Park University International Center for Music Presents: Stanislav Ioudenitch Piano Studio Recital by TheIndependentMagazinePA

PARK UNIVERSITY INTERNATIONAL CENTER FOR MUSIC PRESENTS

Stanislav Ioudenitch Piano Studio Recital

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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

Wanderer Fantasy in C major, D 760

..................................................................... Franz Schubert (1797-1828)

Sergey Belyavsky

(Artist Diploma in Piano Performance)

Après une lecture du Dante: Fantasia quasi Sonata (Sonata Dante)

................................................................................... Franz Liszt (1811-86)

Tatiana Dorokhova

(Graduate Certificate in Piano Performance)

Three Movements from ballet Petrushka

....................................................................... Igor Stravinsky (1882-1971) Danse russe (Russian Dance) Chez Pétrouchka (Petroushka’s Room) La semaine grasse (The Shrovetide Fair)

Yangrui Cai

(Master of Music in Piano Performance)

Intermission Choral 2 in B minor

............................................................................... César Franck (1822-90)

Islamey, Op. 18

........................................................................ Mily Balakirev (1837-1910)

Michael Davidman

(Artist Diploma in Piano Performance)

Sonata No.7 in B flat major, Op. 83

.................................................................... Sergei Prokofiev (1891-1953) Allegro inquieto Andante caloroso Precipitato

Ilya Shmukler

(Master of Music in Piano Performance)

ABOUT STANISLAV IOUDENITCH Known for a ravishing technique and his compelling musical conviction, pianist Stanislav Ioudenitch is part of the elite group of Cliburn Gold Medal winners, having taken home the Gold Medal at the 11th Van Cliburn International Piano Competition. In addition to the Cliburn Gold Medal, he was also the recipient of the Steven De Groote Memorial Award for Best Performance of Chamber Music. His profoundly warm and intelligent performances have won him prizes at the Busoni, Kapell, Maria Callas, and New Orleans competitions, among others. Ioudenitch has performed at major international cultural centers including Carnegie Hall (New York), Kennedy Center (Washington, D.C.), Gasteig (Munich, Germany), Conservatorio Verdi (Milan, Italy), Mariinsky Theater (St. Petersburg, Russia), International Performing Arts Center (Moscow, Russia), The Great Hall of the Moscow Conservatory (Moscow, Russia), Forbidden City Concert Hall (Beijing, China), International Piano Festival of La Roque d’Anthéron (France), Théâtre du Châtelet (Paris, France), Bass Hall (Fort Worth, Texas), Jordan Hall (Boston, Massachusetts), Orange County Performing Arts Center (Costa Mesa, California), and the Aspen Music Festival (Aspen, Colorado). Ioudenitch has had the privilege to perform with the conductors James Conlon, Valery Gergiev, Mikhail Pletnev, James DePreist, Günther Herbig, Asher Fisch, Stefan Sanderling, Michael Stern, Carl St. Clair, and Justus Franz, and with orchestras including the Munich Philharmonic, the Mariinsky Orchestra, National Symphony (Washington, D.C.), Rochester Philharmonic, Honolulu Symphony and the National Philharmonic of Russia. Chamber music partners have included the Takács, Prazák, Borromeo, and Accorda quartets. His teachers have included Natalia Vasinkina, Dmitri Bashkirov, Karl

Ulrich Schnabel, Leon Fleisher, Rosalyn Tureck, and William Grant Nabore at the International Piano Foundation in Como, Italy (the current International Piano Academy Lake Como). He subsequently became the youngest teacher ever invited to give master classes at the Academy and now serves as its Vice President. He also studied at the UMKC Conservatory of Music under the direction of Robert Weirich. Ioudenitch is continually invited to teach master classes and to serve as a jury member in piano competitions around the world. Students include Behzod Abduraimov, Kenny Broberg, Andrey Gugnin, Yuntian Liu, among others. Stanislav Ioudenitch is the founder of the International Center for Music at Park University (Kansas City) where he is an Artistic Director and professor of piano. He is also teaching at the Oberlin Conservatory of Music.

ABOUT TONIGHT’S ARTISTS Sergey Belyavsky Praised as a “beast on the keyboard,” (The Utah Review) pianist Sergey Belyavsky has thrilled and awed audiences around the globe. He is described as demonstrating “an extraordinary expressive intelligence,” (Bachtrack) and has been called “one of the best pianists in the world today.” As a soloist, Sergey has performed in such venues as Victoria Concert Hall (Geneva), Abravanel Hall (Salt Lake City), Weil Hall in Carnegie Hall (New York City), Bass Performance Hall (Fort Worth), the Kauffman Center for the Performing Arts (Kansas City), Salle Gaveau (Paris), Henri Le Boeuf Hall BOZAR (Brussels), Palau de la Música Catalana and L’Auditori (Barcelona), the Great Hall of the Moscow Conservatory, Tchaikovsky Philharmonic Hall (Moscow), Saint Petersburg Philharmonic Hall, Keimyung Arts Center (Daegu), and the Grand Hall at the Liszt Academy (Budapest), among many others. Concerto highlights include appearances with internationally acclaimed orchestras such as the Utah Symphony Orchestra, the Czech National Symphony Orchestra, Orchestre de la Suisse Romande, Tchaikovsky Symphony Orchestra, the Hungarian Radio Symphony Orchestra, Space Coast Symphony Orchestra, the Russian National Orchestra, and Philharmonie der Nationen. Sergey received widespread recognition after winning prizes in more than thirty prestigious international piano competitions. Among them are the Gina Bachauer Competition, the Budapest Liszt Competition, the Liszt Utrecht, the Maria Canals Competition, the Sydney Competition, the Paderewski-Bydgoszcz Competition

and the València International Piano Competition Iturbi. Most recently, he was awarded second prize and the audience prize at the 76th Concours de Genève (2022). Belyavsky has released four solo CDs, most recently of Schubert and Liszt’s music on the KNS Classical label.

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 at the Tchaikovsky Moscow State Conservatory in 2009, and the Tchaikovsky Moscow State Conservatory in 2016 (class of Prof. Alexander Mndoyants). Tatiana’s performances always present an extraordinary involvement in musical material, depth, and thoughtfulness, and each one reveals new facets of the music. Tatiana performs with virtuosity, a sensitive touch, a sense of style and form, and a clear understanding of the cultural context. Tatiana is a laureate of many international music competitions, including: the International Competition of Young Pianists named after V.V. Krainev (Kharkiv, Ukraine, 2008, 1st Prize); the International Piano Competition of the City of Jaen (Spain, 2011, 2nd Prize); the Johann Nepomuk Hummel International Piano Competition (Bratislava, Slovakia, 2017, 3rd Prize); the 28th New Orleans International Piano Competition (USA, 2022, 2nd Prize). Tatiana took part in the recording of the Anthology of Russian and Soviet Piano Music CD series released by the “Melodiya” record company. She has performed in the halls of the Moscow Conservatory,

the St. Petersburg, Moscow and Berlin Philharmonic, and the Cortot Hall in Paris etc. Tatiana Dorokhova successfully combines performing and teaching activities. In 2017-2022 she was an Assistant Professor at the Tchaikovsky Moscow State Conservatory, working with Professor Alexander Mndoyants. Currently Tatiana is a student of Professor Stanislav Ioudenitch at Park University in Parkville, MO.

Yangrui Cai Born in November 2000, Chinese pianist Yangrui Cai began his piano study at age 4. Between age 12 and college, he studied at Xinghai Conservatory of Music. In 2016, Yangrui was admitted to the Xinghai Conservatory Middle School with a firstplace ranking in the national audition. He has since then taken prizes in major national competitions, including the 7th Sendai International Music Competition in Japan and the 9th Bösendorfer and Yamaha USASU Competition for Young Artists in the U.S. and the Sydney International Piano Competition in 2021. Yangrui also advanced to the preliminary round of the 16th Van Cliburn International Piano Competition in Fort Worth, Texas, in 2022. Recently, Yangrui was awarded fourth prize at the Ljubljana (Slovenia) Festival International Piano Competition 2023. In September 2023, Yangrui received first prize in the Japan Piano Open competition. His first place finish means he will participate as one of 70 competitors in the ‘Classic Piano’ International Piano Competition in Dubai in 2024. Over the years, Yangrui has given solo recitals in Canada, China, Denmark, France, Germany, Italy, Japan and the U.S. He has appeared as soloist with the Hong Kong Youth Philharmonic

Orchestra, Guangzhou Symphony Orchestra, Hangzhou Philharmonic Orchestra, Sendai Philharmonic Orchestra, TIMM Ensemble, and RTV Slovenia Symphony Orchestra. Yangrui has also participated in numerous music festivals, including Morningside Music Bridge and Tanglewood Music Festival. Yangrui graduated with distinction from the Xinghai Conservatory Middle School in July 2019, and he recently earned a Bachelor of Music degree from Oberlin Conservatory. Yangrui is currently pursuing a Master of Music degree from Park University’s International Center for Music, studying under Stanislav Ioudenitch.

Michael Davidman Michael began his piano studies at the age of five at the Greenwich House Music School, continuing with Efrem Briskin at the Manhattan School of Music precollege division. Michael completed his Bachelor of Music degree under the guidance of Robert McDonald and Ford Mylius Lallerstedt at the Curtis Institute of Music, his Master of Music degree at the Juilliard School with pianists Jerome Lowenthal and Stephen Hough. Presently, Michael is finishing an Artist Diploma studying with Stanislav Ioudenitch at the International Center for Music, Kansas City, MO. A dedicated and disciplined young musician, Michael has won numerous piano competitions, including the 2022 Long-Thibaud International Piano Competition, third place and Orchestra prize, 2021 American Pianists Association finalist award, and first prize of the 2019 Juilliard Gina Bachauer Competition. As soloist, he has performed with the Philadelphia Orchestra, Orchestre Symponique de la Garde Republicaine, Indianapolis Symphony Orchestra, Virginia Beach Symphonicity, Monterey

Symphony, Millikin-Decatur Symphony Orchestra, Yonkers Philharmonic Orchestra, Ithaca College Orchestra, New York Concerti Sinfonietta, and NY Chamber Orchestra. Festivals include Encuentro de Musica in Santander, Spain, Norfolk Chamber Music Festival (Yale), Music Academy of the West, Kneisel Hall, Summit Music Festival, Music@Menlo, and PianoFest in the Hamptons. Michael has also performed on WHYY “Curtis On Stage”, The Robert Sherman Show, From the Top, and “Piano Evenings with David Dubal.” An opera enthusiast from a very young age, Michael does audio restoration and cleaning work on historical and rare opera recordings, uploaded to his YouTube channel called PucciniMD.

Ilya Shmukler Born in Moscow in 1994, Ilya Shmukler’s mother found him at age three jumping on the bed and beautifully singing Robertino Loreti’s “Jamaica.” She immediately recognized his musical talent and started him in lessons. It was important to his non-musician parents 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. He performed his first solo recital at 12 and made his orchestral debut at 14. Since then, he has revealed himself as an exceptional, creative and enthusiastic young artist. Shmukler competed in back-to-back Van Cliburn International Piano Competitions in 2017 (prior to becoming a student at Park University in 2019) and 2022. In 2017, Shmukler advanced to the quarterfinals; in 2022, he finished in a tie for 4th place, and was selected as the winner of the “Best Performance of a Mozart

Concerto” award. In 2021, Shmukler won the Carnegie Weill Recital Hall Debut Audition and made his New York debut at the venerated venue in December 2022. Shmukler, who earned a graduate certificate in music performance from Park University’s International Center for Music in 2021, is currently pursuing a graduate artist diploma in music performance under Park ICM artistic director and founder Stanislav Ioudenitch. He also earned a master’s degree from the Moscow Tchaikovsky Conservatory in 2021. “This young man is a great talent of a very high degree of expertise and professionalism,” Ioudenitch said. “Moreover, he is extremely serious in his attitude toward his work and his career; his capacity for concentration and productive work is of the highest caliber.”

PROGRAM NOTES

Franz Schubert (1797-1828): Wanderer Fantasy in C major, D. 760 The Wanderer Fantasy from 1822 is unique in the repertory. This splendid solo work is cast as a single continuous idea, with four sections that are all built from a single theme (a tune derived from Schubert’s own melancholy song of 1816, “Der Wanderer”). Its approach to “thematic transformation” would later have an impact on Franz Liszt, who also experimented with procedures of gradual metamorphosis in his B-minor Piano Sonata, his piano concertos, and (to some extent) his symphonic poems. It was written during a period when Schubert had taken a break from the piece we know as the “Unfinished” Symphony. He dedicated the Fantasy to the nobleman Karl Emanuel Liebenberg von Zsittin, a friend of a friend, perhaps in the hopes of currying favor with the dedicatee. The critic Donald Francis Tovey somewhat whimsically referred to Schubert’s piece as “the earliest and best of all symphonic poems.” Indeed, its four movements are so convincingly linked thematically that we hear the piece as a continuous gesture. But Tovey’s comment also alludes, implicitly perhaps, to another aspect of the piece — namely its thick, symphonic textures. The insistent repetition of the initial pitch in the opening movement (Allegro con fuoco) becomes a governing motif. It is expanded, using a little melodic “turn,” into the second theme. Schubert begins his Adagio with a virtually verbatim quote of the “Wanderer” song,

followed by an ethereal set of variations on the tune. A dashing Presto scherzo in triple meter wends its way back to C major for the finale. This forthright Allegro opens with a fugal treatment of the motif and builds organically to a celebration of virtuosity.

Franz Liszt (1811-86): Après une lecture du Dante: Fantasia quasi Sonata (Dante Sonata) Literature stands at the center of a large portion of Liszt’s output. From the Faust Symphony to the Three Sonnets of Petrarch, from the Dante Symphony to tone poems such as Tasso (Byron), the range of sources reveals a literary appetite that was the norm for musicians of the 19th century. His two favorite sources were Goethe’s drama Faust and Dante Alighieri’s 14th-century epic The Divine Comedy. Between 1855 and 1857 he composed symphonies inspired by each of these classics: ambitious, large-scale works with chorus. A few years earlier, Liszt had completed a one-movement piano work inspired by Dante that he called Après une lecture de Dante — “after reading Dante.” It drew its title from a Victor Hugo poem that reflects on impressions of having read Dante’s masterpiece. But Liszt’s piece also deals with the legendary journey of Dante and Virgil through hell, purgatory, and paradise. He produced a first version in 1839, writing to his friend Maried’Agoult that he was so consumed with his fragment dantesque that he canceled a scheduled trip to Naples. But it was not until after his move to Weimar in 1849, where he spent the most productive years of his life, that he would thoroughly revise and expand the sonata into the work we know today.

The piece does not strive to depict the entirety of Dante’s epic, but instead serves as a sort of rumination on the nature of the poet’s journey from hell to paradise. Hugo’s 33-line poem offers a sort of summary of things seen on this pilgrimage, the “white gnashing of teeth in the dark night … the visions, the dreams, the chimeras … ambition, pride, filthy lust, and infamous avarice.” Structurally the piece is “at once a single sonata movement and a multimovement sonata cycle,” as theorist Carl Dahlhaus suggests. It does indeed begin with a harsh insistence on the tritone (Andante maestoso), the dissonant interval considered the “Devil in music” during Medieval times. A Presto agitato assai of great turmoil gives way to a rapturous Andante — which is both the “second theme” and a portrait, perhaps, of the joy of those in heaven. After a glowering climax (Allegro moderato), the composer lifts us back to the Andante and a noisy, virtuosic conclusion in what we hope is a place in paradise.

Igor Stravinsky (1882-1971): Three Movements from Petrushka When Sergei Diaghilev visited Stravinsky in Switzerland in the summer of 1910, he expected the composer to have made progress on the score that was to be their next big collaboration, The Rite of Spring. Instead, he found the composer engrossed in another piece altogether. It was to be called Petrushka. Fearing, perhaps, that the Rite was going to be a huge project, Stravinsky had been procrastinating at the keyboard by doodling with bitonal chords and wild pianistic roulades. The composer initially thought of it as a concerto-like work for piano

and orchestra, “a sort of Konzertstück,” as he wrote. (This is partly why the later transcription of three movements for piano solo seemed like a natural progression.) “I had in my mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggi. The orchestra, in turn, retaliates with menacing trumpet-blasts ... and it ends in the sorrowful and querulous collapse of the poor puppet.” Diaghilev was pleased, and happily suggested to the composer that he turn the music into a ballet. Petrushka is a puppet who comes to life and annoys everyone, and meets a bad end. Vaslav Nijinsky danced the title role in the work’s premiere in June 1911, at Paris’ Théâtre du Châtelet, with Pierre Monteux conducting. It made a deep impression. In 1921, Artur Rubinstein paid Stravinsky a generous sum to create a three-movement piano suite, which has become one of the most popular and demanding works in the repertoire. It includes the “Russian Dance” that forms the final part of the ballet’s First Tableau; “Petrushka’s Room,” where the boy rails awkwardly against his dependence on the puppet-master; and a final array of dances (“The Shrove-Tide Fair”), in which the puppets come to life and Petrushka battles the puckish Moor for his beloved, the Ballerina. Unsuccessfully, it turns out.

César Franck (1822-90): Choral No. 2 in B minor Franck felt like somewhat of an outsider for most of his life. Born of a French-Belgian father and a German mother in Liège, he moved to Paris with his family at age 12. He was initially refused admission to the

Paris Conservatory because of his national background, but he eventually became one of its most successful products. In 1872 he became the Conservatory’s professor of organ, and by the end of his life he counted among his students and protégées the likes of Ernest Chausson, Vincent d’Indy, and Henri Duparc. In addition to being a master composer and teacher, he was also one of the great organists of his day, and his advocacy helped spur the improvement in both the quality of newly installed French organs and the maintenance of existing ones. During the last two decades of his life, he produced several of the works for which he is best known: the D-minor Symphony, Psyché, the Piano Quintet, the Symphonic Variations, and the Trois Chorales pour Orgue. “Before I die, I am going to write some organ chorales, just as Bach did, but on a quite different plan,” he had written in 1889. He completed the Trois Chorals the following year, just weeks before his death. The second of these has been transcribed for piano by a number of artists: The one heard tonight is by the French pianist and composer Blanche Selva (1884-1942). Franck’s piece is more like a fantasy than a chorale, beginning with a long and somber opening Maestoso built on a hymn-like tune. The pianist presently breaks into a burst of activity, only to return to a slightly quicker reprise of the opening. The mournful, stormy finale suggests that the ailing composer — who had suffered a host of illnesses following a carriage accident in May 1890 — might have been confronting his own mortality in these works.

Mikhail Balakirev (1837-1910): Islamey, Op. 18 It was Balakirev who brought together the group of Russian composers that came to be known as The Five: The others were Alexander Borodin, César Cui, Modest Mussorgsky, and Nikolai Rimsky-Korsakov. Born into a noble family, Balakirev probably had the most thorough music training of the group — which he established as a means of encouraging Russians to embrace a national style. Spurred partly by the death in 1857 of Mikhail Glinka, a founding father of Russian musical style, these St. Petersburg-based musicians sought to place a personal stamp on what was essentially a strong Romantic strain. Balakirev himself composed a large quantity of instrumental music including symphonies, chamber music, incidental music, symphonic poems, and solo piano works. One of his earliest masterpieces for solo piano was the durable Islamey: Oriental Fantasy, which he wrote after an inspiring journey to the Caucasus. It was completed in August and September 1869 and revised in 1902. In a letter of 1892, the composer recalled “the majestic beauty of luxuriant nature there and the beauty of its inhabitants, which harmonizes with it.” During his journey he befriended a Circassian prince, whom he said “frequently came to me and played folk tunes. … One of them, called Islamey, a dance-tune, I liked very much and … I began to arrange it for piano.” Balakirev succeeded in creating one of the most popular (and difficult) works of the era.

Sergei Prokofiev (1891-1953): Piano Sonata No. 7 in B-flat major, Op. 83 Prokofiev was not only one of the great composers of the 20th century, he was also one of the most prolific of the composers who lived through the Revolution and two world wars. He began his career with music that danced between neoclassicism and acerbic modernism, then spent a number of years in Europe and (briefly) in the United States. In 1936 he and his family resettled in Moscow, and during the late ‘30s he composed some of his most impressive works to date: Peter and the Wolf, the film score to Alexander Nevsky, and Semyon Kotko, his first Soviet opera. In the years leading up to the war Prokofiev had walked a fine line, writing cheerful music for Stalin and occasionally slipping things past of a more serious nature.“When war broke out, I felt that everyone must do his share,” he wrote. “I began composing songs and marches for the front. But soon events assumed such a gigantic and far-reaching scope that they demanded larger canvases.” (He would soon embark on an ambitious operatic adaptation of War and Peace.) In 1939 he began work on the Piano Sonatas Nos. 6 through 8, later dubbed the War Sonatas, which reflect a great deal of the turmoil and tragedy of life during World War II. Each received its premiere by a different Russian master pianist: the Sixth by the composer (in April 1940), the Seventh by Sviatoslav Richter (January 1943), and the Eighth by Emil Gilels (December 1944). They would soon become part of the standard repertoire throughout the world.

As in the Sixth Sonata, the Seventh plays on the centuries-old tension between major and minor modes, which can sound either tense or bluesy (or both). It is filled with caustic wit and biting dissonance. It is difficult not to hear the march of boots in the opening Allegro inquieto, despite its no-holds-barred tone clusters, it manages to fall into a sort of rough sonata form. The central Andante caloroso is a dreamy respite from the battlefield: It quickly evolves into a dissonant, otherworldly dream before returning to the opening. The Precipitato is a ferocious, major-minor, piano-string-breaking romp.

-Paul Horsley

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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.