Park University ICM Presents: Rosamunde Trio In Concert, 2024

Rosamunde Trio

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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

Rosamunde Trio

3 Mazurkas Op.59

................................................................... Frédéric Chopin (1810-49) No. 1 In A minor No. 2 in A-flat major No. 3 in F-sharp minor

Sonata No.32 in C minor Op.111

................................................ Ludwig van Beethoven (1770-1827) I Maestoso – Allegro con brio ed appassionato II Arietta: Adagio molto semplice e cantabile

Martino Tirimo, Piano

Intermission Trio No. 1 in G minor for piano, violin, and cello, Op. 15

................................................................ Bedřich Smetana (1824-84) I Moderato Assai II Allegro, Ma Non Agitato III Presto

ROSAMUNDE TRIO Ben Sayevich, Violin Daniel Veis, Cello Martino Tirimo, Piano

ABOUT THE ROSAMUNDE TRIO The three international soloists who formed the Rosamunde Trio have been performing together since 2002, but this only tells half the story. Martino Tirimo first met Daniel Veis in Karlovy Vary back in 1978 when both were soloists at a concert in which Martino performed Beethoven’s Concerto No.4 and Daniel the ‘Rococo’ Variations of Tchaikovsky. By the time the second concert took place, at the Smetana Hall in Prague, the seeds of a long and fruitful friendship were well sown. Since then the two have undertaken many tours, exploring the piano and cello repertoire, and have recorded together Mendelssohn’s complete works for Supraphon.

From the early days of their friendship Daniel suggested forming a Trio, an idea to which Martino responded with equal enthusiasm. A search for the ‘right’ violinist, however, had not brought the desired result. Daniel was already playing Trios with his wife, pianist Helena Snitilova, and his father-in-law, distinguished violinist Vaclav Snitil. Later, in 1985 and mainly due to practical reasons, he founded the Dvorak Trio in Prague and toured and recorded extensively with them for 15 years. The idea of a Trio with Martino seemed truly dead and buried.

Then in early 2001 Daniel met Ben Sayevich in Prague, for some chamber music concerts, and their rapport was instant. Further music making in the USA cemented the relationship and Daniel was soon on the phone to Martino with the news that he ‘had

found a violinist’! This was some 20 years after the idea was first expressed.

The three musicians first met in London in 2002 and it became abundantly evident from the start that they had much in common, especially in musical ideas and values. It was also clear that all the seeds and capabilities for a top ensemble were there. After substantial preparation periods the Rosamunde Trio’s first concerts took place in England in the same year and audience and critical reaction was unanimous: here was a Trio that was totally committed to serving the music and able to offer imaginative and exciting performances that would remain long in the memory. Its three members may be international soloists, but they play as if of one mind.

Thus, in 2002 the Rosamunde Trio was born.

ABOUT THIS EVENING’S ARTISTS Ben Sayevich Lithuanian-Israeli violinist Ben Sayevich has established himself as one of the most distinguished violinists and teachers of his generation. He has performed in concert extensively throughout North America, Europe and the Far East, and he has appeared on radio and television as a soloist and chamber musician.

He is featured as the soloist in a recording of Vivaldi’s “The Four Seasons” with the Kansas City Chamber Orchestra. At the New England Conservatory of Music, he was chosen to play the Violin Concerto by Alban Berg for the celebration of the composer’s centenary. Sayevich’s interpretation carries the tradition that comes down directly from the composer, through his work on the piece with the late Louis Krasner, the commissioner, dedicatee and the violinist at the work’s premiere.

His extensive activities with orchestras have included concertmaster posts at the Kansas City Camerata and the Kansas City Chamber Orchestra, with both making numerous concerto appearances, including violin concertos by Vieuxtemps, Glazunov, Mozart and Beethoven. He was also concertmaster of the Heidelberg Chamber Orchestra during a five-week world tour of Japan, Singapore and Canada.

Sayevich also maintains a vigorous schedule as chamber musician.

He is a founding member of the Park Piano Trio, established at Park University in 2006, and is violinist of the London-based Rosamunde Piano Trio. With the Rosamunde Trio, he has performed widely in Europe, including appearances on BBC Radio London, Irish Public Radio in Cork and the Abbado Festival Bologna. He is also a founding member of Quartet Accorda, which began in the 1990s and was officially incorporated in 2002.

Sayevich has taught at the University of Kansas, the Grieg Academy in Bergen, Norway, the New England Conservatory of Music, the Hartt School of Music and the Yellow Barn Music Festival in Vermont.

Born in Kaunas, Lithuania, he studied violin in Vilnius from the age of 6 at the Churlonis School for the Performing Arts. At 12, he immigrated to Israel with his family and studied with Felix Andrievsky. At age 21, after serving in the Israeli army, he went to the U.S. to study with Dorothy DeLay, later moving to the New England Conservatory of Music to continue studies with her and Eric Rosenblith. He is a recipient of the prestigious artist diploma from the New England Conservatory of Music, where he was Rosenblith’s teaching assistant.

Daniel Veis Daniel Veis has been recognized as the finest Czech cellist since winning first prize at the 1976 Prague Spring International Music Competition and the silver medal at the 1978 International Tchaikovsky Competition in Moscow.

Born in Prague, Veis studied five years at the Moscow Conservatory

with Natalia Shakhovskaya. Since 1979, he has performed regularly as a soloist with many major orchestras in such centers such as Avery Fisher Hall in New York’s Lincoln Center, Carnegie Hall (New York), Royal Albert Hall (London), Orchard Hall (Tokyo), Auditori de Barcelona and Auditorio Nacional de Madrid.

His repertoire is substantial and includes a number of contemporary compositions. He has recorded works by Dvorak, Brahms, Schumann, Mendelssohn-Bartholdy, Tchaikovsky, SaintSaens, Martinu, Shostakovich, Kabelac, Hanus and Sommer. In 1989, Veis became a guest soloist of the Czech Philharmonic Orchestra. In addition to his solo career, he is a member of the international Rosamunde Trio with Martino Tirimo and Park University International Center for Music colleague Ben Sayevich.

He is also a member of the Park Piano Trio, established at Park University in 2006.

In 2010, Veis joined the faculty at the Park International Center for Music as the cello studio master instructor. In addition, he is a professor of cello and vice dean at the Music Faculty of the Academy of Performing Arts in Prague. He frequently gives master classes and works in juries of international competitions.

Martino Tirimo Martino Tirimo’s playing is often

compared to that of Schnabel, Arrau,

Rubinstein and other great pianists. He

was born into a musical family in Cyprus and began piano and violin lessons with

his father, a distinguished conductor and

violinist. He gave his first concert at the age of six, performed

Haydn’s Concerto in D at eight and when only twelve he conducted seven complete performances of Verdi’s La Traviata, including soloists from La Scala, Milano.

At the age of thirteen his family moved to London and he

continued his education at Bedales School. At sixteen he won the

Franz Liszt Scholarship to the Royal Academy of Music, graduating with the highest honours, after which he completed his studies

in Vienna. He later worked closely with Gordon Green, whom he

regarded as his greatest mentor. In 1971 and 1972 victories in the

International Piano Competitions in Munich and Geneva launched his international career.

He appears at major festivals and venues with many of the world’s leading orchestras including the Vienna Philharmonic, Dresden Staatskapelle, Leipzig Gewandhaus, Bayerischer Rundffunk, London Symphony, London Philharmonic, Philharmonia,

Cleveland, Academy of St. Martin in the Fields, Chamber

Orchestra of Europe, English Chamber and many others (see under orchestras). Conductors he has worked with include

Barbirolli, Boult, Kurt Sanderling, Masur, Marriner, Norrington, Berglund, Bychkov, Klee, Krivine, Mandeal, Tortelier, Elder, Spivakov and Rattle (conductors).

He has also directed from the keyboard several cycles of the five Beethoven Concertos with the Dresden Philharmonic, both in

Germany and at the Royal Festival Hall in London. He has often appeared with this orchestra both as soloist and conductor.

He is also in demand for masterclasses all over the world and

occasionally serves on juries of international piano competitions.

His repertoire is enormous, including 80 Concertos and nearly all

the major solo works of the great composers, and he has become

a champion of the Dvorak Concerto and also the Tippett Concerto, which he performed several times with the composer conducting, in Germany and the UK. Their recording of the work for Nimbus was released in 1991.

Among over 50 recordings are the two Chopin Concertos with the Philharmonia (Alto), the two Brahms Concertos with the London

Philharmonic (EMI) and a CD of Rachmaninov’s Concerto No.2 and Paganini Rhapsody with the Philharmonia, which became one of EMI’s best sellers and for which he received a Gold Disc in 1994

(sales of this disc in the UK alone topped 200,000 in 1993). He has also recorded the complete piano music of Debussy (4 CDs) and Janacek (2 CDs).

In 2006 he recorded the complete piano works of Mozart, at the

Leipzig Gewandhaus, on 12 CDs, which were released both singly

and in two boxed sets. He later recorded, also at the Gewandhaus in Leipzig, the total piano works of Beethoven on 16 CDs. This

significant and rare offering was released by Hänssler Classic in October 2019 in one boxed set – www.haensslerprofil.de

PROGRAM NOTES

Frederic Chopin (1810-49): Three Mazurkas, Op. 59 Chopin’s French father, Nicolas, was himself an émigré from Lorraine, but he and his wife, Justyna Krzyżanowska, insisted that their children speak Polish in the family’s Warsaw home. Thus their son, Frederic, grew up with a strong feel for Polish art, literature, music, and cultural identity in general. During an early musical tour in 1830, the 20-year-old pianist-composer found himself trapped in Vienna: exiled by the November Uprising against Russian rule. That he was never able to return to his native land remained a lifelong source of pain and bitter nostalgia for an artist who identified as Polish even after spending most of his life in Paris, England, and Scotland.

Even as a youngster, Chopin was lionized by his compatriots throughout Europe, who saw in him a shining cultural ambassador for Polish art. Young Frederic had scored triumphs in Italy and German-speaking lands, delighting foreign audiences with self-consciously nationalist works such as the Krakowiak, Op. 14. When he settled in Paris, he found himself in the midst of a flowering of Romanticism: It was at that time the city of Hector Berlioz, Franz Liszt, and Friedrich Kalkbrenner, of the painter Delacroix, and of the poets Heinrich Heine and Alfred de Vigny. But it was also a city of immigrants, including a number of creative Polish refugees.

Chopin was one of the great innovators of his day, a natural melodist whose complex chromaticism had a profound influence on composers throughout the 19th century. But because nearly all of his music was for solo piano, it effected a much subtler impact than that of Berlioz’ brash symphonies, Liszt’s discursive tone poems, or Wagner’s music dramas.

He would not live to see 40, but during his brief life he created dozens of preludes, nocturnes, waltzes, ballades, and scherzos — in addition to

large-scale works for piano such as the three sonatas and the two concertos.

In addition, Chopin proudly expressed his Polish identity through a large number of polonaises and mazurkas. The latter term alludes to the inhabitants of the Mazovian region of northeastern Poland, where this distinctive triple-meter dance is thought to have originated.

The ever-homesick composer seemed to find solace in the genre: He composed mazurkas from his youth to the end of his life, some 60 in all. A mazurka could range in mood from melancholy to cheerful, and Chopin’s followed suit in this regard. Naturally these are dances only in the abstract, but they retain the energy and even physicality of actual movement. The three mazurkas of Op. 59 were composed in 1845 at Nohant, the peaceful summer home of his lover, George Sand. Rapidly failing in health, Chopin produced some of the most daringly chromatic works of his life. Each of these pieces is a concentrated condensation of Chopin’s artistry, revealed in dazzling miniature.

Ludwig van Beethoven (1770-1827): Sonata No. 32 in C minor, Op.111 Sonata No. 32 in C minor, Op.111 The image of a spiritually transfigured Beethoven leaning in to hear angels sing into his stone-deaf ears is an attractive construct for understanding the composer’s ethereal late-period works. Yet this vision underestimates the roles that trauma, sorrow, depression, and the anxieties of middle age played in forging this late style, as the composer entered what would be the last decade of his life. Having failed in his final desperate attempt to create a “modern family” by wresting his nephew, Karl, from the custody of his hated sister-in-law, Johanna, the composer looked into the future with gloom.

But as he gradually resigned to his fate — to be alone in his creativity and probably die a bachelor — he began to see himself unmasked, psychologically speaking, for the first time in his life. “Karl and Johanna had served as catalysts to bring Beethoven’s deepest conflicts and desires to the surface,” writes biographer Maynard Solomon, “perhaps thereby laying the ground-

work for a breakthrough of his creativity into hitherto unimagined territories.”

It is an interesting notion: That the ego-driven “heroicism” of the middleperiod works had perhaps finally — through emotional upheavals that very nearly claimed his sanity — provided Beethoven with a realistic view of the eccentric curmudgeon in the mirror. He began to experiment, to explore the complexities of fugue and variation and beyond. He kept fools at arm’s length. He played hardball with publishers, pitting them against each other for the rights to his works.

He could no longer play the piano in public, either, being unable to gauge how deafeningly loud his fortissimos were, or how inaudible his pianissimos had become. He could no longer conduct his own music: Recent attempts to do so had proven disastrous. Having thus been freed, therapeutically, from the burden of ego, Beethoven could now listen to the sounds that rattled in his head — and write them down.

“Thank God Beethoven can compose — but I admit, that is all he is able to do in this world,” the composer wrote in 1822, ironically referring to himself in the third person. Indeed, if Beethoven could have heard the music he was composing, his late style might have taken a different direction. Instead, unfettered by the limitations of actual sound, he forged a musical language that remains mysterious to us even today — as expressed in the late Piano Sonatas (1818-1822); the Missa Solemnis and Diabelli Variations (1822-1823) the Ninth Symphony and late Bagatelles for piano (1822-24) and the final five string quartets (1824-27).

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. None is more imposing than the last, the C-minor Sonata, which Beethoven’s autograph score indicates was completed on January 13, 1822.

Cast in two movements, it left its original publishers scratching their heads.

(Where’s the third movement we paid you for?) The opening Maestoso – Allegro con brio ed appassionato is filled with angry thunder-bolts and fragmented themes that stop and start. (Chopin paid homage to the opening descent of its craggy introduction in the opening of his Sonata No. 2, though with very different harmonic implications.) There is even a fugue, or a semblance of one: a genre that would become common in the late works.

The second movement (Arietta: Adagio molto semplice e cantabile) is a 20-minute apotheosis of the theme-and-variation procedure containing some of the most beautiful music ever penned. It’s as if the composer was reluctant to draw the piece to a close: Each of the final variations feels like the last, yet the music continues. More than one listener has suggested this movement sounds as if it were a “farewell to the piano sonata.” The power of suggestion? Naturally Beethoven had no way of knowing he would not return

to the sonata. But as fanciful as the notion of “farewell” might be, it became immortalized in Thomas Mann’s Doktor Faustus, in a passage where the fictional town organist delivers a lecture on the Op. 111.

“It had happened that the sonata had come, in the enormous second movement, to an end, an end without any return,” recounts the narrator. “And when he said, ‘the sonata,’ he meant not only this one in C minor, but the sonata in general — as a species, as traditional art-form — had here arrived at an end. … It had fulfilled its destiny, resolved itself, taken its leave. The gesture of the farewell of the D-G-G motif, consoled by the C sharp, was essentially … a farewell to the sonata form.”

Bedřich Smetana (1824-84): Trio in G minor for piano, violin, and cello, Op. 15 Some of music’s most profound outpourings have grown from personal loss.

Brahms mourned his mother’s death in his German Requiem, Alban Berg grieved the death of young Manon Gropius in his Violin Concerto, and Herbert Howells marked the loss of his nine-year-old son in the Hymnus Paradisi. Grief sometimes finds more intimate expression: Bach’s Chaconne for unaccompanied violin was written, many believe, as an epitaph for his wife, Maria Barbara, and Mozart wrote his dark, unusually poignant Violin Sonata, K. 304, upon the death of his mother.

Smetana, too, chose the chamber-music genre to express what was perhaps the most wrenching event of his life. “The loss of my eldest daughter, an extraordinarily gifted child, inspired me to compose my chamber work in 1855,” he wrote of the G-minor Piano Trio. A late bloomer in composition, Smetana had written chiefly solo-piano works up to then: Most the works he is best known for today (such as the operas The Bartered Bride and Two Widows and the orchestral Má vlast) date from the 1860s and ’70s. The Piano Trio, a marriage of training and inspiration, marked a sort of turning point. By the early 1850s the young composer — whose waning hopes of a career as

solo pianist had prompted him to start a music school in Prague — began to feel more established in Bohemia’s “golden city.”

Alas, he and his wife were about to be visited by a series of tragedies: In July 1854 their second daughter, Gabriela, died of tuberculosis, and the following year Bedřiška, the firstborn, succumbed to scarlet fever. They mourned both losses, though Bedřiška was evidently a favorite of her father’s. “Nothing can replace Fritzi, the angel whom death has stolen from us,” he wrote. “At the age of three, she could already sing texted songs, with good intonation, and she could play the C-major scale on the piano, with both hands and in contrary motion. She knew all the works that were played in our music school, even the composers’ names.”

Written in just two months, the Piano Trio is generally regarded as the composer’s first fully mature composition — outside of the piano repertoire, perhaps. Nevertheless the first performance, in early December 1855 at Prague’s Konvikt Hall, was by all accounts a failure. “The critics condemned it harshly,” the composer wrote. “But a year later we performed it in our home for Liszt, who embraced me and expressed his congratulations to my wife.”

(If Liszt likes your music, does it really matter what the critics think?)

Smetana prepared a revision, which was first performed in 1858 in Sweden (where Smetana lived and worked for a few years around this time). It was published in 1880, and it remains one of the most profoundly felt and deftly constructed chamber works of the 19th century.

The first movement (Moderato assai) begins with a plaintive solo violin theme that seems a clear expression of the composer’s sorrow. Cast in a sort of relaxed sonata form (with a notably elaborate and discursive development section), the movement is enlivened by chromatic harmonies, soaring themes, and weighty counterpoint. The Allegro, ma non agitato is more playful: a polka of mildly scherzo-like character that employs the same mournful theme as the first movement. It is interrupted twice, by trio-like alternativi of contrasting moods. The Presto finale, full of restless drive, draws material from a piano sonata Smetana had composed as a student. Through a remarkable sequence of imploring excursions, in which minor and major seem to be at war, the piece concludes in a mood of defiance and hope.

-Paul Horsley

SAVE THE DATE FRIDAY MARCH 8, 2024

Photographer Damian Gonzalez

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

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

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PAT R O N S S O C I E T Y M E M B E R S The Park University International Center for Music’s Patrons Society was founded to help students achieve their dreams of having distinguished professional careers on the concert stage.

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 January 3, 2024.

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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

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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.

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Contact Laura Gabriel at 816.471.2800 to start your subscription.

“For me, it’s not just...

‘I’m the doctor and you’re the patient.’

We’re partners.”

- Raed Al-Rajabi, MD Physician Medicine Clinical Oncology

I don’t know any other way to treat my cancer patients than to become their partner. To be available to them whenever they need me. And that’s not just when they’re sitting across from me at an appointment.

Cancer is a unique journey. And for me and all of my team, the only way to undertake it is together.

To schedule an appointment, call 913-588-1227 or visit KUCancerCenter.org to learn more.