Park University International Center for Music Presents: ICM Strings Studio Recital, 2023

PARK UNIVERSITY INTERNATIONAL CENTER FOR MUSIC PRESENTS

ICM Strings Studio Recital

1900 BUILDING

O C T O B E R 2 8 , 2 0 2 3 • 7 : 3 0 P. M .

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

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

Connect With Your Audience Program Advertising for the 23-24 Season

FOR MORE INFORMATION, CONTACT:  Christin Painter  christin@kcindependent.com  816-471-2800x218

ICM.PARK.EDU

Published by the The Independent Magazine Publisher ................................................ Rachel Lewis Falcon Dir. of Program Guide Operations ................. Christin Painter Graphic Design/Production ............. BurningStar Studios, LLC

The Independent Magazine 2400 W. 75th St., Suite 120 | Prairie Village, KS 66208 Park University International Center for Music program guides are a publication of the Performing Arts Division of the Independent Magazine. Information in this publication was carefully compiled to ensure accuracy. However, the publisher does not assume responsibility for accuracy. Editorial program content was provided

by Park University International Center for Music. Copyright by the Independent Magazine. No part of this publication may be reproduced in any form without written permission of the publisher.

Catering Confidence ... at no extra charge

GrandmasCatering.com

WELCOME TO OUR 21ST SEASON! 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

ICM STRINGS STUDIO CONCERT

STUDIOS OF VIOLINIST BEN SAYEVICH, CELLIST DANIEL VEIS, AND VIOLIST PETER CHUN

Le Grand Tango

.............................................................. Astor Piazzolla (1921-92) Victor Diaz, viola Lolita Lisovskaya-Sayevich, piano

Sonata for cello and piano in D Major op. 58

....................................... Felix Mendelssohn-Bartholdy (1809-47) James Farquhar, cello Ilya Shmukler, piano

Paganini caprice no. 5 for solo violin

....................................................... Niccolo Paganini (1782-1840)

Variations on a theme by Corelli

............................................................................ Niccolo Paganini Yin-Shiuan Ting, violin Lolita Lisovskaya-Sayevich, piano

Nigun from Baal Shem B. 47

.............................................................. Ernest Bloch (1880-1959) Aviv Daniel, violin Lolita Lisovskaya-Sayevich, piano

Variations on a theme from “Moses in Egypt”

............................................................................ Niccolo Paganini Diyorbek Nortojiev, cello Lolita Lisovskaya-Sayevich, piano

Violin Sonata No. 3 in C minor, Op. 45

............................................................ Edvard Grieg (1867-1907) II Allegretto espressivo alla Romanza

Caprice Basque Op 24

..................................................... Pablo de Sarasate (1844-1908) Ilkhom Mukhiddinov, violin Lolita Lisovskaya-Sayevich, piano

Intermission Élégie for viola and piano Op. 30

......................................................... Henri Vieuxtemps (1820-81) Christian dos Santos, viola Lolita Lisovskaya-Sayevich, piano

Zigeunerweisen, Op. 20

........................................................................... Pablo de Sarasate Yuren Zhang, violin Lolita Lisovskaya-Sayevich, piano

Quartet in F major op. 96 “American”

........................................................ Antonín Dvořák (1841-1904) I Allegro ma non troppo II Lento IV Finale. Vivace ma non troppo The Park Quartet David Horak, violin I Mumin Turgunov, violin II Christian dos Santos, viola James Farquhar, cello

PROGRAM NOTES

Astor Piazzolla (1921-1992): Le Grand Tango Astor Piazzolla took a circuitous path to the tango, which during his formative years in Argentina and New York was becoming an international phenomenon. Forged of dance elements from Cuba and Spain, as expressed among Afro-Latino populations and poor immigrants in Uruguay and Argentina, the tango would gradually absorb elements of the habanera, the milonga, and other dance styles. In the 1920s and ’30s, Carlos Gardel gave it a glamorous new face, as the music gained new credence in Europe and the United States and moved from lower-class dance salons into high-end nightclubs.

Piazzolla studied composition with young Alberto Ginastera at home and with Nadia Boulanger in France. Moving back to Buenos Aires in the 1950s, he joined the popular tango ensemble of Anibal Troilo, working as arranger and performing on the bandoneon, the slender Argentinean accordion. He was bursting with ideas for a newly invigorated tango, one that combined elements of jazz and other popular styles with daring new harmonies and counterpoint. These were bold steps for such a tradition-steeped genre, and Piazzolla had his detractors. But by the later 20th century he had gathered an array of admirers, including Yo-Yo Ma, the Kronos Quartet, and others.

He composed Le Grand Tango in 1982 and dedication it to cellist Mstislav Rostropovich. It is cast in three sections:

“Tempo di tango” gives way to a lyrical “libero e cantabile,” followed by a return to the tango section (marked “giocoso”) and a frenetic romp to the finish.

Felix Mendelssohn-Bartholdy (1809-1847): Sonata for Cello and Piano No. 2 in D major, Op. 58 I. Allegro assai vivace Chamber music played a vital role in Mendelssohn’s musical development during every stage of his life. One of his earliest masterpieces was the Octet for Strings of 1825, and the 1830s saw the appearance of the great Op. 44 String Quartets. These would be joined by piano trios, piano quartets, quintets, sextets, and sonatas for violin, cello, and clarinet. Like Mozart and Beethoven before him, Mendelssohn was a composer-pianist, and his chamber works with keyboard do not stint on tumultuous difficulties for the pianist.

The Second Cello Sonata was composed in the early 1840s, during a period of upheaval for the composer. Having attempted to create a music department for Berlin’s Academy of the Arts, in 1843 he moved to Leipzig, where he established the conservatory that had long been his dream.

He seemed to draw inspiration from this flurry of activity, producing some of the finest works of his maturity: the Variations Sérieuses for piano, the music for A Midsummer Night’s Dream, the “Scottish” Symphony, and the D-major Cello Sonata. The latter was completed in early 1843 and bears a dedication to Russian/Polish Count Mateusz

Wielhorski, a gifted cellist who had studied in Italy and became a faithful patron of the arts.

The Allegro assai vivace opens with an initial theme proclaimed with great vitality by the cello: The texture continues with cello and piano on equal footing, including cascades of fierce piano arpeggios in the keyboard part. The straightforward sonata form structure is given flavor through a discursive and richly moody coda.

Niccolò Paganini (1782-1840): Caprice No. 5, for solo violin Known during his lifetime as one of the world’s greatest violin virtuosos, Niccolò Paganini was also a prodigious composer. Having established himself as a soloist by the time he was 18, he spent the first years of his career as concertmaster of the local orchestra in Lucca. Along the way, he studied composition with Ferdinando Paer. When the Lucca orchestra disbanded, Paganini began touring: his astonishing Milan debut in 1813 launched an unprecedented career. During the ensuring years he performed in recital and with orchestras while continuing to compose.

His 24 Caprices for solo violin, produced between 1802 and 1817, are a touchstone of the violinist’s repertoire. They treat nearly every aspect of technique, lyricism, and musicality.

Several have become concert favorites, including the celebrated 24th, which has inspired variations from a wide array of composers from Liszt to Lutosławski. The technical challenges of No. 5 have made it a favorite among soloists.

Fritz Kreisler (1875-1962): Variations on a Theme of Corelli (after Tartini) Fritz Kreisler helped shape the way we think about musical phrasing, technique, and even vibrato. His sweet, expressive tone was widely imitated throughout the 20th century — and not just by violinists, but by a wide range of musicians, including opera singers.

At age seven Kreisler had entered the Vienna Conservatory, where he studied violin with Joseph Hellmesberger and counterpoint with Anton Bruckner. At the Paris Conservatory he continued with Léo Delibes and violin with Lambert Massart. He began his professional touring career in 1888, with performances in Europe and the United States, but abandoned them temporarily to study medicine. Beginning around 1900 he made a sensation throughout the world. He lived through both world wars, and in 1943 became a naturalized citizen of the United States.

Kreisler’s own compositions include several well-known violin pieces such as the Caprice viennois, Liebesfreud, and Schön Rosmarin. He also arranged a variety of music by composers such as Corelli and Albéniz, and wrote original works that imitated the styles of Haydn, Stamitz, and others.

His set of Corelli Variations is a straightforward, light-hearted piece in the style of the Baroque master Tartini that makes an tantalizing encore.

Ernest Bloch (1880-1959): “Nigun,” from Baal Shem, B. 47 Bloch spent his formative years in Geneva, Brussels, and Frankfurt, where his teachers included composer Émile Jacques-Dalcroze and violinist Eugène Ysaÿe. He moved to New York to work with the Maud Allan Dance Company, later teaching at the Mannes School and the Hartt School before being named director the newly formed Cleveland Institute of Music (1920-1925). He spent his later years in Switzerland and on the American West Coast.

Bloch’s music is characterized by faithfulness to tonality and superb craftsmanship. He is remembered today chiefly for dashing neoclassical works of the 1920s, and for powerful compositions marking aspects of Jewish life: the Israel Symphony, the Suite hébraïque, Schelomo for cello and orchestra, and Baal Shem for violin and piano.

Baal Shem was composed in 1923 for violinist and fellow Cleveland Institute faculty member André de Ribaupierre. It is a three-movement evocation of Hassidic life, its title a reference to the founder of Hassidism, Rabbi Israel ben Eliezer, known as Baal Shem Tov. The central movement, “Nigun,” which is often performed by itself, is plaintive and ecstatic. The Hebrew word nigun literally means tune or melody, but here it refers more specifically to a type of wordless Hassidic song that aims to express the transcendent: to “sing” that which words cannot say.

Niccolò Paganini: Variations on a Theme from Rossini’s Moses in Egypt A favorite marketing device of 18th- and 19th-century composers was to publish variations on popular melodies of the day, which were generally from contemporary operas.

Rossini’s Moses in Egypt had just received its premiere in March 1818 when Paganini wrote what he originally called Sonata “a Preghiera.” The reference was to the end of the opera’s Act III, where Moses leads the Israelites in a prayer (preghiera) that God might part the Red Sea. (The prayer is successful.) As in the original version for violin, played on the G string, the cello version (called Variazioni di Bravura) is also played on one string, giving the work a febrile tension and a range of sonorities.

Edvard Grieg (1843-1907): Sonata for Violin and Piano No. 3 in C minor, Op. 45 II. Allegretto espressivo alla Romanza Grieg has long been revered by Norwegians as a preserver of their heritage, yet he established a musical identity of such global distinction that we now hold his music to be among the finest of the 19th century. He initially prepared to be a concert pianist, studying at the Leipzig Conservatory though with low motivation. He did not complete a course of study there, but he became acquainted with the central figures and institutions of the day: Eventually, he would meet Liszt, the Schumanns, Brahms, Tchaikovsky, and many other composers and performers.

In addition to the large works for which he is best known (Peer Gynt, the Holberg Suite, the Piano Concerto), Grieg composed a large quantity of vocal, solo piano, and chamber music. Among the finest in the latter category is the C-minor Violin Sonata, No. 3, a product of the composer’s full maturity. Dedicated to the painter Franz von Lenbach, it is at turns darkly dramatic and tranquilly lyrical. It was composed in 1886-1887 and was first performed in Leipzig by violinist Adolph Brodsky, with the composer at the keyboard. The second movement opens with an impassioned, aria-like theme, which gives way to a quirky dance and a return home.

Pablo de Sarasate (1844-1908): Caprice Basque, Op. 24 Sarasate was known during his lifetime as one of the great violin virtuosos of the era. From age 15, when he embarked on tours of Europe and the Americas, the charismatic prodigy dazzled all who heard him. He was described as “a completely new type of violinist,” as an artist concerned with precision and virtuosity — and at the same time, luscious breadth of tone. Leading composers (Bruch, Saint-Saëns, Lalo, Wieniawski) dedicated major works to him.

As he had been born in Pamplona, Sarasate felt at home with the rhythms and melodic style of the adjacent Basque Country. The Capricho vasco from 1880 begins in an assertive triple meter, which gives way to an Allegro moderato in 6/8 and a cascade of double and triple stops, harmonics, and left-hand pizzicatos.

Henri Vieuxtemps (1820-1881): Élégie, for viola and piano, Op. 30 Henri Vieuxtemps, a Belgian wunderkind on the violin, attracted attention early on. At age nine he was wowing Parisian audiences, and at 13 he moved to Vienna for further study. Returning to Paris at 15, he drew praise from Paganini and Berlioz and studied composition with the Conservatory’s Antoine Reicha.

“Vieuxtemps showed himself no less remarkable as a composer than he was as a virtuoso,” Berlioz would write. As his reputation grew, he traveled to Russia and throughout Europe, and made three visits to the United States. He continued to compose prodigiously. Paganini proved a profound influence on his artistic style and outlook, as Vieuxtemps wrote: “He was my model, both as violinist and as composer.” He settled in Germany and in 1846 accepted a post as court violinist in St. Petersburg. Eventually he moved back to Brussels.

He also played viola, and his deliciously plaintive Élegie from the 1850s stands as one of the most sincerely lyrical works of the mid-19th century: lush but unsentimental, and at once mournful and affirmative.

Pablo de Sarasate: Caprice Basque, Zigeunerweisen, Op. 20 Being a great violinist was just one aspect of Sarasate’s life.

He took composition seriously, and among his 54 published works are four books of Spanische Tänze and the beloved Carmen Fantasy for violin and orchestra. But the work that stands as a milestone of the 19th-century virtuoso school is Zigeunerweisen, a title usually translated as “Gypsy Airs.”

Composed in 1878, it was published in Berlin that year in a version for violin and piano, which was later orchestrated.

Gypsy Airs contains the full range of the quintessential melodic and rhythmic idioms associated with — in the 19th-century mind at least —the nomadic and today oft-maligned Romani peoples who have spread throughout the world.

Antonín Dvořák (1841-1904): String Quartet in F major, Op. 96 (“American”) In early 1891, Dvořák had no inkling that a new and fundamental chapter of his life was about to begin. Soon to turn 50 and living at the forefront of Bohemia’s musical life, he was one of Europe’s most respected traditionalists. He had absorbed and assimilated folk elements into his style, which lent a strikingly individual sound to superbly crafted symphonic works. In Germany, England, and Russia he had created a sensation with the Sixth, Seventh, and Eighth symphonies and with sacred works such as the Requiem and the Stabat Mater.

Thus when he received an invitation from Mrs. Jeannette Thurber in the summer of 1891, inviting him to become director of New York’s National Conservatory of Music, his career needed no boost. He accepted the offer, though, and in the autumn of 1892 he sailed to New York.

He was delighted with the United States beyond his wildest expectations, and the American public accepted him warmly.

The period that he spent here was to have an immeasurable effect not only on his own musical style, in fact, but on American music as well.

In addition to the celebrated “New World” Symphony, Dvořák composed (or began) during this period a Te Deum, the Cello Concerto, the String Quintet (Op. 97), and several string quartets.

The Quartet in F major, which has come to be called the “American,” bursts with the sort of energy the composer might have experienced in New York, though it also contains indelible marks of Dvořák’s Bohemian heritage. The opening movement charges forward with determination, while the Lento is filled with a sort of tragic resignation. The Finale is a gallop that takes excursions into lyricism and impetuous declarations.

-Paul Horsley

ABOUT TONIGHT’S ARTISTS Aviv Daniel, violin Aviv Daniel is an Israeli violinist, born in 2000 in Jerusalem. He started playing the violin when he was very young. He studied at the Thelma Yellin High School of Arts and then in Buchman Mehta School of Music at Tel Aviv University with Professor Mila Feldman. Currently, Aviv is studying at Park University with Professor Ben Sayevich.

Aviv took part in masterclasses with the teachers and violinists Miriam Fried, Grigory Kalinovsky, Hagai Shaham, Annie Shnarch, Vadim Gluzman, Dora Schwartzberg, Itzhak Rashkovsky, Chaim Taub and Irena Svetlova. He participated in the David Goldman Program for Outstanding Musicians and Jerusalem Music Center Programs such as Huberman Program. Aviv also played as a soloist with Thelma Yellin Symphony Orchestra on tour in January, 2018. Aviv also took part in “Kesher Eilon” summer course in 2019.

In the past, Aviv studied violin with Professor Matvey Liberman (student of David Oistrakh), Emma Elishov, Mira Masin and Ludmila Ozrizky.

Aviv plays on a violin loaned by America Israel Cultural Foundation and is a recipient of their scholarships including the Ronen Foundation scholarships since 2015.

Victor Diaz, violin Victor began his musical training in Bogotá, Colombia at the National Colombian Conservatory and finished his undergraduate studies at the UMKC Conservatory. He was a four-time winner of The Young Performer Competition from the Colombian Republic Bank. He has traveled the world several times with orchestras and organizations such as the Colombian Youth Philharmonic, Orchestra of the Americas, Sphinx Organi-

zation, Mahler Chamber Orchestra Academy, and Allegro Vivo Music Festival in Austria. Currently, Victor is completing his graduate studies at Park ICM, and subs for the KC Symphony, teaches privately and for nonprofits such as String Sprouts and Base Academy of Music. Victor is developing outreach performances in Kansas City that include Latin American repertoire for the viola. When he is not performing or teaching, Victor spends time with his loved ones and takes long walks with his Dog: Maureen.

Christian dos Santos, viola Christian dos Santos started his journey playing the viola in 2012 in Sao Paulo, Brazil, when he was 13. He studied at the Sao Paulo State Music School with violists Mariana Costa Gomes and Silvio Catto before becoming a student of Peter Chun at the International Center for Music at Park University. Christian has performed with several orchestras such as the Brazilian National Symphony Orchestra, Bauru Symphony Orchestra, Lins Youth Symphony Orchestra, and the exceptional Sao Paulo State Youth Orchestra, with which he recorded CDs of masterpieces such as Mahler’s 5th Symphony, Bartok’s Miraculous Mandarin, Kodaly’s Dances of Galanta, Claudio Santoro’s 9th Symphony, to name a few. In these orchestras he performed with prestigious conductors such as Giancarlo Guerrero, Marin Alsop, Michael Tilson Thomas, Neil Thompson, Claudio Cruz, Marcelo Leningher, Michal Klauza, Bruno Mantovani, and others When it comes to chamber music, Christian had amazing experiences in the Pianosofia (directed by the pianist Cristian Budu), Martinez Quartet, and Sao Paulo State Youth Orchestra String Quartet. He has had opportunities to work with other musicians such as Christoph Hartmann (Berlin Phil), Jon Thorne (London Phil), Shmuel Ashkenasi (Curtis), Ben Sayevich (Park University), Daniel Veis (Park University), the Modigliani Quartet members, etc. Currently, Christian is the violist of the Park Quartet at the International Center for Music and Viola Principle of the ICM Chamber Orchestra.

In music festivals, solo masterclasses, and international activities, Christian has worked with artists such as Hsin Yun-Huang (Juilliard), Ruth Killius, Tim Deighton (Penn State), Hong Mei-Xiao (University of Arizona), Rafael Altino (Carl Nielsen Academy) Antal Zalai, Asbjørn Nørgaard (Danish Quartet), Agata Szymczewska (13th Wieniawski Winner), and Antonio Meneses, to name a few. He also worked as a guest and side-by-side performer for the New World Symphony, Youth Orchestra of Americas, and Boston Youth Symphony.

James Farquhar, cello James Farquhar is currently a student of Daniel Veis, pursuing a master’s degree in Cello Performance from Park University’s International Center for Music. He is formerly a student of Kurt Baldwin of the Arianna String Quartet at the University of Missouri - St. Louis. Under Baldwin’s instruction, James attained 2019-20 UMSL Artist of the Year with the Rococo Variations

by Tchaikovsky. In spring of 2022, he was also named Odyssey Chamber Music’s Performance Fellow, with a culminating solo recital, in collaboration with pianist Peter Miyamoto (University of Missouri’s professor for piano). During his time pursuing his undergraduate degree, James organized numerous community recitals around St. Louis and Kansas City.

He has received invaluable instruction from the likes of the Arianna String Quartet, the Brooklyn Rider String Quartet, the Harlem String Quartet, the Jupiter String Quartet, the Rolston String Quartet, Dennis Parker, Scott Lee, Jackie Lee, Frank Huang, and Shmuel Ashkenazy, among numerous others. James has also participated in various chamber music festivals including the Arianna Chamber Music Festival, Madeline Island Chamber Music Festival, Heartland Chamber Music Festival (as a festival scholar from the 2017-2022 seasons), and Chamber Music in the Mountains (Mt. Lemmon, Arizona).

James is a cello instructor for String Sprouts KC, a nonprofit that is specifically designed for underserved children ages 3 - 8, and is a free music education program created to support school readiness. He is also a teaching artist for Harmony Project KC, a nonprofit that provides year round music education for underserved students from

the diverse Historic Northeast Community of Kansas City, Missouri.

James also aspires to organize grant-funded outreach concerts for underserved elementary schools, hospitals and nursing home communities.

James performs on a 19th Century composite cello generously on loan from the Rachel Barton Pine Foundation.

David Horak, violin David Horak, a native of Vermont, enjoys playing and listening to a wide variety of music. David is a first year Artist Diploma student at Park University’s International Center for Music, studying the violin with Ben Sayevich. David is a member of the Park Quartet and is concertmaster of the ICM Orchestra. He regularly returns to Vermont to play with the Dartmouth Symphony, where he was a member from 2013-2018.

David currently substitutes with the Kansas City Symphony and the New World Symphony. Most recently, David began playing as a substitute with the Charlotte Symphony Orchestra for their 2023 summer season. David has participated in numerous summer festivals, including Boston University’s Tanglewood Institute, Music Academy of the West, and the National Youth Orchestra (USA).

David is also a member of Opera North’s Summerfest orchestra.

Lolita Lisovskaya-Sayevich, piano

Director of Collaborative Piano Born into a Tashkent (Uzbekistan) musical 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.

Ilkhom Mukhiddinov, violin Uzbekistan-born violinist Ilkhom Mukhiddinov has won acclaim for his high professionalism.

His extraordinary technical abilities transmit a fresh interpretation of standard and contemporary classical repertoire. Born in Tashkent in 2001 into a family of musicians, Ilkhom started his musical journey in the Uspensky Specialized Music Lyceum. Ilkhom made his debut with the Uspensky Symphony Orchestra at the age of 7. He also performed with groups including; the National Symphony Orchestra of Uzbekistan, the Soloists of Uzbekistan Chamber Orchestra, the Turkestan Chamber Orchestra

and the Young Talents Chamber Orchestra. Additionally he has performed with Orchestras in the United States such as the Kansas City Chamber Orchestra, and ICM Chamber Orchestra. He also recently performed with the Springfield Symphony in February.

Since 2012, Ilkhom has been named prize winner of over 10 competitions and festivals. Some of his recent awards include first prize at the Hellam Young Artist Competition, finalist and “Jury special mention” at the Leonid Kogan international Competition, and 1st Prize at the Naftzger competition.

Ilkhom has worked with a number of internationally recognized concert artists and pedagogues such as Miriam Fried, Shmuel Ashkenasi, Gil Shaham, Nicholas Kitchen, Ani Kavafian, Mark Kaplan, Danny Phillips, Francesca dePasquale and Jaime Laredo.

Currently Ilkhom is pursuing his bachelor of music performance at the at Park University’s International Center for Music, where he studies with Ben Sayevich.

Diyorbek Nortojiev, cello Diyorbek Nortojiev is a student of Daniel Veis currently working on his bachelor’s degree in Cello Performance. Prior to coming to the United States in 2019, he studied for 11 years at the Glier School of Music in Tashkent, Uzbekistan, with such renowned teachers as Dadabaeva Nigora and Jakhangir Ibragimov.

In 2018 Diyorbek participated at the IV S. Knushevitsky International Cello Competition in Saratov, Russia. That same year he received the 1st prize at the II “Istedod” International Music Competition in Tashkent, Uzbekistan. In 2017 Diyorbek took the 3rd prize at the A. Jubanov International Competition in Almaty, Kazakhstan. In summer of that year, he participated at the X P. Tchaikovsky Youth International Music Competition. Diyorbek has actively participated in masterclasses with such famous musicians like Na Mula and Suren Bagratuni. He has a passion for playing cello solo repertoire, but also greatly enjoys playing in chamber ensembles and orchestras.

Ilya Shmukler, piano “His manner of performing music is very natural, spiritual and consistent with the composer’s artistic concept. Elegant asymmetrical rhythms, executed accurately and within musical context, lend his artistic language rich emotional color, wholeness and authenticity.” These are the words used by the famous Bulgarian journal Art Panorama to describe a 2015 performance

by Ilya Shmukler.

Born in Moscow in 1994, Shmukler began his musical education at the age of 5 and immediately revealed himself as an exceptional, creative and enthusiastic young artist. He performed his first solo recital at 12 and made his orchestral debut at 14. Since then, he has appeared with the Mariinsky Theatre Orchestra, Bayer Symphoniker Orchestra, Tambov Symphonic Orchestra and New Music Orchestra.

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.

He won the piano category at the 2022 Artist Presentation Society Competition in St. Louis; first prize at the 2021 New York Virtuoso International Competition; second prize at the 2021 Lewisville (Texas) Lake Symphony International Competition; first prize and the audience award at the 2019 Shigeru Kawai International Piano Competition (Tokyo); and the special prize for best performance at the 2012 Scriabin-Rachmaninoff International Competition (Sofia, Bulgaria). 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.”

Yin-Shiuan Ting, violin Born in Kaohsiung, Taiwan, Yin-Shiuan began to play the violin at the age of 7, and her passion for the instrument continued to grow over the years. In her native Taiwan, Yin-Shiuan studied violin with Jung-Shin Fang and Geoffrey Yeh. From 2016 to 2019, Yin-Shiuan was a member of the Kaohsiung Youth Symphony Orchestra. In 2021, she took the 3rd prize at the National Student Music Competition in Kaohsiung. She has participated in masterclasses with famous musicians like Olivier Charlier, Midori Gotō, and Hu Nai-yuan.

Yin-Shiuan is a student of Ben Sayevich currently working on her bachelor’s degree in Violin Performance.

Mumin Turgunov, violin Muminjon Turgunov is a student of Ben Sayevich currently working on his bachelor’s degree in violin performance. Prior to coming to the United States in 2019 he studied for 11 years at the Glier School of Music in Tashkent, Uzbekistan, with such renowned teachers as Nikitin Yaroslav and more. In 2018, he started working as a concertmaster of “Consonanza” Chamber Orchestra at the Tashkent and Uzbekistan Diocese. In the same year was awarded a Diploma for the Best Musician of the Season “Spring 2018”.

In 2019 Muminjon participated in the Republican Competition of Uzbekistan and won 2nd prize. In 2020 Muminjon was privileged to work as a full time violinist in the “State Symphony Orchestra.” He has

a passion for playing violin solo repertoire, but greatly enjoys playing in chamber ensembles and orchestras. Since 2022, Mumin is a substitute violinist in the Kansas City Symphony. In the Summer of 2023 Mumin was privileged to be part of the National Repertory Orchestra under Michael Stern.

Yuren Zhang, violin Yuren Zhang, at the young age, was admitted to the Primary School affiliated with the Central Conservatory of Music in 2009. In 2012, he became the only student nationwide to be admitted directly to the Secondary School affiliated to the Central Conservatory of Music. He studied under the guidance of renowned violin educators and performers Professor Wang Hong and Professor Chai Liang. In 2018, he received a full scholarship to pursue his undergraduate and master’s degrees in the Mannes with Shmuel Ashkenasi. He received various scholarships, and performed as a soloist and concertmaster with major symphony orchestras around the world, including Germany, China, Belgium, the Netherlands, and the United States.

Zhang has won numerous awards, including first place in the Youth Division of the Hong Kong International Violin Competition and first place in the Stradivarius China Competition preliminary rounds. He has received guidance from masters such as Lewis Kaplan, Nicholas Mann, Kun Hu, Kurt Sassmannshaus, Lucie Robert, and others. He has performed in major concert halls and theaters at home and abroad, such as Lincoln Center, Kennedy Center, West German Radio, National Center for the Performing Arts, Beijing Concert Hall, etc. He has collaborated with outstanding musicians such as Grammy Award winner Jennifer Koh, Grammy-nominated recording artist Ralph Rvans, Lang Lang, Lv Siqing, and Berlin Philharmonic’s Principal Violinist Mei di Yang.

Zhang is currently studying with Ben Sayevich while pursuing a master’s in violin performance at Park University’s International Center for Music.

Photographer Damian Gonzalez

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

Single tickets on sale December 1, 2023

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 Lisa Browar Stan Fisher Brad Freilich Holly Nielsen Ron Nolan John Starr Steve Swartzman Guy Townsend

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

THE CENTER OF IT ALL ENJOY THE BEST OF KANSAS CITY PERFORMING ARTS

Photo by Kenny Johnson

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

Brad and Theresa Freilich, Evelina Swartzman, Shane Smeed and Steve Swartzman

Stanislav Ioudenitch, Angela Walker and Edith and Benny Lee

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

BECOME PART OF THE PARK ICM FAMILY TODAY

Travel to Lake Como!

Join the Park International Center for Music Patrons Society and enjoy everything the ICM has to offer.

Enjoy a full season of incredible concerts at the 1900 Building, each with complimentary tickets and a champagne reception to meet the artists.

Experience special salon concerts in member homes and exciting opportunities to watch Park ICM alums at Carnegie Hall, Cleveland’s Severance Hall, and others! Plus this spring, we’re planning a trip to Lake Como, Italy, hosted by Park ICM Founder and Artistic Director, Stanislav Ioudenitch! With just 100 members, our group is small enough that you’ll instantly become one of the family.

For more information, contact Executive Director Lisa Hickok at Lisa.Hickok@park.edu. Sign up today!

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

INTERNATIONAL CENTER FOR MUSIC

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 September 20, 2023

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 * Shirley and Barnett C. Helzberg Jr. * Lockton Companies Inc. Susan Morgenthaler 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 Margaret Zhorov * Edward and Sandra Fried Mark One Electric Co. Perspective Architecture & Design, LLC / Matt and Rhonda Masilionis William and Susie Popplewell Kevin and Jeanette Prenger, ’09 / ECCO Select * 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 Brad and Theresa Freilich * 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 Steve and Karen Rothstein Stanley and Kathleen Shaffer * Shane and Angela Smeed Straub Construction John and Angela Walker * Nicole and Myron Wang * WSKF Architects

KCSTUDIO.ORG

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

KC STUDIO NOVEMBER/DECEMBER 2022 VOLUME XIV, ISSUE 6

KCSTUDIO.ORG

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

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

Nov/Dec 2022

Sign up for a FREE magazine subscription and opt in to our weekly E-newsletters to stay current with KC culture!

KCSTUDIO.ORG/SUBSCRIBE

CONNECT TO COMPREHENSIVE ARTS COVERAGE

@KCSTUDIOMAG

To Kick Off Our Season: P

A

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

A Night for Piano Lovers An entire evening devoted to piano lovers, this amazing concert will feature students of Van Cliburn gold medalist Stanislav Ioudenitch. “It is extremely important for students to have performance opportunities,” said Ioudenitch.

“Musicians need to have the practical training of performing. That’s what we’re trained to do, to perform in public. These young artists in my piano studio are already successful musicians. They are award-winning instrumentalists, so something not to miss.”

Stanislav Ioudenitch Piano Studio Recital November 30, 2023, 7:30 p.m.

1900 Building

For additional information, visit ICM.PARK.EDU. GENERAL ADMISSION $30. S T U D E N T S $ 1 0 W I T H I . D .

P A R K

U N I V E R S I T Y ’ S

INTERNATIONAL CENTER FOR MUSIC

ICM ORCHESTRA FREE HOLIDAY CONCERT Following the incredible success of our inaugural 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.

December 2, 2023 • 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!

ICM.PARK.EDU

Today’s Steinway:

WE STILL MAKE THEM LIKE WE USED TO...

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

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

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

KANSAS CITY

E S TA B L I S H E D 1 8 9 9 | K A N S A S C I T Y ’ S J O U R N A L O F S O C I E T Y | W W W. K C I N D E P E N D E N T. C O M

A Kansas City tradition since 1899

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.