Park ICM, An Intimate Christmas with the ICM Orchestra, Park ICM 2025-2026 Season
O COME, ALL YE FAITHFUL
O come, all ye faithful, joyful and triumphant!
O come ye, O come ye, to Bethlehem
Come and behold Him
Born the King of Angels
Refrain: O come, let us adore Him
O come, let us adore Him
O come, let us adore Him
Christ the Lord!
God of God, Light of Light
Lo, He abhors not the Virgin’s womb
Very God, Begotten, not created
Refrain
Sing, choirs of angels, sing in exultation
Sing, all ye citizens of heaven above!
Glory to God in the highest!
Refrain
Yea, Lord, we greet Thee, born this happy morning Jesus, to Thee be glory given Word of the Father
Now in flesh appearing
Refrain
JAUCHZET GOTT IN ALLEN LANDEN
Aria
Jauchzet Gott in allen Landen!
Was der Himmel und die Welt an Geschöpfer in sich hält,
JAUCHZET GOTT IN ALLEN LANDEN (CONTINUED)
Müssen dessen Ruhm erhöhen, Und wir wollen unserm Gott gleichfalls itzt ein Opfer bringen Dass er uns in Kreuz und Not allezeit hat heigestanden.
Praise God in every land! All creation that is contained by heaven and earth must raise up this praise, and now we likewise shall bring an offering to our God, since he has stood by us at all times during suffering and need.
Recitativo
Wir beten zu dem Tempel an, da Gottes Ehre wohnet: Da dessen Treu, so täglich neu,mit lauter Segen lohnet. Wir preisen, was er an uns hat getan. Muss Gleich der schwache Mund von seinen Wundern lallen, So kann ein schlechtes Lob ihm dennoch wohlgefallen.
We pray at the temple, where God’s honor dwells, where His faithfulness, renewed daily, is rewarded with pure blessing. We praise what he has done for us. Even though our weak mouths can only stumble before his wonders, yet is our meager praise still pleasing to Him.
Aria
Höchster, mache deine Güte ferner alle Morgen neu. So soll vor die Vatertreu auch ein dankbares Gemüte durch ein frommes Leben weisen, Dass wir deine Kinder heissen.
JAUCHZET GOTT IN ALLEN LANDEN (CONTINUED)
Most high, renew your goodness to us every morning. Thus, before this fatherly love, our thankful conscience shall show, through a pious life, that we are called your children.
Choral
Sei Lob und Preis mit Ehren Gott Vater, Sohn, Heiligem Geist! Der woll in uns vermehren, was er uns aus Gnaden verheisst, Dass wir ihm fest ertrauen, ganzlich uns lass’n auf ihn, Von Herzen auf ihn bauen, dass uns’r Herz, Mut und Sinn Ihm festiglich anhangen; drauf singen wir zur Stund: Amen! Wir werdn’s Erlangen, glaub’n wir zu aller Stund.
Let glory and praise with honor be to God the Father, Son, and Holy Ghost! He will increase in us what he has promised to us from His grace, so that we may securely trust in Him, give ourselves to Him completely, so that our heart, will, and sense may strongly depend upon Him; and therefore we sing at this time: Amen! We shall succeed, if we at all times believe.
Aria Alleluja!
MARIA WIEGENLIED (MARTIN BÖLITZ)
Maria sitzt am Rosenhag und wiegt ihr Jesuskind, Durch die Blätter leise weht der warme Sommerwind. Zu ihren Füssen singt ein buntes Vögelien: Schlaf’, Kindlein, süsse, schlaf’ nun ein!
Hold is dein Lächeln, holder deines Schlummers Lust, Leg dein Müdes Köpfchen fest an deiner Mutter Brust! Schlaf’, Kindlein, süsse, schlaf’ nun ein!
Mary sits among the roses and rocks her Jesus-child, The warm summer wind gently wafts through the leaves. A happy little bird sings at her feet: Sleep, sweet little child, now fall asleep!
Your smile is gentle, yet more gentle the joy of your slumber, Lay your tired little head securely on your mother’s breast. Sleep, sweet little child, now fall asleep!
SILENT NIGHT
Silent night, holy night! All is calm, all is bright. Round yon Virgin, Mother and Child. Holy infant so tender and mild, Sleep in heavenly peace, Sleep in heavenly peace
Silent night, holy night! Shepherds quake at the sight. Glories stream from heaven afar Heavenly hosts sing Alleluia, Christ the Savior is born! Christ the Savior is born
Silent night, holy night! Son of God love’s pure light. Radiant beams from Thy holy face With dawn of redeeming grace, Jesus Lord, at Thy birth Jesus Lord, at Thy birth
HARK! THE HERALD ANGELS SING
Hark! The herald angels sing, “Glory to the newborn King! Peace on earth and mercy mild, God and sinners reconciled.” Joyful, all ye nations rise, Join the triumph of the skies, With th’angelic host proclaim: “Christ is born in Bethlehem.”
Hark! The herald angels sing, “Glory to the newborn King!”
Christ by highest heav’n adored, Christ the everlasting Lord! Late in time behold Him come, Offspring of the Virgin’s womb. Veiled in flesh the Godhead see, Hail the incarnate Deity, Pleased as man with man to dwell, Jesus, our Emmanuel.
Hark! The herald angels sing, “Glory to the newborn King!”
Hail the heav’n-born Prince of Peace! Hail the Son of Righteousness! Light and life to all He brings, Ris’n with healing in His wings. Mild He lays His glory by, Born that man no more may die, Born to raise the sons of earth, Born to give them second birth.
Hark! The herald angels sing, “Glory to the newborn King!”
ABOUT TONIGHT’S CONDUCTOR
Steven McDonald
Originally from Reading, Mass., Steven McDonald, director of orchestral activities, has served on the faculties of the University of Kansas, Boston University and Gordon College. While in Boston, he conducted a number of ensembles, including Musica Modus Vivendi, the student early music group at Harvard University. McDonald also directed ensembles at the Massachusetts Institute of Technology, serving as founder and music director of the Summer Opera and Independent Activities Period Orchestra, and conductor of the MIT Chamber Orchestra and the Gilbert and Sullivan Players.
At the University of Kansas, McDonald served as assistant conductor of the KU Symphony, and was the founder and music director of the Camerata Ensemble of non-music majors, and of the chamber orchestra “Sine Nomine,” a select ensemble of performance majors. Additionally, he has conducted performances of the KU Opera. He has also served as vocal coach at the Boston University Opera Institute and at Gordon College.
McDonald served as music director of the Lawrence (Kan.)
Chamber Orchestra from 2007-14, during which time the group transformed into a professional ensemble whose repertoire featured inventive theme programs and multimedia performances. In 2009, he was selected to conduct the Missouri All-State High School Orchestra, and in 2011 was the first conductor selected as guest clinician at the Noel Pointer Foundation School of Music which serves inner-city students in Brooklyn, N.Y. An avid proponent of early music, McDonald has also taught Baroque performance practice at the Ottawa Suzuki Strings Institute
summer music program, and regularly incorporates historically informed practice into his performances. McDonald is a graduate of the Boston University School for the Arts, the Sweelinck Conservatory of Amsterdam (The Netherlands) and the University of Kansas School of Fine Arts.
ABOUT TONIGHT’S SOLOISTS
Payton Boldt
Soprano Payton Boldt started her doctoral studies at the University of Missouri-Kansas City this fall studying vocal performance. She is also currently the Soprano Young Artist Apprentice at the Kansas City Lyric Opera, allowing her to perform in the chorus of Puccini’s Madame Butterfly, and as the Querulous String in their outreach opera, The Haberdasher Prince.
She has traveled around the U.S. and Italy, performing numerous roles including Susanna in Mozart’s Le Nozze di Figaro, Zerlina in Mozart’s Don Giovanni, Pamina and Erste Dame in Mozart’s Die Zauberflöte, Adele in Strauss’ Die Fledermaus, Cinderella in Sondheim’s Into the Woods, Laurette in Bizet’s Dr. Miracle and Adele in Donizetti’s L’elisir d’amore. She is thrilled to be performing with Park University’s fabulous orchestra once again this year. Thank you all for coming, enjoy the performance and happy holidays!
Aaron Romm
Aaron Romm, D.M.A., is currently in his third year as applied trumpet faculty at University of Kansas, and is a member of Kansas Brass Quintet.
He is a member of the world-renowned Summit Brass and faculty member of the Rafael Méndez Brass Institute in Denver, Colo. Prior to his move to Kansas, he was co-principal trumpet of Sarasota (Fla.) Orchestra, having been featured as a soloist on such monumental works as J.S. Bach’s Brandenburg Concerto No. 2 (BWV 1047). Chamber music holds a special place in his heart, and he has recorded and performed internationally with legendary trumpeter Ronald Romm and Steinway Artist Avis Romm in The Romm Trio.
As a Warburton Performing Artist and clinician, he has performed as a soloist and conducted masterclasses throughout the U.S., Europe, South America and South Korea. Aaron’s musical background, coupled with his training and experience as a comedic improviser and actor, inspire his light-hearted and engaging approach to teaching and performance.
ICM Orchestra
STEVEN MCDONALD, MUSIC DIRECTOR
Trumpet
Aaron Romm
Jena Vangjel
Harp
Deborah Clark
Percussion
Mark Lowry
Violin I
Yuren Zhang, concertmaster
Vincent Cart-Sanders
Mumin Turgunov
Ilvina Gabrielian
Nathan Humphrey
Jose Ramirez
Violin II
David Brill, principal
Yiyuan Zhang
Aviv Daniel
Yin-Shiuan Ting
Mitchell Reilly
Alla Krolevich
Viola
Iana Korzukhina, principal
Victor Diaz
Kathryn Hilger
Chung-Wen Lee
Cello
Nikita Korzukhin, principal
Fedor Solonin-Oliichuk
Ainaz Jalilpour
Otabek Guchkulov
Diyorbek Nortojiev
Mardon Abdurakhmonov
Bass
Kassandra Ferrero, principal
Minjoo Hwangbo
PROGRAM NOTES by Paul Horsley
Pavel Vejvanovský (1639-93)
Sonata Natalis
Vejvanovský was known in the 17th century as a master of the trumpet and as a significant composer, and today he stands as a leading figure of the Czech Baroque. He was born in the northern Moravian village of Hlučín near Ostrava. He began his education at Opava and found himself well-placed to serve in the court of Karl II, the Prince-Bishop of Olomouc. In the wake of the Thirty Years War, Karl had been appointed by the Hapsburg leadership to rebuild a region that suffered heavy losses during the conflict. With lavish abandon he rebuilt the war-damaged Kroměříž Palace and created magnificent gardens and galleries that are today a major tourist attraction—as well as a UNESCO World Heritage site.
Photo: Damian Gonzalez
An important part of rebuilding court and chapel was the bolstering of the musical culture. Vejvanovský, already a promising young musician, was probably in his 20s when he was singled out to lead the PrinceBishop’s prestigious musical establishment. He spent some time in Vienna, where he honed his compositional and performance skills and began collecting music voraciously. He built the Kroměříž archive into one of Europe’s most significant music collections. Vejvanovský’s compositional skill grew considerably throughout his long career. He is believed to have written as many as 200 works, though less than half survive. Among these is the lovely Christmas Sonata for two trumpets and ensemble heard this evening. It begins with a stately dance in triple, followed by a lyrical slow section and a final movement that reprises the opening material.
PROGRAM NOTES (CONT.)
Johann Strauss II (1825-99) and Josef Strauss (1827-70)
Pizzicato Polka
It is said that Franz Joseph reigned over Austria only until Johann Strauss II died. So completely was the composer’s music associated with the latter years of the Hapsburg Empire that it is difficult to conceive of this era without also thinking of the music of the Waltz King, whose 500 compositions (operas such as Die Fledermaus) helped define late-19th-century Viennese culture. His was a substantial contribution to 19th-century music. Even “serious” Brahms, a lifelong friend of Strauss, once said he would have given anything to have been the author of the Blue Danube Waltz. But in addition to these contributions to the waltz, Strauss also made a mark with distinguished contributions to the genres of polka, quadrille, and march, publishing almost as many works in these genres as waltzes — some 125 polkas, 50 quadrilles, and 40 marches.
In 1869, Johann and his brother Josef were invited by the St. Petersburg Railway Company to conduct a concert of dance music in Pavlosk, suburban St. Petersburg. To commemorate the event, they composed the Pizzicato Polka together: This rare fraternal collaboration evidently arose when Johann tried to inspire his less ambitious brother to take initiative and write something for the occasion. “He didn’t want to do it,” Johann wrote. “So finally I proposed to him that the polka should be created by the two of us. He agreed to this. And just look, the polka caused a furore in the true sense of the word.” The whimsical Pizzicato Polka caused such a reaction on the evening of its premiere in June 1869 that it had to be played nine times: and it still causes a minor stir today.
Photo: Fritz Luckhardt
PROGRAM NOTES (CONT.)
Johann Sebastian Bach (1685-1750)
Cantata No. 51, “Jauchzet Gott in allen Landen”
Bach’s Cantata BWV 51 is an anomaly in the body of the composer’s more than 200 surviving cantatas. It is his only known cantata that is scored for soprano and solo trumpet, and it manifests an uncommon level of vocal and instrumental virtuosity. Written ostensibly for the fifteenth Sunday after Trinity, it received its premiere on September 17, 1730 at Leipzig’s Thomaskirche.
Bach indicated that it was intended for performance in ogni tempo (“at any time” during the year), and indeed the text is not geared specifically to the readings of that Sunday.
Bach sometimes wrote sacred works to serve more than one purpose, and scholars have speculated that Jauchzet Gott might have been performed in a secular setting at the court of the Duke of SachsenWeissenfels—where it could have been sung by a woman, and thus by a singer best suited to negotiate its difficulties. Others have suggested the cantata was inspired by the arrival in 1730 of young Christoph Nichelmann, a highly gifted boy soprano who enrolled in the St. Thomas School that fall (and who later became a composer of some note).
The cantata is cast in five movements, with the trumpet joining the singer in the outer two movements to help convey the spirit of jubilation and praise. The extroverted opening is followed by a tender recitative and a breathtaking aria (“Höchster, mache deine Güte ferner alle Morgen neu”). Where the first movement was joyous, this aria is the vaguely melancholy utterance of a humble servant of God. The fourth movement is a discursive chorale (“Sei Lob und Preis mit Ehren”) in which the soloist takes the tune and the string principals burst forth. The final “Alleluja!” segues directly from the chorale, with the trumpet joining to conclude what surely counts as one of Bach’s most inspired works.
Portrait by Elias Gottlob Haussmann
PROGRAM NOTES (CONT.)
Benjamin Britten (1913-76)
Interlude, from A Ceremony of Carols (arr. for harp)
Britten settled temporarily in the United States in 1939, where he produced Les Illuminations for tenor and string orchestra, the Violin Concerto, and the Sinfonia da Requiem. But by 1942 he was growing homesick, and he began to feel goaded by conscience to return to his native England during its darkest hour. “You see, I’m gradually realizing that I’m English,” he wrote to a friend. “And as a composer, I suppose I feel I want more definite roots than other people.”
During the sea-passage home, at a stopover in Halifax, Novia Scotia, Britten picked up a copy of The English Galaxy of Shorter Poems, which he began to explore for what would become A Ceremony of Carols. He set this 11-movement reflection on Christmas poetry for soloists, threepart treble chorus (later arranged for SATB), and harp. He composed much of it on the voyage, completing a first version shortly after arriving home. An incomplete performance took place at Norwich Castle in December 1942. Both the Ceremony and the Hymn to St. Cecilia (also composed on the crossing) were received warmly by a Britain united through hardship — a nation in which musical life had taken on a burning new significance.
Squarely in the middle of the Ceremony, between No. 6 (“This Little Babe”) and No. 8 (“In Freezing Winter Night”), Britten gives the harp a delicate solo. This fanciful creation that shows both an understanding of the instrument and a knack for placing a pause at just the right moment in an emotionally charged work.
PROGRAM NOTES (CONT.)
Max Reger (1873-1916)
Maria Wiegenlied (The Virgin’s Slumber Song)
The lullaby is surely one of the oldest types of song, and scholars have found evidence of cradle songs in all parts of the world, many dating back centuries. Lullabies show up in the classical repertory, too, from Chopin’s Berceuse to Brahms’ celebrated Wiegenlied. Considering how central the mother-child dynamic is to the Nativity story, it is perhaps surprising there are not more Marian cradle songs. “For you are a king, but tonight you are mine,” writes the early-20th-century poet Bertha Anderson Kleinman, evoking the notion that Mary knew to cherish her time with Jesus because she knew it would be brief.
One of the more memorable holiday-themed lullabies is set to a poem of Martin Boelitz (1875-1918), a Westphalian author whose verse attracted the composer Max Reger in 1912. In Boelitz’ poem there is no thought of future peril, only of sweet sleep and of a brightly colored bird singing at Mary’s feet.
We hear far too little of Reger’s music, even though he stands as one of the most significant German composers of the modern era. A pupil of the traditionalist Hugo Riemann, he forged his own path during a volatile period in music — ultimately serving as a sort of bridge between late Romanticism and the early 20th-century innovations of Strauss, Wolf, and others. The Maria Wiegenlied (The Virgin’s Slumber Song) is in a “rocking” 6/8 meter typical of lullabies. It was published as a setting for voice and piano in the composer’s 60 Simple Songs, Op. 76, and later scored for string orchestra.
PROGRAM NOTES (CONT.)
Leroy Anderson (1908-75)
Sleigh Ride
We often undervalue composers of light music, forgetting that it can take as much mastery to write a perfectly crafted march or waltz as it does an excellent symphony.
Leroy Anderson was a sort of American Johann Strauss—a classically trained pianist, conductor, composer, and arranger who happened to excel in what we think of as “pops” music. Born in Cambridge, Massachusetts, he studied composition at Harvard with Walter Piston, Edward Burlingame Hill, and George Enescu and worked toward a Ph.D. before enlisting in the U.S. Army. Anderson wrote a few hit songs and penned the music for the Broadway show Goldilocks; he later tried his hand at a “serious” Piano Concerto (which was later withdrawn).
But it was Anderson’s association with Arthur Fiedler and the Boston Pops Orchestra that sent him down a path of almost inadvertent immortality. His uncanny mastery of orchestration can doubtless be traced back to his formal training, but his musical sense of humor was all his own. The freshness of his orchestrations inspired Fiedler to solicit work from him as early as the 1930s, though it was not until the late 1940s and ’50s that he began writing the pieces for which he is best known: The Syncopated Clock, The Typewriter, and Fiddle-Faddle. Of course no holiday season is complete without Sleigh Ride, which is not only Anderson’s most memorable hit, it is consistently one of the most-played tunes on the U.S. holiday airwaves. (ASCAP has stated that, during several recent years it has been the most played holiday tune of any by its members.)
The year was 1946, and because of the post-war housing shortage, Capt. Anderson was living with his wife and daughter in a cottage in Connecticut. Sleigh Ride was one of several pieces he conceived that summer. “I recall working on it in the middle of a heat wave,” he wrote, “so there is no basis for the music except the title itself.” It was completed in Brooklyn in early 1948 and received its premiere with Fiedler and the Bostonians that May. Anderson arranged the piece for wind band and for
PROGRAM NOTES (CONT.)
piano and subsequently gave songwriter Mitchell Parish permission to set it to lyrics—which by now have been translated into more than a dozen languages. “Just hear those sleigh bells jingling, ringling, tingling, too, / Come on, it’s lovely weather for a sleigh ride together with you.” Sleigh Ride as a song was first recorded by the Andrews Sisters and has been covered by everyone from Johnny Mathis to Ella Fitzgerald, Mariah Carey to Gwen Stefani.
Johann Strauss (1804-49) Radetzky March, Op. 228
The Waltz King’s father, known as Johann Strauss Sr. (or “the Elder”), grew up during the period of earliest Romanticism, and thus his music is perhaps more Classical in its outlook than that of his sons. Strauss Sr. was orphaned as a child and apprenticed to a bookbinder, but his real love was music. He studied violin and viola and began composing a body of solid works that would spur him to a life in music. He had a knack for the waltz and the quadrille, but he is best known for having composed what is quite possibly the most famous march in history.
Johann wrote the Radetzky March in 1848 to mark the victory of Field Marshal Joseph Radetzky at the Battle of Custoza. What has been dubbed the First Italian War of Independence was an attempt by the Kingdom of Sardinia to wrest itself from the Austro-Hungarian Empire—an offense that was quashed, though not easily, by the more powerful Imperial forces. The Radetzky March was first performed in August 1848 and quickly became a favorite: not just in Austria but around the world. It was later arranged for full orchestra and remains a favorite at the annual New Year’s Concert of the Vienna Philharmonic.
Park International Center for Music
FACULTY & STAFF
Stanislav Ioudenitch
Founder & Artistic Director
Piano Studio
Behzod Abduraimov
Artist-in-Residence
Gustavo Fernandez Agreda
ICM Coordinator
Shmuel Ashkenasi
Distinguish Visiting Artist, violin
Peter Chun
Viola Studio
Christine Grossman Orchestral Repertoire, viola
Lolita Lisovskaya-Sayevich Director of Collaborative Piano
Steven McDonald Director of Orchestra
Ben Sayevich
Violin Studio
Daniel Veis
Cello Studio
Photo: Damian Gonzalez
Park International Center for Music
PATRONS SOCIETY MEMBERS
The Patrons Society makes it possible for Park International Center for Music students to pursue their dreams of professional careers on the concert stage.
Our Patrons provide essential support for scholarships, faculty, and performance opportunities, ensuring world-class music thrives in Kansas City and beyond.
We are deeply grateful for the generosity of each member listed below.
SUPERLATIVE
Richard J. Stern Foundation for the Arts - Commerce Bank, Trustee *
Ronald and Phyllis Nolan *
Jerry M. White and Cyprienne Simchowitz
EXCEPTIONAL
Brad and Marilyn Brewster *
SUPREME
Commerce Bank *
Brad and Theresa Freilich
Barnett and Shirley Helzberg
Benny and Edith Lee *
John and Debra Starr *
EXTRAORDINAIRE
Joe and Jeanne Brandmeyer *
Thomas and Mary Bet Brown *
Vincent and Julie Clark *
Stanley Fisher and Rita Zhorov *
Stephen L. Melton *
Mira Mdivani/Mdivani Corporate
Immigration Law Firm *
Susan Morgenthaler
Rob and Joelle Smith
Nicole and Myron Wang *
PATRON
Andrew and Peggy Beal *
Lisa Browar *
Rich Coble and Annette Luyben *
Paul S. Fingersh and Brenda Althouse *
Patty Garney *
David and Lorelei Gibson *
Ihab and Colleen Hassan *
Ms. Lisa Merrill Hickok
Robert E. Hoskins, ‘74
Walter Love and Sarah Good *
John and Jacqueline Middelkamp *
Patrick and Teresa Morrison *
Bradley and Linda Nicholson *
Holly Nielsen *
Charles and Susan Porter *
James and Laurie Rote *
John and Angela Walker *
Barbara and Phil Wassmer *
Joyce Weiblen *
John and Karen Yungmeyer *
We gratefully acknowledge these donors as of November 10, 2025.
JOIN THE PATRONS SOCIETY!
Your gift brings world-class music to life.
Your gift makes an impact by:
Supporting scholarships that bing gifted students from around the world to Kansas City
Sustaining performances that connect our community to international artistry
Advancing communication and outreach that inspires the next generation of musicians
Ways to support Park ICM:
Annual Gifts - Every contribution, no matter the size, fuels our students’ success
Patrons Society - join with a commitment of $1,000 or more annually and enjoy the unique opportunities to connect more deeply with Park ICM
Sponsorships - support a concert, artist or special event and receive recognition for your leadership.
Planned Giving - leave a legacy through bequests, estate plans or endowed funds
Together our donations sustain Park ICM’s mission and ensure that the music continues for generations.
Scan the QR code or visit ICM.PARK.EDU to learn more.
Park University International Center for Music
BEN SAYEVICH, VIOLIN AND LOLITA LISOVSKAYA-SAYEVICH, PIANO IN RECITAL
Friday, January 23, 2026 • 7:30 p.m. 1900 Building • Mission Woods, Kansas
Established as one of THE best musical couples right here in the Midwest, husband and wife duo Ben Sayevich, violin, and Lolita Lisovskaya-Sayevich, piano, will be presented at the 1900 Building.
General Admission $30. Students $10 with I.D. For additional information, visit ICM.PARK.EDU
MARCH 22, 2026
KAUFFMAN CENTER FOR THE PERFORMING ARTS
PRESENTED
BY PARK UNIVERSITY
Experience an unforgettable evening of world-class artistry as Stanislav Ioudenitch, Park ICM founder and artistic director, joins acclaimed alumnus Michael Davidman ’21, winner of the 2025 American Piano Awards.
This year’s Stanislav & Friends will also recognize the distinguished career of Daniel Veis as he retires from the Park ICM faculty.
&STANISLAV FRIENDS &STANISLAV FRIENDS
KAUFFMAN CENTER
Proceeds from the event support Park ICM’s renowned program and student scholarships, ensuring the continued excellence and impact of this world-class institution.
FOR THE PERFORMING ARTS
PARK UNIVERSITY
INTERNATIONAL CENTER FOR MUSIC
ICM Orchestra’s Annual Valenttine Concert
The annual Valentine’s Week concert will highlight the many moods of dance music, including the Romanian Folk Dances of Bela Bartok, the lilting Waltz from Tchaikovsky’s Serenade for Strings, and the boisterous Hoedown from Aaron Copland’s ballet Rodeo. This all-strings program will also feature Handel’s Concerto Grosso in G Major op.6 no.1, the vigorous St. Paul Suite of Gustav Holst, Puccini’s tender and moving Chrysanthemums, Jan Sibelius’ elegant Romance for String Orchestra, and will conclude with Leroy Anderson’s virtuosic showpiece for strings, Fiddle-Faddle.
FRIDAY • FEBRUARY 6, 2026
7:30 P.M.
PARK ICM ORCHESTRA WITH Filippo Ciabatti, Conducting
GRAHAM TYLER MEMORIAL CHAPEL AT PARK UNIVERSITY. FREE WITH RESERVATION
