PARK UNIVERSITY INTERNATIONAL CENTER FOR MUSIC PRESENTS
Ben Sayevich and Lolita Lisovskaya-Sayevich in Concert
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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 world-class 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
VIOLINIST BEN SAYEVICH &
PIANIST LOLITA LISOVSKAYA-SAYEVICH Sonata for Piano and Violin No. 2 in A major, Op. 12
................................................ Ludwig van Beethoven (1770-1827) Allegro vivace Andante, più tosto allegretto Allegro piacevole
Sonata for Violin and Piano in G minor, L148
.............................................................. Claude Debussy (1862-1918) Allegro Vivo Intermède: Fantastique et léger Finale: Très animé
Intermission Sonata for Violin and Piano in A major
.......................................................................... César Franck (1822-90) Allegretto ben moderato Allegro Ben moderato: Recitativo-Fantasia Allegretto poco mosso
ABOUT THIS EVENING’S ARTISTS Ben Sayevich
Park ICM Professor of Violin 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.
Lolita Lisovskaya-Sayevich Park ICM Director of Collaborative Piano
Born into a Tashkent (Uzbekistan) mu-
sical family, Lolita Lisovskaya-Sayevich
began studying piano at the age of 4. In 1985, she entered the Uspensky Central
Music School in Tashkent. In 1993, she started attending a
private school for young musicians in Moscow, and that same year received the first prize at the Chopin International Piano Competition in Göttingen, Germany. She entered the
Tchaikovsky Special Music School in 1995, and two years later
was accepted to the Tchaikovsky Moscow Conservatory under the tutelage of Vera Gornostaeva, with whom she continued
postgraduate study from 2002 to 2004. Lisovskaya-Sayevich also studied with Stanislav Ioudenitch at Park University.
In 1996, Lisovskaya-Sayevich received the first prize from the
Nikolai Rubinstein International Piano Competition, and in 2007 the first prize at the Iowa International Piano Competition. She was awarded scholarships from the Rostropovich Foundation, the Spivakov Foundation and the Nikolai Petrov Foundation. She has also earned the laureate designation from the
international program “New Names,” and the festival “Virtuoso 2000” in St. Petersburg, Russia. Lisovskaya-Sayevich has
recorded at the Hessen Radio Station in Frankfurt, Germany, and at Orfei Radio in Moscow.
Lisovskaya-Sayevich has presented numerous solo recitals and
has played as a soloist with orchestras in Austria, France, Japan, Spain, Germany, Hungary, Italy and Russia. She has participated
in many music festivals, including the Bashmet Festival in Tours, France, “Wave 2000” in Japan, International Musical Arts
Institute in Maine (USA), Killington Music Festival in Vermont
(USA), “Ars Longa” and “Primavera Classica” in Moscow. She collaborated with such renowned musicians as Daniel
Muller-Shott, Shmuel Ashkenazy, members of the Boston
Symphony Orchestra and many others. She now performs extensively in chamber music ensembles.
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PROGRAM NOTES
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Ludwig van Beethoven (1770-1827): Sonata for Piano and Violin No. 2 in A major, Op. 12, No. 2 Antonio Salieri’s reputation will probably never recover from the theatrical conceit of the 20th-century play Amadeus, or the peerlessly silly film adaptation, both of which pit Mozart’s genius against his Italian-born contemporary’s “mediocrity.” Anyone who has actually listened to Salieri’s music knows that much of it is quite lovely. But in case you don’t have time to explore his music right now, why not trust the judgment of Beethoven, who during his early years in Vienna eagerly studied composition with Salieri and evidently held him in high esteem throughout his life? In 1797 and 1798 Beethoven paid tribute to his teacher with two works: The Variations on “La stessa, la stessissima” for piano, which used an aria from Salieri’s opera Falstaff, and the three Sonatas for Piano and Violin (as Beethoven called them), Op. 12, which he dedicated to Salieri. To be sure, pupil and teacher seemed to have had a turbulent relationship over the years, but records indicate that Beethoven was still on friendly terms with the beloved Kapellmeister until well into the 19th century. Beethoven himself was not yet ready to compose an opera (Salieri’s reaction to the younger composer’s opera a few years later would cause a rift), or even a symphony for that matter. In fact, all but two of his first 20 published works are piano sonatas or chamber works. Before introducing his Symphony No. 1
(Op. 21) in 1799, Beethoven used smaller-scale genres to gain an uncanny formal and technical sophistication: the Piano Trios of Opp. 1 and 11; the Cello Sonatas, Op. 5; the String Trios, Opp. 3, 8 and 9; and the six String Quartets, Op. 18. Each of the three sonatas of Op. 12 possesses its own special character. The first is a resolute and confident statement on the validity of traditional forms (especially sonata-allegro form), while the third takes on an epic, even dramatic quality that looks forward to the Op. 31 piano sonatas. The A-major Sonata bears some traits of the opera buffa style of which Salieri was a master. This is not to say that Beethoven was thinking specifically of the Italian master, but one is cognizant here of the wit and spirit of Italian comic opera. The mirthful opening movement (Allegro vivace) lends a rare glimpse of a fun-loving young Beethoven: a vibrant 28-year-old whose brow had barely begun to furrow. The Andante, più tosto Allegretto opens with a plangent, deftly contoured melody that could almost be an opera seria aria, though the major-mode central section unfussily reminds us that this is not to be taken too seriously. The finale (Allegro piacevole) contains something of the spirit of Haydn (with whom Beethoven had also studied, in 1792) — in particular, the impetuous excursions into minor, which add emotional complexity to its rondo structure.
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Claude Debussy (1862-1918): Sonata for Violin and Piano in G minor, L 148 Great composers tend to respond in one of two ways when learning of their own impending death. Some continue blithely as if nothing has changed, writing music that seems cut from the same cloth as anything else they have written.
Others confront the prospect directly, with music of either tragic finality or of spiritual resignation. And many do, in fact, produce music that is as remarkable as anything they have ever composed. Bach set about preparing a sort of lifelong compendium of his contrapuntal skills in the magnificent The Art of Fugue. Schubert spent his last year — a time of terrible physical suffering — spinning out some of the sunniest, most profoundly sublime music of all time. And quite a lot of it! Mozart, in contrast, composed a Requiem of terrifying finality: Its first movement has been characterized (by Jan Swafford) as “music from a man staring into his own grave.” Tchaikovsky poured all of his wanton hysteria into the “Pathétique” Symphony, while Schoenberg railed against fate with the String Trio, one of the brainiest, most fiercely expressive chamber works ever penned. At the peak of his career, in the wake of masterworks such as Prélude à l’aprèsmidi d’un faune, Pelléas et Mélisande, and La Mer, in 1909 Debussy was diagnosed with colorectal cancer. This began a period of increasingly severe symptoms for the composer, culminating in a colostomy in 1915. From that point until his death in March 1918 at the age of 55, the composer experienced almost unremitting pain, exacerbated by the upheavals of the final months of World War I (including German bombardment of the city) and the war’s grisly aftermath. In his last three years Debussy took up chamber music again, a genre he had largely neglected since his String Quartet of 1893. He proposed to his publisher, Jacques Durand, that he create a set of Six Sonatas for Various Instruments that would summarize the variety of coloristic combinations available in the chamber-music realm. He was able to complete only the first three (for cello and piano; harp or piano, viola, and flute; and violin and piano) and they are among the finest chamber works of the period. (The fourth and fifth sonatas were to include more winds and brass, culminating in a sixth sonata for all 13 instruments.) The first of these, the Sonata for Cello and Piano (1915) has become a stand-out in the repertoire, as has the Sonata for Flute, Viola, and Harp completed in late 1915. By 1917 the composer had grown so ill that he very nearly didn’t complete the Sonata in G minor for Violin and Piano. “I only wrote this sonata to be rid of the thing,” he wrote to a friend that summer, “spurred on by my dear publisher.” Durand was not just a publisher but also a fellow composer and a lifelong friend of Debussy and other French musicians: and a powerful champion for French
music in the first quarter of the 20th century. “This sonata will be interesting from a documentary point of view,” Debussy continued, “as an example of what may be produced by a sick man in time of war.” He not only completed the sonata, he also joined violinist Gaston Poulet in the work’s premiere in May 1917, at a benefit concert for French soldiers — Debussy’s last public performance. Far from betraying any pain that he might have been suffering, the sonata harkens back to the composer’s own comment in 1904 that “the primary aim of French music should be to bring pleasure.” It is a work of dazzling beauty. The opening Allegro vivo, a sort of loose-limbed sonata form, presents a world of subtly expressive hues and dreamy nostalgia. The Intermède: Fantastique et léger is a romp of will-o’-the-wisp playfulness, a testament to Debussy’s ability to bring deep joy even to the most feather-light of textures. The upbeat mood continues into the Finale: Très animé, with a light-andshadow energy that alternates between finality and an optimistic shift into major mode.
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César Franck (1822-1890): Sonata for Violin and Piano in A major Franck was known through much of his life chiefly as a church organist, a touring virtuoso pianist, and (eventually) as a professor of organ at the Paris Conservatory. He had begun as a bit of an outsider, a highly gifted musician of Belgian and German heritage who was initially refused entry into the Paris Conservatory because he was not “French enough.” Yet throughout his life he produced a steady stream of strong compositions, culminating in a blaze of masterworks written late in life: the Piano Quintet, the D-minor Symphony, and symphonic poems such as Psyché. By the end of his life, moreover, he could count among his protégées Ernest Chausson, Vincent d’Indy and Henri Duparc.
One of Franck’s strongest supporters was the violin wizard Eugène Ysaÿe, whose own works for violin would become standard repertoire and whose advocacy for new French music helped spur the careers of Franck, Debussy, and Chausson. Franck had admired Ysaÿe for many years, and upon the occasion of the violinist’s wedding to Louise Bourdeau in 1886, the composer presented him with the most extraordinary of wedding gifts: a new violin sonata. Ysaÿe was so moved by the gesture that he reportedly gave an impromptu performance of the sonata for his wedding guests, joined by the pianist Léontine Bordes-Pène. He continued to champion the piece, which he greatly admired, on his international tours. “Nothing in the world could have done me greater honor or given me more pleasure than this gift,” Ysaÿe said of the sonata. “But it is not for me alone, it is for the whole world. … In interpreting it, I shall do my very best as an artist and admirer of César Franck, whose genius has not been adequately recognized up to now.” The perfumed opening movement (Allegretto ben moderato) is a miracle of poise and calm that harkens, perhaps, to the restless modulatory style of Wagner. This opening also establishes the primary thematic material used throughout the sonata, in a cyclical manner that looks to Berlioz and Liszt. The second movement (Allegro) is a stormy, Schumannesque toccata, which is mitigated with moments of tender respite. Some have likened the opening of the third movement (Ben moderato: Recitativo-Fantasia) to the opening of Tristan und Isolde, though it quickly gives way to an impassioned vocalise in the violin and an unfolding of lyricism leading back to the first movement’s principal material. The ingenuous innocence of the finale (Allegretto poco mosso) belies a serious-minded purpose explored in the development section. A satisfying coda exudes the joy and optimism of the event that the sonata was written to celebrate. Later in 1886 at the Museum of Modern Art in Brussels Ysaÿe presented the sonatas first public performance. The composer Vincent d’Indy, who was present for the event, described it with no little humor in his tone: “It was already growing dark as the sonata began. After the first Allegretto, the players could hardly read their music. Unfortunately, museum regulations forbade any artificial light whatever in rooms containing paintings; the mere striking of a match would have been an offense. The audience was about to be asked to
leave, but, brimful with enthusiasm, they refused to budge. At this point, Ysaÿe struck his music stand with his bow, demanding, ‘Let’s go on!’ “Then, wonder of wonders, amid darkness that now rendered them virtually invisible, the two artists played the last three movements from memory with a fire and passion the more astonishing in that there was a total lack of the usual visible externals that enhance a concert performance. Music, wondrous and alone, held sovereign sway in the blackness of night. The miracle will never be forgotten by those present.”
—Paul Horsley
SECURE YOUR SEATS NOW! 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. TICKETS ON SALE NOW!
For more information, visit icm.park.edu or scan the QR code..
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 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.
THE CENTER OF IT ALL ENJOY THE BEST OF KANSAS CITY PERFORMING ARTS
Photo by Kenny Johnson
Photo by Cody Boston
Photo by Brett Pruitt & East Market Studios
Photo by Don Ipock
Plan your visit at kauffmancenter.org
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
PARK INTERNATIONAL CENTER FOR MUSIC
PAT R O N S S O C I E T Y SUPPORT THE ICM, ENJOY BEAUTIFUL MUSIC AND SPECIAL EVENTS JUST FOR MEMBERS
BELOW ARE JUST A FEW OF OUR PATRONS ENJOYING GROUP EVENTS INCLUDING MEETING THE TALENTED ICM ARTISTS
John and Karen Yungmeyer
Stanislav Ioudenitch, Angela Walker and Edith and Benny Lee
Brad and Theresa Freilich, Evelina Swartzman, Shane Smeed and Steve Swartzman
Ronald and Phyllis Nolan and Vince and Julie Clark
FOR MORE INFORMATION ON HOW TO JOIN OUR PATRONS SOCIETY:
Lolita Lisovskaya-Sayevich, Evelina Swartzman and Ihab and Colleen Hassan
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
When Stanislav loudenitch first started the Park International Center for Music, he began with a simple concept. Find exceptional music teachers, and give them the time, tools, focus, and dedication needed to transform exceptional students into masters themselves. An internationally-recognized Van Cliburn gold medalist, Ioudenitch assembled a team that shared his world-class skills and his passion for teaching. Other outstanding programs have great master instructors. But no other American conservatory lets those masters devote the time to their students like they do at Park ICM. Not even storied programs like Juilliard, Curtis, or Eastman.
Come experience the birth of our international stars. Visit ICM.PARK.EDU for our concert schedule today.
“These featured soloists from Park University’s International Center for Music represent not only the quality of performance in Kansas City, but the future of it, too.” – T H E K A N S A S C I T Y S TA R
PARK INTERNATIONAL CENTER FOR MUSIC
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.
SCHOLARSHIP
Brad and Marilyn Brewster * Steven Karbank * Benny and Edith Lee * Ronald and Phyllis Nolan * John and Debbie Starr * Steven and Evelina Swartzman * Jerry White and Cyprienne Simchowitz *
SUPERLATIVE
Richard J. Stern Foundation for the Arts – Commerce Bank, Trustee *
SUPREME
Jeffrey Anthony * Brad and Theresa Freilich * Shirley and Barnett C. Helzberg Jr. * Lockton Companies Inc. Muriel McBrien Kauffman Family Foundation Holly Nielsen * Mark Ptashne and Lucy Gordon Steinway Piano Gallery of Kansas City * Gary and Lynette Wages *
EXTRAORDINAIRE
Tom and Mary Bet Brown Vince and Julie Clark * The DeBruce Foundation Stanley Fisher and Rita Zhorov * Edward and Sandra Fried Mark One Electric Co. Susan Morgenthaler * Perspective Architecture & Design, LLC / Matt and Rhonda Masilionis William and Susie Popplewell Rex and Lori Sharp
PATRON
Kay Barnes and Thomas Van Dyke * Lisa Browar * Bryan Cave Leighton Paisner Wm. Robert Bucker Cluen Family Fund Mark and Gaye Cohen * Paul and Bunni Copaken Suzanne Crandall * Scott and Claudia Davis Beverly Lynn Evans Paul Fingersh and Brenda Althouse Jack and Pella Fingersh J. Scott Francis and Susan Gordon Donald Hall Colleen and Ihab Hassan * Lisa Merrill Hickok * JE Dunn Construction Company William and Regina Kort * Dean, ‘53 and Charlotte Larrick Brian McCallister / McCallister Law Firm Mira Mdivani / Mdivani Corporate Immigration Law Firm Jackie and John Middelkamp * Louise Morden Susan and Charles Porter Kevin and Jeanette Prenger, ’09 / ECCO Select * Steve and Karen Rothstein Stanley and Kathleen Shaffer * Shane and Angela Smeed Straub Construction John and Angela Walker * Nicole and Myron Wang * WSKF Architects * 2023-2024 Member
P A R K U N I V E R S I T Y INTERNATIONAL CENTER FOR MUSIC
ICM will Present its Annual Spring Concert The Orchestra of the International Center for Music at Park University will present its annual spring concert under the direction of guest conductor Laura Jackson, Music Director and Conductor of the Reno Philharmonic Association. Maestra Jackson is making her return engagement with the ICM Orchestra, and has selected a program of works for string orchestra featuring music of Sir Edward Elgar, Patrick Harlin and Franz Schubert.
PARK ICM ORCHESTRA WITH LAURA JACKSON CONDUCTING March 15, 2024, 7:30 p.m. Graham Tyler Memorial Chapel CONCERT IS FREE WITH RESERVATION. SCAN THE CODE TO RSVP.
ICM.PARK.EDU.
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KC STUDIO NOVEMBER/DECEMBER 2022 VOLUME XIV, ISSUE 6
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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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See one of the World ’s most Pre-eminent Violinists Having taken top prizes in the Tchaikovsky Competition in Moscow, the Merriweather Post Competition in Washington, D.C., and the Queen Elisabeth Music Competition in Brussels, Belgium, Ashkenasi has been described as a “Genuine talent . . . profoundly gifted.” Shmuel Ashkenasi will be in concert with Lolita Lisovskaya-Sayevich, Park University Collaborative Artist, and their program will include Bach’s Violin Sonata in A major, MWV 1015, Gabriel Fauré’s Sonata No. 1 in A major, Op.13, and other works.
SHMUEL ASHKENASI, VIOLIN March 22, 2024, 7:30 p.m. 1900 Building
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
Experience Two Classical Music Superstars
The Los Angeles Times has reported, “Uzbekistani pianist Behzod Abduraimov is fast becoming one of the finest musicians of his generation.” The 33-year old Park ICM alum will be joined in concert by violinist Daniel Lozakovich. “Daniel is one of the greatest stars of the young generation...Very hot,” said Behzod’s mentor Stanislav Ioudenitch. Together they will perform works by Beethoven, César Franck and the Sonata No. 1 for violin and piano in A minor, Op. 105 by Schumann.
Behzod Abduraimov, Piano, Daniel Lozakovich, Violin APRIL 14, 2024, 7:30 P.M. 1900 BUILDING
ICM.PARK.EDU.
GENERAL ADMISSION $30. S T U D E N T S $ 1 0 WITH I.D.
P A R K U N I V E R S I T Y INTERNATIONAL CENTER FOR MUSIC
ParkICM Orchestra’s
Season Finale
Park University will present its final concert of the 2023-24 season on Friday, April 19th at the charming chapel on campus in Parkville, Missouri. Guest Maestra Yahr has selected a program of works by Jan Sibelius, Karl Stamitz and Felix Mendelssohn.
PARK ICM ORCHESTRA WITH BARBARA YAHR CONDUCTING April 19, 2024, 7:30 p.m. Graham Tyler Memorial Chapel CONCERT IS FREE WITH RESERVATION. SCAN THE CODE TO RSVP.
ICM.PARK.EDU.
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