middle-period works, which had nearly claimed Beethoven’s sanity, laid the groundwork “for a breakthrough of his creativity into hitherto unimaged territories,” Solomon writes.
Portrait by Joseph Karl Stieler
PROGRAM NOTES (CONT.)
The last three sonatas (Op. 109, 110, and 111) form a sort of repertoire of their own, each unique and yet all “of a piece”: at once esoteric and eminently listenable. Op. 110 (1822) is the most prosaic of the three, as it manages to map an incredibly a wide range of emotions in a mere 20 minutes. It is divided into three movements: a tranquil Moderato cantabile molto espressivo that is an abbreviated sonata form, an Allegro molto that stands as of the composer’s most tersely explosive scherzos, and a finale that alternates slow Adagio sections with two quite different fugues.
Pyotr Ilyich Tchaikovsky (1840-1893):
Scherzo à la russe in B-flat major, Op. 1 No. 1
Nocturne in F major, Op. 10 No. 1
Humoresque in G major, Op. 10 No. 2
Before Tchaikovsky produced the large-scale early works for which he is known (Swan Lake, the Piano Concerto No, 1, Eugene Onegin), he published a series of salon pieces for piano in the 1860s and early ’70s that are as polished and sophisticated as any music of the period. Under the influence of Nikolai Rubinstein, who invited the 25-year-old Tchaikovsky to Moscow in 1866, the young composer had made his first tentative forays into opera (The Voyevoda) and symphony (the “Winter Daydreams,” in G minor), yet the piano works of this period stand proudly on their own.
The Scherzo à la russe, the first of two pieces the composer published as his Op. 1, is a joyous fistful of notes that any young musician would have been proud to include in his first oeuvre. Composed in 1867 and printed the following year, it was one of the works with which Tchaikovsky would first establish a relationship with the publisher Pyotr Jurgenson, who would become a longtime business associate. Jurgenson also published the composer’s Op. 10, two pieces from 1872 that already showed an advance, from the Op. 1, in the composer’s command of form and melodic design. The Nocturne is a tenderly reminiscence of Chopin, while the rollicking Humoresque is based on a French song (“La fille aux oranges”) that Tchaikovsky claims to have heard during a stay in Nice around this time.
PROGRAM NOTES (CONT.)
Franz Liszt:
Funérailles from Harmonies poétiques et religieuses, S. 173, No. 7
In 1847 Liszt met the woman he hoped to make his wife, the Princess Carolyne zu Sayn-Wittgenstein. The following year, he accepted the post of honorary Kapellmeister at Weimar and began curbing his touring activities. This was an especially prolific period for the composer, who (just to name some of the piano works) composed two books of the Années de pèlerinage, the B-minor Sonata, and the Harmonies poétiques et religieuses. The latter was a set of a reflections on the literature of Romantic poet Alphonse de Lamartine, music in which Liszt also began expressing aspects of a deepening spirituality. Funérailles from 1849 is the seventh of 10 works in this set, and one of Liszt’s most compelling works.
It is a tribute to heroes who had fallen in an attempted Hungarian uprising earlier that year: crushed by Austrian forces. With his Magyar roots, Liszt felt an emotional alliance with the Martyrs of Arad, during a period in which Hungarian self-determination began to take root against a brutal Hapsburg monarchy. His funeral piece, in honor of those who perished, was thus deeply personal. It is divided into four sections that range in mood: from dark gloom to defiant march-like tirades, from moments of resignation to glimpses of hope on a dreary battlefield.
Portrait by Henri Lehmann
—Paul Horsley
Park International Center for Music
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
Marilyn Brewster
Lisa Browar
Stanley Fisher
Brad Freilich
Ron Nolan
Shane Smeed
Benny Lee, Treasurer
John Starr
Steve Swartzman
Guy Townsend
Angela Walker
Karen Yungmeyer
Photo: Damian Gonzalez
Park International Center for Music
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Stanislav Ioudenitch, Founder & Artistic Director, Piano Studio
Behzod Abduraimov, Artist-in-Residence
Gustavo Fernandez Agreda, ICM Coordinator
Peter Chun, Viola Studio
Lolita Lisovskaya-Sayevich, Director of Collaborative Piano
Steven McDonald, Director of Orchestra
Ben Sayevich, Violin Studio
Daniel Veis, Cello Studio
Photo: Damian Gonzalez
Park International Center for Music
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SUPERLATIVE
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Park University International Center for Music
ICM Orchestra FALL CONCERT WITH GUEST CONDUCTOR LAURA JACKSON
November 1, 2024 • 7:30 p.m. Graham Tyler Memorial Chapel
Park ICM Orchestra will be under the direction of guest conductor Laura Jackson, Music Director and Conductor of the Reno Philharmonic Association, who is returning for her third engagement with the ICM Orchestra. Maestra Jackson has selected a program with music by Benjamin Britten, Johann Sebastian Bach, and Antonin Dvořák.
Reserve your seats today.
Tickets are FREE with reservation. SCAN HERE!
Park University International Center for Music Presents
Park ICM Strings Studio in Recital
November 14, 2024 | 7:30 p.m. | 1900 Building
See the students of the Park ICM String Studios in concert! Our talented string students will take the stage to present a diverse and rich program, showcasing the broad spectrum and emotional depth of compositions written for string instruments.
For additional information, visit ICM.PARK.EDU
General Admission $30. Students $10 with I.D.
Park University International Center for Music
ICM Orchestra FREE HOLIDAY CONCERT
Following the incredible success of our 2nd annual holiday concert last year, International Center for Music Orchestra at Park University returns to usher in the holiday season. Under the direction of Steven McDonald, the music director of the ICM Orchestra, anticipate being whisked away to the very core of the holiday spirit.
Don’t delay – secure your seats today to guarantee your presence at this enchanting musical affair! It’s an evening that not only delivers exquisite music but also fosters a profound sense of unity and community, embodying the true essence of the holiday season.
Saturday, December 7, 2024 • 7:30 p.m.
Graham Tyler Memorial Chapel
Dr. Steven McDonald conducting
Make it an evening! Visit charming Parkville, Missouri for dinner before the concert.
Tickets are FREE with reservation. Scan Here!
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