2021 Liszt Society Digital Program

October 15—18

and Hungary

Congratulations

to the American Liszt Society on the 2021 Festival.

Such excellence in programming, performance, and education is an inspiration to pianists, teachers, historians and devotees around the world.

Bravo!

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On behalf of the faculty, students, and staff of the University of Michigan School of Music, Theatre & Dance (SMTD), it is my pleasure to welcome you to the 2021 American Liszt Society Festival. We are delighted to be hosting the festival this fall, and have you with us as we resume full in-person activity and once again celebrate the power of the performing arts together.

Founded in 1880, SMTD is a vibrant, collaborative community characterized by excellence across all disciplines in the performing arts. Offering a wide variety of programs in dance, music, musical theatre, and theatre, we provide students with a vast array of resources to draw from while completing their education—including the intellectual breadth of one of the world’s finest public research universities—and strong partners in the arts like the world-renowned University Musical Society. Throughout the year, SMTD presents over 900 public performances in venues across campus, including the iconic Hill Auditorium, Power Center, Rackham Auditorium, Arthur Miller Theatre, and our new Dance Building. We hope you are energized by our commitment to the performing arts.

We hope too that you enjoy your time in Ann Arbor—the quintessential college town.

Take some time to tour campus, see the Big House, grab a sandwich at Zingerman’s, or take a stroll through the Arb. All of these experiences are favorites of students, faculty, and visitors alike.

Best wishes for an enriching and inspiring conference!

Dave Gier Dean and Paul Boylan Collegiate Professor of Music Dear Fellow Lisztians, On behalf of the American Liszt Society it is my distinct pleasure to welcome you to the 2021 American Liszt Society Festival, Liszt and Hungary, at the University of Michigan School of Music, Theatre and Dance (SMTD). Our annual ALS festivals are integral and important parts of the society’s raison d’être. It is that in-person contact with great music, informative lectures, and the renewal of friendships amidst good food and fellowship around the music and ideals of Franz Liszt that make the American Liszt Society unique among professional arts associations. We are emerging from the consequences of a global pandemic that brought live music to a standstill and forced artists to find creative virtual outlets for performance. I think this is one of the reasons the ALS is especially excited for Liszt and Hungary at U-M. There is nothing quite like direct human interaction when it comes to live music and presentations.

Our festival director, Dr. Matthew Bengtson, has assembled a wonderful roster of musicians and scholars. I especially commend him for his tenacity and commitment to maintaining a deep vision for this festival, despite the frustrations that the pandemic postponement brought with it. His steady hand has paid off with aesthetic dividends few could have imagined in the chaos of 2020-21. Gypsy Stringz, a complete cycle of the Hungarian Rhapsodies, Hungarian music past and present whether well-known or obscure, and a number of scholarly presentations will provide both artistic and intellectual exploration into a richly diverse set of topics and performances. This festival promises to be long remembered for its inspiration and illumination. And so I offer to Dr. Bengtson a personal Excelsior! and our deep appreciation for his hard work, attention to the details of both the artistic and logistic responsibilities, and enthusiasm and goodwill in all things.

As well, I wish to express appreciation and gratitude to Dr. David Gier, Dean of SMTD for his enthusiastic and patient support for the ALS festival. His optimism and encouragement to the ALS and to Dr. Bengtson to continue to move forward despite the pandemic circumstances speaks to his own seasoned acumen and vision for music at U-M. The school is in good hands.

The ALS offers Dr. Gier and his staff our kudos, and we say with gusto, Go Blue!

As a final note, the American Liszt Society is pleased that the premiere of Piano Lessons: the Life and Art of German Diez Nieto occurs at the start of this festival. I have previewed this wonderful documentary. It made me want to practice.

And so, my dear Lisztians, welcome to you all. Enjoy the music, the lectures, the fellowship accompanied with repast and libations, and prepare for a wonderful weekend of aesthetic refreshment and renewal.

Excelsior!

Jay Hershberger, President, American Liszt Society

A Note from the Liszt Society Festival Director, Matthew Bengtson I had the good fortune to experience childhood at a time when television cartoons, the entertainment of the day, were designed by people with imagination and musical taste. I had the further good fortune to live with parents who could recognize that the fun music Bugs Bunny was playing was Liszt’s Hungarian Rhapsody no. 2. They didn’t require any marketing algorithms to have the insight that if I liked that one, there were many other Liszt rhapsodies that I might enjoy too.

Thus began my love of Liszt and of Hungarian musical style, and also, more generally, my habit of browsing and researching music to discover and to learn about new pieces: a habit I have retained throughout my life. It is a privilege to pass this on to the next generation of music students. Now it is my honor to share it with you, who have come to this festival to celebrate the music of Liszt, to consider the unique qualities of Hungarian music, and to discover the creative work of numerous other musicians whose lives were enriched by Liszt’s noble example.

Liszt stands at the center of any discussion of Hungarian music, most particularly his Hungarian Rhapsodies. These spectacular works, which rank among his most dazzling achievements, have met with a colored reception. Liszt’s adoption of a style typically associated with popular entertainment and his efforts to elevate it into the style of a national epic wrankled the Hungarian elites of his time who harbored nationalist ambitions. Even more unfortunately, his book Des bohémiens et de leur musique en Hongrie combined moments of color and fantasy with other moments of naïveté and callousness, and made Liszt many enemies. The furor that it provoked ranks among the great tragedies of Liszt’s life, ultimately depriving him of the honor of a state funeral.

The Hungarian Rhapsodies are ripe to be reheard, rethought, and experienced anew. This festival will explore their rich and fascinating context. We will begin our journey with the music that inspired Liszt – among many others – in the first place: a Romani ensemble, featuring the combination of string-playing virtuosity with the unique sonorities of the cimbalom.

The very word “Roma” derives from a root meaning “musician.” In the light of centuries of persecution, the Romani story deserves to be reheard amidst today’s social movements on civil rights. We will explore many other outstanding composers of Hungarian origin: both those of Liszt’s contemporaries and those still active today, both those who followed Liszt’s stylistic direction and those who shunned it, both those who are well-known and those who have been all but forgotten. We will hear music for solo piano, for earlier pianos, for harpsichord, and piano transcriptions, as well as music for strings, winds, percussion, and the human voice. We will explore the diverse directions the “rhapsody” genre has taken in the hands of many different composers.

The subject of Hungarian-Gypsy style, or style hongrois, remains an extraordinarily rich one, fertile enough to provide ample material for many different events on the scale of this one. Scholarship in this area continues to advance and to evolve. We are honored to be joined at this event not only by a lineup of outstanding performing artists but also by some of the most important scholars who are active in this field today.

Welcome to the Liszt Society in Ann Arbor! I hope your weekend with us will be both enjoyable and meaningful.

Matthew Bengtson Assistant Professor of Music (Piano Literature) University of Michigan School of Music, Theatre & Dance

2021 American Liszt Society Festival Schedule at a Glance Moore Building Location Key: Britton Recital Hall (BRH), Hankinson Rehearsal Hall (HRH), Glenn E. Watkins Lecture Hall (WLH)

Friday October 15, 2021 9:00 AM: Board Meeting 4:00-5:15 PM: Piano Lessons: the Life and Art of German Diez Nieto Justin Kolb (Film) BRH 8:00-10:00 PM: George Batyi and the Gypsy Stringz (Concert) Rackham Auditorium

Saturday, October 16, 2021 9:00-9:25 AM: “In Search of Hungarianness in Music” Péter Láki (Lecture) WLH 9:30-9:55 AM: Music of Franz Liszt (Recital) BRH 10:00-10:45 AM: “What do we mean when we say ‘Gypsy music’? A brief tour” Lynn Hooker (Presentation) WLH BREAK 11:15-11:40 AM: “The Hungarian Rhapsodies of Imre (Emerich) Székely” János Kéry (Lecture-Recital) BRH 11:45 AM -12:10 PM: Solo piano transcriptions by Liszt (Recital) BRH LUNCH 2:00-2:25 PM: “Dancing the Csárdás” (Lecture-Demonstration) *CANCELLED* 2:30-3:45: “Historical Approaches to Interpretive Ornamentation and Rubato in Liszt’s Hungarian Rhapsodies” Jonathan

Bellman and Farhan Malik (Lecture) WLH BREAK 4:00-5:15 PM: Highlight on the Gershwin Initiative (Session) BRH 4:00 PM: “The Gershwin Critical Edition and the Rhapsody in Blue” Mark Clague and Logan Skelton (Lecture-Demonstration) 4:30 PM: “Restoring the Gershwin Piano” Robert Grijalva (Lecture) 5:00-5:15 PM: George Gershwin, Rhapsody in Blue (1924) Logan Skelton with Joonghun Cho (Recital) DINNER 7:30-7:55 PM: Pre-concert talk by Farhan Malik BRH 8:00 PM: Liszt’s Hungarian Rhapsodies S. 244 Nos. 1-15 (1846-53) (Recital) BRH

Sunday, October 17, 2021 9:00-9:45 AM: Early Pianos at Michigan (Recital) BRH 9:50-10:15 AM: “Károly Aggházy (1855-1918) - Liszt’s Favorite Hungarian Student” Sławomir Dobrzanski (Lecture-Recital) BRH 10:20-10:45 AM: Rare Hungarian Romantics – Works of Menter and Mihalovich (Recital) BRH BREAK 11:00-11:25 AM: “Hungary as Young Liszt Knew It and How it Changed” Robert Eshbach (Lecture) BRH 11:30 AM-12:30 PM: Late Works of Liszt (Recital) BRH LUNCH 2:00-2:25 PM: Lieder by Mihalovich, Liszt, and Dvořák (Recital) BRH 2:30-3:10 PM: “What is There to Analyze? Style hongrois/verbunkos Idiom Between Liszt & Brahms” Shay Loya (Lecture) WLH BREAK 3:30-4:15 PM: Ukrainian themes – Music of Lysenko, Bartók, and Skoryk (Recital) BRH 4:20-5:20 PM: Music of Ernő (Ernst) von Dohnányi (1877-1960) (Recital) BRH DINNER 8:00 PM: University of Michigan Faculty: Works of Kocsár, Bartók, and Brahms (Recital) BRH

Monday, October 18, 2021 9:00-9:40 AM: Music of Bartók and Kodály (Recital) BRH 9:45-10:10 AM: “Around Liszt’s Shadow: Stephen Heller, Hungarian Composer-Pianist” Jonathan Kregor (Lecture) WLH 10:15-11:10 AM: Music of Bartók and Kodály (Recital) BRH BREAK 11:30 AM-12:25 PM: Chamber Music: University of Michigan Students and Faculty (Recital) BRH LUNCH 2:00-2:20 PM: “Játékok by György Kurtág (b. 1926)” Robert Satterlee (Lecture-Recital) BRH 2:25-2:40 PM: “Harpsichord Works by György Ligeti (1923-2006)” Carl Bolleia (Recital) BRH 2:45-3:15 PM: Music of Liszt and de Falla (Recital) BRH BREAK 3:30-3:55 PM: “The Life and Performances of Dr. Ernő Daniel” Katherine Hickey (Lecture) WLH 4:00-5:00 PM: Contemporary Piano Music - Works of Danielpour, Kocsár, Fekete, and Dubrovay (Recital) BRH 5:00 PM: Closing Banquet. HRH

2021 American Liszt Society Festival Detailed Event Schedule *Performers/Lecturers are bolded and italicized in text

“Play Gypsy!” Hungarian “Gypsy Music” from Liszt to Hungarikum Exhibit October 15–October 18, Soderquist Atrium An exhibit of the Museum of Ethnography of Hungary curated by Péter Szuhay and Krisztina Pálóczy. Provided by Péter Szuhay and edited by Lynn M. Hooker of Purdue University for this festival.

In his book On Gypsies and Gypsy Music in Hungary, published in French in 1859 and in Hungarian in 1861, Liszt wrote passionately about Gypsy musicians in the country. Later writers rejected his suggestion that the music they played was actually theirs, emphasizing as Bartók did that “it is doubtless of Hungarian origin.” In fact, Roma (Gypsy) musicians have played an essential role in developing “Hungarian” national music, including verbunkos and csárdás.

This exhibition explores the image of “Gypsy” in “Hungarian” music and dance as well as a brief history of Roma musicians in Hungary. It positions Hungarian-Gypsy-style music, including the works of composer-pianist Ferenc Liszt, alongside the works of painter Miklós Barabás and poets Sándor Petőfi and Mihály Vörösmarty. It also traces the musicians’ history to this day: from village bands to ensembles that have traveled abroad from the eighteenth century to the declaration by the Hungarian government in 2014 that the 100-Member Gypsy Orchestra is a Hungarikum, “worthy of distinction…thanks to its typically Hungarian attributes,” for both its artistry and its role in preserving tradition. Additionally, the exhibition discusses some of the specific customs that have held this exclusive professional and social group together over time.

Friday, October 15, 2021 Piano Lessons: the Life and Art of German Diez Nieto (Film) 4:00-5:15 PM, Britton Recital Hall Piano Lessons is a feature-length documentary which tells the story of German Diez Nieto. He was first a protégé of the keyboard master Claudio Arrau, who had heard him play in Havana when German was very young. German departed Cuba for New York City as a young adult to study with the master in 1945. Following a stint as one of Mr. Arrau’s assistants as well as touring, German retired from the stage and became a torchbearer of the Arrau legacy. His devotion to teaching has touched and formed generations of accomplished classical musicians. The documentary bears witness to the importance of the Diez legacy, a tradition of music making passed down from Beethoven, through Czerny, Liszt, Krause and Arrau.This film is a journey that explores the relationship between artist and mentor, and the value that such a personal relationship can have in artistic development of an individual.

George Batyi and the Gypsy Stringz 8:00-10:00 PM, Rackham Auditorium A range of Gypsy, Eastern European, and Continental music, headed by violinist George Batyi, joined by Dwayne Dorich (Brac and vocals), Kristofer Vucelich (Brac), Brock Belich (Tambura bass), Ben Wagner (Kontra), Alex Udvary (Cimbalom) and special guest Billy Rose (vocal guitar). Introduction by Lynn Hooker

Saturday, October 16, 2021 In Search Of Hungarianness In Music (Lecture) 9:00-9:25 AM, Glenn E. Watkins Lecture Hall Péter Láki In a 1986 article entitled “In Search of Czechness in Music,” Michael Beckerman proposed a model for an objective description of national character in the works of Czech composers, based partly on melodic and rhythmic elements and partly on historical and cultural associations. What this model doesn’t take into consideration are the changes in what the concept of “nation” has represented across different historical eras. An analogous search for “Hungarianness” in music must account for those changes, and also for the different vantage points from which different composers have approached the issue. Liszt’s Hungarian style was influenced by the style hongrois of German-speaking composers from Haydn to Schubert, though he enlarged on it considerably as his identification with Hungary deepened. Bartók and Kodály, immersed in Hungarian culture from birth, saw it as a multi-faceted phenomenon, consisting of different layers, interacting with other cultures and undergoing a complex historical development. In his Hungarian-themed works from his mature years, György Ligeti put a new twist on the “Hungarian style” filtered through his experience with the international avantgarde of the 1960s and ‘70s, and helped by the dazzling poetry of his contemporary, Sándor Weöres.

Saturday, October 16, 2021 (Continued) Music of Franz Liszt (Recital) 9:30-9:55 AM, Britton Recital Hall PROGRAM: from Harmonies poétiques et religieuses S. 173, No. 7 Funérailles (1853), Derek Parsons; Two Csárdás S. 225 (1884-1885), Csárdás macabre S. 224 (1881-1882), Péter Tóth What do we mean when we say “Gypsy music”? (Presentation) 10:00-10:45 AM, Glenn E. Watkins Lecture Hall Lynn M. Hooker For centuries, Roma musicians have played a central role as performers of entertainment music. In Central Europe, that music is often simply called “Gypsy music,” and artists around the world–Franz Liszt one of the best known among them– appropriate romanticized exotic images and sounds they and their audiences associate with “Gypsies.” The word “Gypsy” and similar terms in other languages are based on mistaken notions about the Roma’s origin and are often used either in this orientalizing way or pejoratively; for that reason, many scholars and activists have pushed to discard the word Gypsy.

On the other hand, many Roma, both musicians and non-musicians, use this word even today, and the idea of “Gypsy music” continues to hold power for audiences and artists. This presentation contextualizes the rise of the imaginary exoticized “Gypsy” in the parallel historical experience of Roma. Musical examples–“folk,” “classical,” and “popular”–come from around Europe, but with an emphasis on Hungary.

The Hungarian Rhapsodies of Imre (Emerich) Székely (Lecture/Recital) 11:15-11:40 AM, Britton Recital Hall János Kery Although one of the most well-known musical personalities of his time, the pianist, composer and piano teacher Imre (Emerich) Székely (1823-1887) remains rather unknown even among Hungarian musicians today. According to recent research, he published 180 original compositions mainly in Hungary, but there are many editions in London and in Hamburg as well. Because of his active participation in the Hungarian national revolution in 1848, he spent three years in London as a refugee together with many of his compatriots in exile. During this period, he was one of the most popular artists in the noble salons, and even with the Queen herself. After his return to his homeland in 1852, he became a celebrity in Hungarian musical life. He was the private piano teacher of the children of Archduke Albrecht, the ruler of Hungary at that time. In the last major period of his life, he was the leading piano professor of the National School of Music in Budapest. His most influential collection of compositions are the Hungarian Rhapsodies. There are 34 numbered rhapsodies, but he wrote many other compositions in similar manner. This lecture-recital will offer a small taste of his musical personality through some of these compositions.

Solo piano transcriptions by Liszt (Recital) 11:45 AM-12:10 PM, Britton Recital Hall PROGRAM: Frank Ignác Szabadi (ca. 1824-1897) transc. Liszt - Revive Szégedin! Marche hongroise de Szabadi, R. 260 (1879), Éva Polgár; Mihály Mosonyi (1815–1870) transc. Liszt - Fantasy on the Hungarian Opera Szép Ilonka S. 417 (1865-67), Tomasz Kamieniak; Ferenc (Franz) Erkel (1810-1893) transc. Liszt - Schwanengesang und Marsch S. 405 (1847), Tomasz Kamieniak Dancing the Csárdás (Lecture/Demonstration) *CANCELLED* 2:00-2:25 PM, Hankinson Rehearsal Hall Slávka Jelinková and Christian Matijas-Mecca The Csárdás (or Czardas) is a Hungarian folk dance with a name borrowed after a roadside or village inn, where folk dances would have been a familiar social activity. The music used to accompany the Csárdás can be traced to an earlier genre, the Verbunkos. Csárdás would become popularized in 19th century concert music and ballets where it was one of the “Character,” or folk dances that were incorporated into narrative, or story, ballets and could be executed on stage either as a solo or a couple dance. Nineteenth-century ballet masters/choreographers incorporated character dances into numerous classical ballets (Leo Delibes’s Coppelia perhaps is the most widely known ballet where character dances are used to great effect in Acts I & II). Every stylized character dance uses folk steps with specific rhythmic structures that reflect a particular mood and are accompanied, in the case of the Csárdás, with music that alternates lassú (slow) and friss (fast) sections. Slávka Jelinkova, Instructor of Ballet and Character Dance at U-M, will demonstrate a Csárdás accompanied by Christian Matijas-Mecca.

Saturday, October 16, 2021 (Continued) Historical Approaches to Interpretive Ornamentation and Rubato in Liszt’s Hungarian Rhapsodies (Lecture) 2:30-3:45 PM, Glenn E. Watkins Lecture Hall Jonathan Bellman and Farhan Malik Although Liszt’s Hungarian Rhapsodies and related works remain staples of today’s concert repertoire, much of the characteristic rawness and spice of their performance context has been softened or flattened into a polite, domesticated idiom. This is a loss; pieces in the style hongrois (as this style is called) used the melodic and rhythmic vocabulary of the verbunkos and popular art-song repertories, combined with fantasia elements and glistening passagework, to showcase a pianist’s command of the bravura style that meant to evoke Romani (“Gypsy”) musicians. Accordingly, in these pieces, pianists partook of a performance idiom that included interpretive ornamentation (the elaboration of free cadenzas and shorter decorative passages) and characteristically exaggerated tempo changes and rubato, all of which conveyed the idea of the improvisatory, mercurial freedom—whether actual or simulated—that was the central tenet of Romani musicians’ performance style. That Liszt endorses performer’s freedom and caprice is apparent from his explicit instructions to certain students to be less literal in their interpretations, from the passages in his book The Gypsy in Music in which he rhapsodizes about the characteristic improvisatory freedom of Romani musicians, and from the early recordings in which such personalized interpretations may be heard. Today, however, performers tend to avoid such “excesses,” though originally it was that wildness and freedom that audiences most loved. As these works comprised a “Gypsy national epic,” in Liszt’s words, interpreters needed the ability to “speak” in this idiom with command.

The University of Michigan Gershwin Initiative 4:00-5:15 PM, Britton Recital Hall (4:00-4:30 PM) Mark Clague and Logan Skelton (Lecture/Demonstration) The mission of the George and Ira Gershwin Critical Edition at the University of Michigan is to create pristine, reliable editions documenting the brothers’ musical creativity. Among George’s works for piano and orchestra, Rhapsody in Blue and Concerto in F present extraordinary challenges and special rewards, not only in their stylistic fusion of classical, jazz, and popular musics, but in the way each work developed and transformed over time. The Gershwin Critical Edition, for example, embraces Gershwin’s performances on commercial recordings and radio broadcast tapes as a window into the composer’s ever evolving process of musical experimentation. This 30-minute session will explore the ways in which critical editing, as a collaboration between performer and researcher, invites new discoveries and insights that inform both the details of the musical score and our overall understanding of one of America’s pioneering compositional voices.

(4:30-5:00 PM) Robert Grijalva (Lecture) “Restoring the Gershwin Piano” The School of Music, Theatre & Dance owns one of only three pianos owned by George Gershwin. The piano, a Model A III, is known to have been used by George Gershwin to compose parts of Porgy and Bess. It was donated to the SMTD by Marc Gershwin, nephew of George and Ira, as part of the Gershwin Initiative at the SMTD. Marc Gershwin wished for the piano to be put into playing condition again so that students and faculty might have the opportunity to use it for recitals or recordings. The Piano Technology Department, under the direction of Robert Grijalva, took pains to restore the piano over the course of two years. Professor Grijalva will talk about how the piano came to be donated to the SMTD, as well as the process of restoring this historic instrument to playing condition.

(5:00-5:15 PM) Logan Skelton with Joonghun Cho (Recital) PROGRAM: Gershwin- Rhapsody in Blue (1924) “Liszt: Hungarian Rhapsodies Nos. 1-15 S. 244 (1846-53)” (Recital) 8:00 PM, Britton Recital Hall (7:30 PM Pre-concert talk by Farhan Malik) PROGRAM: No. 1 in C# minor, Joseph Kingma; No. 2 in C# minor, Alexandre Dossin; No. 3 in B-flat major, Lori Piitz; No. 4 in E-flat major, Yuting Ma; No. 5 in E minor, Forrest Howell; No. 6 in D-flat major, Caroline Hong; No. 7 in D minor, Yixuan Han; No. 8 in F# minor, Shun Fu Chang; No. 9 in E-flat major (“Carnival in Pest”), Grigor Khachatryan; No. 10 in E major, Ji-Hyang Gwak; No. 11 in A minor, first version, Magyar Rapszódia S. 242 No. 14 (1846-47), Tomasz Kamieniak; No. 12 in C# minor, Andrew Le; No. 13 in A minor, Louis Nagel; No. 14 in F minor, Eric Ruple; No. 15 in A minor (“Rákóczi March,” after Vladimir Horowitz), Michael Boyd

Sunday, October 17, 2021 Early Pianos at Michigan (Recital) 9:00-9:45 AM, Britton Recital Hall PROGRAM: Schubert - Ungarische Melodie (Hungarian Melody), D. 817 (1824), Shuntaro Sugie, Paul McNulty fortepiano after Anton Walter (ca. 1795); Beethoven – Rondo à capriccio “Rage Over a Lost Penny” Op. 129 (1795), Gabriel Merrill-Steskal, McNulty-Walter fortepiano; Jan Václav Voříšek (1791-1825) – Rhapsody in G minor op. 1 no. 9 (ca. 1818), Shuntaro Sugie; piano by John Broadwood (1808); Haydn – from Piano Trio in G major, Hob. XV:25 (1795), Finale: Rondo all’Ongarese, Presto, Gabriel Merrill-Steskal, Broadwood piano, Emily Monroe, violin, Terence Lo, cello; Shuntaro Sugie, Broadwood piano; Liszt Rhapsodie espagnole, S. 254 (1858), Angie Zhang, piano by Sébastien Érard (1866) Károly Aggházy (1855-1918) - Liszt’s Favorite Hungarian Student (Lecture/Recital) 9:50-10:15 AM, Britton Recital Hall Sławomir Dobrzanski This brief presentation will focus on the life and music of Károly Aggházy (1855-1918), Liszt’s favorite Hungarian student.

During his lifetime, Aggházy was primarily known as the duo partner of the celebrated violin virtuoso Jenő Hubay (1858-1937). Later in his life, Aggházy was mostly active as a pedagogue at conservatories in Berlin and Budapest, and a prolific composer. His music was published throughout Central Europe. Two of his piano pieces were published in St. Louis, Missouri in 1913. Today, his compositions remain completely forgotten. A large part of his piano output draws inspiration from Hungarian folk music in a modified version of the style inherited directly from Liszt. Among his pieces one finds Hungarian Dances, Hungarian Rhapsodies and Soirées hongroises, all using various elements of what was then an established musical style at the height of its popularity.

Rare Hungarian Romantics – Works of Menter and Mihalovich (Recital) 10:20-10:45 AM, Britton Recital Hall PROGRAM: Ödön (Edmund) Mihalovich (1842-1929) - Fantasie in C# minor, Ji-Hyang Gwak; Sophie Menter (1846-1918) Hungarian Gypsy Melodies (1892), orchestra part arr. by Tchaikovsky, Jianhong Hu with Robert Satterlee Hungary as Young Liszt Knew It and How it Changed (Pre-recorded Lecture) 11:00-11:25 AM, Britton Recital Hall Robert Whitehouse Eshbach Franz Liszt spent most of the first decade of his life in the vicinity of the little town of Raiding (Hung: Doborján), currently in the Austrian state of Burgenland. In May 1823, the eleven-year-old performed in Hungary for the last time before his departure to Paris. He did not return until December 1839, when he was twenty-eight. Liszt’s revival of interest in his native land was directly inspired by the landscape itself — by the tragic aftermath of the great flood of 1838. He wrote that the surge of sympathetic emotion he felt in response revealed to him the meaning of the word “homeland”; that, in reading about the flood, the Danube and the broad plains of Hungary had reappeared to his imagination and led him to feel a deep connection to the “original, untamed nation which will surely see the dawn of better days.” Liszt was greeted on his return as a national hero. But the Hungary he encountered must have seemed to him, in some ways, unrecognizable. During his absence, it had gone through immense physical, social, and political changes in search of modernity, national identity, and political independence. Within another decade, Hungary would be engulfed in revolution. What was the character of the land that he left, and to what altered country did he return? In my talk, I will explore this question with specific reference to geography, landscape, culture, and politics.

Late Works of Liszt (Recital) 11:30 AM-12:30 PM, Britton Recital Hall PROGRAM: Liszt - from Années de Pèlerinage Book III, S. 163 (1867-82), Sunt Lacrymae Rerum, en mode hongrois, Ryan Behan; from Historische ungarische Bildnisse (Hungarian Historical Portraits), S.205 (1885), No. 4, Teleky László, No. 5, Deák Ferenc, No. 6, Petőfi Sándor, No. 7, Mosonyi Mihály, Péter Tóth; Hungarian Rhapsodies S. 244 (1882-1885), No. 16 in A minor, No. 17 in D minor; No. 18 in F# minor, Robert Hamilton; No. 19 in D minor, Michael Boyd Recital: Lieder by Mihalovich, Liszt, and Dvořák 2:00-2:25 PM, Britton Recital Hall PROGRAM: Ödön (Edmund) Mihalovich (1842-1929) – Nachtreisen, Der schwere Abend, In der Mondnacht; Liszt - Die drei Zigeuner; Antonin Dvořák (1841-1904) - Zigeunermelodien, Op. 55, Kevin McMillan, baritone, and Gabriel Dobner, piano

Sunday, October 17, 2021 (Continued) What is There to Analyze? Style hongrois/verbunkos Idiom Between Liszt and Brahms (Lecture) 2:30-3:10 PM, Glenn E. Watkins Lecture Hall Shay Loya, via Zoom Music openly imitating Hungarian national tunes as realized by Gypsy bands has had a checkered reception: highly popular with audiences, it has also attracted cultural-political opprobrium and suffered analytical neglect. This neglect extended even to the most famous exemplars of such music by Franz Liszt and Johannes Brahms. As a partial corrective, my paper will begin by exploring five seemingly straightforward categories for analysis that nonetheless raise questions of terminology, sources, genre, representation, and material. It appears that this field has lacked more concentrated attention to compositional aspects of such works: not markers in isolation, but rather the way they function within a greater whole. Focusing on the compositional act itself, I test this claim by exploring works by Liszt and Brahms with common source material. The first case study is Liszt’s and Brahms’s respective treatments of the famous Rákoczi March, and the second is Brahms’s Hungarian Dance No. 9 and the finale from Liszt’s little-known Ungarischer Romanzero No. 11.

Beyond the general differences in musical taste and technique, these pieces evince differing musical understanding and treatment of specific idiomatic elements. The historical significance of such differences has barely begun to be explored.

Ukrainian themes – Music of Lysenko, Bartók, and Skoryk (Recital) 3:30-4:15 PM, Britton Recital Hall PROGRAM: Mykola Lysenko (1842-1912) - Rhapsody on Ukrainian Themes No. 1, Op. 8 (1875), Grand morceau de concert, Junghwa Lee; Lysenko – Rhapsody on Ukrainian Themes No. 2, Op. 18, Arthur Greene; Béla Bartók (1881-1945) - Rhapsody No. 2 for Violin and Piano (1928), Solomia Soroka, violin, and Arthur Greene, piano; Myroslav Skoryk (1938-2020) Carpathian Rhapsody, Solomia Soroka and Arthur Greene Music of Ernő (Ernst) von Dohnányi (1877-1960) (Recital) 4:20-5:20 PM, Britton Recital Hall PROGRAM: Dohnányi- Four Rhapsodies, Op 11 (1902-1903), No. 1 in G minor, Yuting Ma, No. 2 in F# minor, No. 3 in C major, No. 4 in E-flat minor, Richard Fountain; Sextet in C major, Op. 37 (1935), Allegro appassionato, Intermezzo: Adagio, Allegro con sentimento, Allegro vivace, giocoso, Fabiola Kim, violin, Yizhak Schotten, viola, Anne Richardson, cello, Adam Unsworth, horn, Daniel Gilbert, clarinet, and Philip Solomonick, piano University of Michigan Faculty: Works of Kocsár, Bartók, and Brahms (Recital) 8:00 PM, Britton Recital Hall PROGRAM: Miklós Kocsár (1933-2019) - Rapsodia for Trombone, Piano, and Percussion, David Jackson, trombone, Ian Antonio, percussion, Matthew Bengtson, piano; Béla Bartók (1881-1945) - Sonata for Two Pianos and Percussion, Sz. 110, BB 115 (1937), Assai lento - Allegro molto, Lento ma non troppo, Allegro non troppo, Logan Skelton and Amy I-Lin Cheng, pianos. Ian Antonio and Douglas Perkins, percussion; Johannes Brahms (1833-1897) - Piano Quartet in G minor Op. 25 (1861), Allegro, Intermezzo. Allegro ma non troppo - Trio. Animato, Andante con moto, Rondo alla Zingarese. Presto, Aaron Berofsky, violin, Kathryn Votapek, viola, Amir Eldan, cello, and Christopher Harding, piano

Monday, October 18, 2021 Music of Bartók and Kodály (Recital) 9:00-9:40 AM, Britton Recital Hall PROGRAM: Zoltán Kodály (1882-1967) - from Nine Piano Pieces Op. 3 (1909) selections, No. 1, Lento; No. 2, Andante poco rubato; No. 3, Lento; No. 6, Moderato triste; No. 9, Allegro, commodo, burlesco, Namji Kim; Kodály - Méditation sur un motif de Claude Debussy (1907), Forrest Howell; Béla Bartók (1881-1945) - 15 Hungarian Peasant Songs, Sz. 71 (1914-1918), Gila Goldstein Around Liszt’s Shadow: Stephen Heller, Hungarian Composer-Pianist (Lecture) 9:45-10:10 AM, Glenn E. Watkins Lecture Hall Jonathan Kregor Born in Hungary, schooled in Austria, based in France, and known throughout Europe for his piano music, Stephen Heller seems to share much in common with his contemporary Franz Liszt. Yet while the latter already became emblematic as pianist, composer, and pedagogue in his lifetime, Heller did not fare nearly as well—nor has he fared much better since his death in 1888. While it is easy to characterize him as just another nondescript member of the “riot of pianists” that descended on Paris in the 1830s, this presentation instead explores how Heller offered his own unique takes on ideas, techniques, and genres associated almost exclusively with Liszt, such as program music, transcription, and the fantasy.

Whether his numerous arrangements of Schubert’s songs from the 1840s, his Sonata no. 2 in B minor of 1849, or his “wanderer” pieces (Opp. 78, 89, 101, 140) from the 1850s onwards, Heller’s music neither blindly followed nor loudly denounced his famous compatriot. Instead, it forged stylistic, aesthetic, and performative middle grounds between the “progressive” and “conservative” camps that dominated Franco-German music for much of the century.

Monday, October 18, 2021 (Continued) Music of Bartók and Kodály (Recital) 10:15-11:10 AM, Britton Recital Hall PROGRAM: Kodály - Dances of Maroszzék (1927), Read Gainsford; Kodály - from Seven Piano Pieces, Op. 11 (1917-1918), No. 2, Rubato – parlando; No. 3, Allegretto malinconico; No. 4, Rubato; No. 5, Tranquillo; No. 6, Poco rubato, Dmitri Rachmanov; Bartók - Rhapsody for solo piano, Op. 1 (1904), Daniel Glover University of Michigan Students and Faculty (Recital) 11:30 AM-12:25 PM, Britton Recital Hall PROGRAM: Kodály - Serenade Op. 12 (1919-20), Allegramente - Sostenuto ma non troppo, Lento ma non troppo Vivo, Danielle Belen and Annamaria Vasmatzidis, violins, Yizhak Schotten, viola; Jenö Hubay (Eugen Huber) - Carmen Fantasy (ca. 1876), Fabiola Kim, violin, Minji Kim, piano; Bartók - Contrasts for Violin, Clarinet and Piano, Sz. 111 (1938) Danielle Belen, violin, Daniel Gilbert, clarinet, and Xiaoya Liu, piano Játékok by György Kurtág (b. 1926) (Lecture-Recital) 2:00-2:20 PM, Britton Recital Hall PROGRAM: Kurtag - Selections from Jatékók (Games), Robert Satterlee Harpsichord Works by György Ligeti (1923-2006) (Recital) 2:25-2:40 PM, Britton Recital Hall PROGRAM: Passacaglia Ungherese (1978), Hungarian Rock (1978), Carl Patrick Bolleia, harpsichord.

Music of Liszt and de Falla (Recital) 2:45-3:15 PM, Britton Recital Hall PROGRAM: Liszt - Romanian Rhapsody S. 242 (1846-47), Joonghun Cho; Manuel de Falla (1876-1946) - Fantasia baetica (1919), Cathal Breslin The Life and Performances of Dr. Ernő Daniel 3:30-3:55 PM, Glenn E. Watkins Lecture Hall Katherine Hickey Dr. Ernő Dániel (1918-1977) epitomized the mid-20th century Renaissance Man: a superb pianist and collaborator, outstanding teacher and authority on Hungarian music, and inspiring conductor of the Wichita Falls Symphony and the Santa Barbara Symphony. He was a founding member of the Hungarian Liszt Society and was invited to be on the Board of Directors of the American Liszt Society in 1968. He served as President of the American Liszt Society (ALS) from 19721976. Dr. Dániel participated in many ALS events, including organizing the January 1970 ALS First West Coast Festival at University of California, Santa Barbara, and performing and lecturing on Liszt’s Totentanz at the ALS Festival in 1971.

Ernő Dániel was born in Budapest and studied at the Royal Academy of Music. His teachers included pianists Ernst von Dohnányi, Leo Weiner for chamber music, and Pierre Monteux, Richard Lert, and George Szell for conducting. He was awarded the Budapest Liszt Prize in 1937 at age 19, earned a state teacher’s diploma in 1938, artist’s diploma in 1941 and a doctorate in 1944. Dr. Dániel was appointed professor at the Royal Academy in 1942. Dr. Dániel’s performance history as a pianist and conductor is extensive. Recordings will prove his technical prowess and his artistic sensitivity. There are many stories to tell about the spirit, artistry and accomplishments of Ernő Dániel.

Contemporary Piano Music - Works of Danielpour, Kocsár, Fekete, and Dubrovay (Recital) 4:00-5:00 PM, Britton Recital Hall PROGRAM: Richard Danielpour (b. 1956) - from Seven Mysteries (2019), No. 1, Annunciation; No. 2, The King’s Wrath; No. 5, Shepherds and Angels; No. 6, The Slaughter of the Innocents; No. 7, Mother and Child, Daniel Paul Horn; Miklós Kocsár (19332019) - Improvvisazioni, May Phang; Gyula Fekete (b. 1962) - Zsarnokság “Tyranny” (2021), Richard Shuster; László Dubrovay (b. 1943) - Hommage à Fellini (The Last Dream of the Clown) (2014), Éva Polgár Closing Banquet 5:00 PM, Hankinson Rehearsal Hall

YOUR STAGE. YOUR PERFORMANCE. Apply Today roosevelt.edu/liszt

ARTHUR GREENE SOLOMIA SOROKA THE MUSIC YOU NEVER KNEW

Solomia Soroka and Arthur Greene’s musical mission is to present “Music I Never Knew” - music somehow lost in time and undeservedly forgotten, but actually beautiful, magical, and evocative. They present it in various combinations, in recital or lecture-recital format.

To book contact us at opusart@att.net

Ian Antonio is a percussionist. His breadth of experience–concertizing across four continents with a wide variety of chamber ensembles, orchestras, experimental rock bands, avant-garde theatre companies, and as a soloist, conductor, and educator–has led him to develop a unique sound and approach to both performing and teaching. Antonio is a co-director of the Wet Ink and Talujon chamber ensembles and is a former member of Yarn/Wire and Zs. His playing can be heard on the Carrier, Nonesuch, Warp, Social Registry, and Kairos record labels, among many others. Ian is assistant professor of percussion at SMTD.

Gypsy Stringz has been performing all over the United States for over 25 years. Their repertoire consists of a wide range of Gypsy, Eastern European, and continental music. They perform regularly at numerous festivals, concerts, and various other venues. The Gypsy Stringz has seen many amazing musicians come and go through the years. Gypsy Stringz is headed by violinist George Batyi, who will be joined by Dwayne Dorich (Brac and vocals), Kristofer Vucelich (Brac), Brock Belich (Tambura bass), Ben Wagner (Kontra), Alex Udvary (Cimbalom) and special guest Billy Rose (vocal guitar).

Gypsystringz.com

Ryan Behan, assistant professor of piano and director of keyboard studies at the University of Indianapolis, has performed throughout the U.S., in Europe and China, with radio broadcasts on ORF (Austria), BBC, and NPR. Recent performance highlights include concerto soloist with the Toledo Symphony Orchestra, Franz Liszt’s Années de Pèlerinage, recital appearances with the Indianapolis Quartet, and with sopranos Sumi Jo at the Mozarteum, and Jolana Slavíková at the Salzburg Festival.

Dr. Behan is co-director of the Franz Liszt International Piano Festival and Competition (OH), and president of the Indianapolis Chapter of the American Liszt Society. He holds degrees from Bowling Green State University, the Universität Mozarteum Salzburg, and The Ohio State University, he was a student of Jerome Rose, Imre Rohmann, Caroline Hong, and also studied with Leslie Howard at the International Keyboard Institute in NYC and James Tocco in Cincinnati.

Associate professor at SMTD, violinist Danielle Belen is making a name for herself as a seasoned pedagogue with a strong studio of young artists. Her students have won major prizes in national and international competitions including the Menuhin, Stulberg, and Klein competitions, as well as being accepted into major conservatories and universities across the country. Winner of the 2008 Sphinx Competition, Belen has appeared as a soloist with major symphonies across the U.S., including the Pittsburgh, Atlanta, Nashville, and San Francisco Symphonies, the Boston Pops, and the Florida and Cleveland Orchestras. In 2010, Belen founded Center Stage Strings (CSS), a summer camp and performance festival for gifted young musicians in California. After gaining national attention, CSS has since moved to the campus of U-M. In 2015, Belen received a Sphinx Medal of Excellence, awarding her a $50,000 career grant and the opportunity to perform at the U.S. Supreme Court along with her students. She then used that prize money to jumpstart a successful matching campaign for CSS later that year, resulting in over $100,000 towards scholarships for deserving young artists. Belen plays on a violin made in Mantua, Italy by Stefano Scarampella.

Jonathan D. Bellman is a professor of music history and literature and head of academic studies in music at the University of Northern Colorado. He earned piano performance degrees from the University of California, Santa Barbara, and the University of Illinois, and a DMA in piano performance practices at Stanford University in 1990. His most recent solo-authored book was Chopin’s Polish Ballade: Op. 38 as Narrative of National Martyrdom (Oxford University Press, 2010); more recently he has collaborated with Professor Halina Goldberg (Indiana University) in editing both the anthology Chopin and His World (Princeton University Press, 2017) and Descriptive Piano Fantasias, a collection of programmatic piano works from the long nineteenth century (AR Editions, 2021). These works, and his numerous journal articles, reflect his primary research interests: musical exoticism, the music and performance practices of Frédéric Chopin and Franz Liszt, and musical style in general.

Critically acclaimed as a “musician’s pianist,” Matthew Bengtson has a unique combination of musical talents ranging from extraordinary pianist, fortepianist, and harpsichordist, to analyst, writer, and scholar of performance practice. An advocate of both contemporary and rarely performed music, he offers an unusually diverse repertoire ranging from William Byrd to numerous contemporary composers. Bengtson is lauded as one of the most persuasive advocates of the music of Scriabin and Szymanowski. His recordings can be heard on the Roméo, Arabesque, Albany, Navona, and Musica Omnia record labels. He is praised for “big-boned pianism, rich tonal colors, and dazzling technique.”

He is a co-author of The Alexander Scriabin Companion: History, Performance, and Lore, and recently released a Massive Open Online Course (MOOC) series “Exploring Piano Literature: the Piano Sonata” on Coursera. He is assistant professor of piano literature at SMTD, where he teaches piano, fortepiano, and classes and seminars in piano repertoire, history, and culture. mattbengtson.com

Violinist Aaron Berofsky has toured extensively throughout the United States and abroad, gaining wide recognition as a soloist and chamber musician. France’s Le Figaro calls his playing “beautiful, the kind of music-making that gives one true pleasure.” As soloist, he has performed with orchestras in the United States, Germany, Italy, Spain and Canada. He performed the complete Beethoven sonatas at New York’s Merkin Concert Hall with Phillip Bush and his 2011 recording of them has been met with great acclaim. Berofsky was the first violinist of the Chester String Quartet for fifteen years. The quartet was acclaimed as “one of the country’s best young string quartets” by The Boston Globe. He is professor of violin at SMTD, teaches at the Bowdoin International Music Festival, and is chair of strings at the Chautauqua Institution. He taught for many summers at the Meadowmount School of Music and has given master classes throughout the world. Berofsky co-runs University of Michigan’s Baroque Chamber Orchestra and has been concertmaster of the Ann Arbor Symphony since 2003. aaronberofsky.com • youtube.com/user/bfiddle1

With performances and recordings acclaimed and featured by The New York Times, The New Yorker, Gramophone, New York Classical Review, Fanfare, American Record Guide, and more, Carl Patrick Bolleia has performed as pianist, keyboardist, and conductor throughout North America, Europe, and China at venues including Carnegie Hall Stern Auditorium and Weill Hall, Alice Tully Hall, Philharmonie de Paris, Merkin Hall, NJPAC, Bargemusic, le poisson rouge, and Spectrum. Dedicated to the music of our time, he has collaborated with composers including Frederic Rzewski, Reena Esmail, Charles Wuorinen, Whitney George, Robert Aldridge, James Romig, and Anthony Davis. His initiative, tintinnabulation.bloom, features new works for keyboard instruments by composers including Tyshawn Sorey and Stephen Hough. He holds the DMA from Rutgers in piano performance and is candidate for the graduate diploma in historical performance at The Juilliard School. He is assistant professor of music and coordinator of piano at William Paterson University.

CarlPatrickBolleia.com

Steinway Artist Michael Boyd is active as a soloist, collaborative artist, lecturer, teacher, and adjudicator. He holds degrees from the North Carolina School of the Art, the Wisconsin Conservatory of Music, and the Eastman School of Music. Dr. Boyd also spent two years at the Banff Centre School of Fine Arts Winter Program in Canada as an invited student/performer. As a concerto soloist, he has performed with the Rochester Philharmonic, the Milwaukee Symphony, the Toledo Symphony, the Dearborn Symphony, and the Eastman Chamber Orchestra. Solo recitals have taken him across the country, performing frequently in California, New York, Wisconsin, Michigan, and Ohio. In Europe Dr. Boyd has performed recitals in Austria, Belgium, Greece, and Spain and recently performed and taught master classes in China. Dr. Boyd is professor of piano at the University of Toledo and was a visiting professor at the Eastman School of Music. In summers, he has been on the faculty of Indiana University’s Piano Academy and the Chautauqua Institution. Dr. Boyd has recorded on the VAI and Fleur De Son Classics label and a solo recording entitled The Art of the Piano Transcription was released in June. michaelboyd.hearnow.com Cathal Breslin has been praised worldwide with critical acclaim such as “superb intensity and passion” and “energized and energizing.” Born in Derry, N. Ireland, he has performed solo recitals in major concert halls throughout North and South America, Europe and Asia, including Carnegie Hall, Wigmore Hall, and the NCPA in Beijing. Concerto performances have included with the RTE National Symphony Orchestra, Ulster Orchestra, Greensboro Symphony, Memphis Symphony, Turin Philharmonic, and the Arizona MusicFest Orchestra. As a collaborative pianist, he has performed with flutist Sir James Galway, soprano Measha Brueggergosman, violinists Augustin Dumay, Anne Akiko Meyers, Dmitry Sitkovetsky, cellists Jan Vogler, and Jeffrey Zeigler. He is a co-director of Walled City Music, a major arts organization in Europe which has regenerated music since 2008 with its innovative programming, collaborations, and commissions. Breslin moved to the U.S. as a Fulbright Scholar at SMTD, where he received a DMA studying with Arthur Greene. He is currently an associate professor of piano at Arizona State University in Tempe, Arizona. In 2020, he signed as an exclusive Yamaha Artist and created the Arizona Chapter of the ALS. cathalbreslin.com

Studied music in Taiwan and graduated from National Taiwan Normal University (NTNU), ShunFu Chang received his MM in piano performance at SMTD in 2019. ShunFu has won several competitions and has collaborated with such orchestras as National Taiwan Normal University Symphony Orchestra and Taipei Symphonic Orchestra. As a soloist, Chang was invited to give performances other than Taiwan and United States. In 2018, during the Gijón International Piano Festival at Spain, he was invited to perform Brahms 3 Intermezzi, op. 117 in Centro Municipal Integrado de Gijón-sur and Schumann Davidsbudlertanze, op. 6 in Colegiata de San Juan Bautista. Both of his performances at Spain have drawn the audience’s praise. In 2019, Chang was funded with full scholarship and will be in pursuit of his DMA degree at U-M under Logan Skelton. In January 2020, he was chosen as first prize of the 2019 Golden Classical Music Awards International Competition, and he is invited to perform on a winners concert on March 2020 at Carnegie Weill Recital Hall in New York.

Born in Taiwan, pianist Amy I-Lin Cheng has appeared in recitals and music festivals across the United States and around the world. Cheng’s live performances have been heard on WGBH, KUCO, WHYY, La Radio Suisse Romande-Espace 2, and NPR in Houston. As a recording artist, she has recorded for Centaur, Albany, CDBaby, and Naxos, with a recent release of the Piano Concerto by Vítězslava Kaprálová on Naxos. An avid chamber musician, Cheng is the co-artistic director of the Brightmusic Chamber Music Ensemble, based in Oklahoma City since 2006. She is a graduate of The Curtis Institute of Music (BM), Yale University School of Music (MM and artist diploma), and the New England Conservatory (DMA). Cheng is a lecturer of piano at SMTD where she teaches piano and chamber music. She is also an artist-faculty at the Sewanee Summer Music Festival.

An avid performing artist, Joonghun Cho is a versatile pianist, chamber musician as well as a pedagogue. He has concertized widely giving performances across South Korea, Spain, Slovakia, the UK, Canada, Japan, and the United States in many prestigious venues. Recently he has appeared as a guest artist at the Flint Symphony Orchestra and Yeon-Eum Piano Festival. He has also been invited to Palmetto International Piano Festival as an assistant teacher and to Gijón International Piano Festival as a fellow. Cho has won multiple prizes in numerous competitions including gold medal Vienna International Music Competition, second prize William C. Byrd Young Artist Competition, first prize International Chopin Piano Competition in Japan, second prize Schimmel USASU International Piano Competition for Young Pianists, third prize Glasgow International Piano Competition for Young Pianists. Joonghun is currently a DMA candidate in piano performance at SMTD under the tutelage of Logan Skelton.

A specialist in the music of the United States, musicologist Mark Clague, PhD serves as editor-in-chief of the George and Ira Gershwin Critical Edition and founding director of U-M’s Gershwin Initiative. His editions of An American in Paris were premiered by the Cincinnati Symphony Orchestra under the baton of Louis Langreé and their subsequent recording was nominated for a 2019 Grammy Award.

He also serves as co-editor-in-chief of the Music of the United States of America (MUSA) series of critical editions published by A-R Editions for the American Musicological Society. MUSA’s keyboard editions to date include the music of John Cage, Lou Harrison, Earl Hines, and Fats Waller. Clague’s other research includes arts business, musical institutions, and patriotic song. His book on The StarSpangled Banner will appear with W.W. Norton this spring. At SMTD, he serves as associate dean of collaborations and partnerships.

Pianist Gabriel Dobner has played for such notable singers as Kevin McMillan, Gerhard Siegel, Rod Gilfry, Cornelia Kallisch, and René Kollo. He has recorded for Haenssler Klassik and MDG in Germany, as well as Ottavo in Holland. Following his first compact disc recording with mezzo-soprano, Cornelia Kallisch for MDG, Dobner was referred to as a “Master among Lieder pianists” by the West German Radio in Cologne. Broadcast recordings include those for the Bavarian State Radio, West German Radio, North German Radio, Nippon Broadcasting Corporation in Japan, as well as for Saint Paul Sunday in the United States. He has performed in many of the world’s leading venues including those in Vienna, Dresden, Hamburg, Munich, Cologne, Zürich, Budapest, Barcelona, Tokyo, Nagoya, and Seoul. Dobner joined the piano faculty at James Madison University in 2001 and has also been on the faculty of AIMS in Graz since 2017.

Dr. Sławomir Dobrzański currently serves as professor of piano at the School of Music, Theatre and Dance at Kansas State University. Previously, he was piano faculty member at the University of Rhode Island and Concordia College in Moorhead, Minnesota. He is a graduate of the Fryderyk Chopin University of Music in Warsaw, Poland, and the University of Connecticut. Dobrzański released several world-premiere recordings of piano music by Maria Szymanowska (1789-1831), Anton de Kontski (1816-1899), and Wiktor Labunski (1895-1974), published by the London-based label Acte Prealable.

He is also an author of the first biography of Maria Szymanowska in the English language. Recently, the pianist was honored with the title of “Meritorious for National Culture” by the Government of the Republic of Poland. dobrzanski.weebly.com

Award-winning pianist Alexandre Dossin is considered by Martha Argerich an “extraordinary musician” and by international critics a “phenomenon,” “a master of contrasts.” He is a prize-winner in several international piano competitions, including first prize and the special prize in the 2003 Martha Argerich International Piano Competition. A graduate from the Moscow Tchaikovsky Conservatory in Russia and University of Texas-Austin, a Naxos recording artist and an editor for Schirmer/Hal Leonard, Dossin keeps active performing, recording and teaching careers. Dossin is professor of piano and chair of piano at the University of Oregon School of Music and is also on the faculty at the Melbourne Conservatorium in Australia. Dossin is the vice president of the American Liszt Society, the president of the Oregon Chapter of the American Liszt Society and is one of the recipients of the prestigious Faculty Fund for Excellence at the University of Oregon. dossin.net

Amir Eldan performs as a soloist, chamber musician, and as guest principal cellist. He served as principal cellist of the Israel Philharmonic Orchestra and as guest principal cellist with the Saint Paul Chamber Orchestra. At age 22, he became the youngest member of the Metropolitan Opera Orchestra in New York, when he won the position of associate principal cellist and was invited to perform with the MET Chamber Ensemble in Carnegie Hall. Eldan holds a DMA and MM, both from Juilliard where he also served as a guest teacher. His performances have been featured on television and radio in the U.S., Europe, and Israel. He taught at the Oberlin Conservatory for fourteen years and was the cellist of the Oberlin Trio. In 2019, he was appointed cello professor at SMTD.

Violinist, conductor, and historian, Robert Whitehouse Eshbach is an honors graduate of Yale University (BA), where he majored in music history and German literature. He studied violin at the Vienna Conservatory with Walter Barylli, concertmaster of the Vienna Philharmonic and State Opera Orchestras, and earned his MM in violin at New England Conservatory under Eric Rosenblith.

Eshbach’s recent publications and invited papers have focused on nineteenth-century musicians: Joachim, Brahms, Mendelssohn, Robert and Clara Schumann, Reinecke, Ede Reményi, and Wilhelmine Norman-Neruda (Lady Hallé). His most recent article, “‘For all are born to the ideal’: Joseph Joachim and Bettina von Arnim” appeared in the November 2020, issue of Music & Letters. Eshbach’s volume, The Creative Worlds of Joseph Joachim, co-edited with Valerie Goertzen of Loyola University New Orleans, is forthcoming from Boydell & Brewer. Eshbach is associate professor of music emeritus at the University of New Hampshire.

He maintains a website dedicated to his Joachim research at josephjoachim.com.

Richard Fountain is known for his versatile musical abilities and joyful spirit. Fountain is associate dean and professor of piano in the School of Creative Arts at Wayland Baptist University, where he teaches entrepreneurship, applied piano, and collaborative piano. Fountain’s repertoire ranges from concertos by Bernstein, Glass, and MacDowell to the complete cycle of Franz Liszt’s transcriptions of Beethoven’s symphonies. He is also an experienced harpsichordist and fortepianist. Fountain holds the positions of principal keyboard with Lincoln’s Symphony Orchestra and the Lubbock Symphony Orchestra, and is president-elect of the Texas Music Teachers Association. His mentors include Paul Barnes, Malcolm Bilson, Leon Harshenin, and Luiz de Moura Castro. Fountain is an enthusiastic traveler, having traveled to 44 of the 50 United States and ten other countries. He particularly loves long road trips on the open highways of America, and possesses a strangely comprehensive knowledge of the U.S. Interstate Highway system. richardfountainpianist.com

Pianist Read Gainsford has been described as possessing “finger-numbing virtuosity and delicately chiseled precision.” Known for his insightful introductions from the stage, he has collaborated with oceanographers in presenting Crumb’s “Voice of the Whale,” consulted with art historians and living artists to create a series of images to accompany performances of Messiaen, and reenacted the famous piano duel between Liszt and Thalberg. Born in New Zealand, he has performed widely in the U.S., Europe, Asia, Australia, New Zealand, and South Africa, as solo recitalist, concerto soloist and chamber musician. A keen supporter of living composers, he has premiered and recorded Ladislav Kubik’s 3rd Piano Concerto and Marc Satterwhite’s Five Rivers of Hades, and recorded Ellen Taafe Zwilich’s Images for two pianos and orchestra. Highly in demand as a master-class clinician and teacher, he is professor of piano at Florida State University.

Clarinetist Daniel Gilbert joined the faculty at SMTD as associate professor of clarinet in 2007.

Previously, he held the position of second clarinet in the Cleveland Orchestra from 1995 to 2007.

Gilbert serves as principal clarinet of the chamber orchestra, CityMusic Cleveland and he is on the faculty of Case Western Reserve University He also serves on the faculty of the Brevard Summer Music Festival and as principal clarinet of the Classical Tahoe Music Festival. A native of New York City, Gilbert received a BMA degree from Yale University and both a MM degree and professional studies certificate from The Juilliard School. He serves as an artist for the Vandoren Corporation and he has traveled throughout the United States, Canada, Europe, and Asia appearing as a recitalist and clinician.

His concerts and master classes have received critical acclaim. Gilbert plays exclusively on Vandoren products.

Pianist Daniel Glover has performed throughout North and South America, Europe, Asia, and the Caribbean. Critics have said “Glover is an incisive, exciting, and apparently tireless player…a natural for hyper-virtuosic challenge.” “The elegance and civility of Glover’s approach was musically unimpeachable…a flawless sense of Lisztian style incorporating its emotional depth.” Glover trained with Eugene List, Abbey Simon, Jerome Lowenthal, Nancy Bachus, and Thomas LaRatta. He holds a master’s degree from New York’s Juilliard School, where he was a scholarship student. He has served on the faculties of New York University, University of the Virgin Islands, University of San Francisco, and Notre Dame de Namur University. Glover has recorded ten CDs, and has been a published author and editor for Dover Publications, including editions of Tchaikovsky’s Piano Concertos Nos. 2 and 3, an album of orchestral pieces as transcribed by Liszt, and the complete piano music of Paul Dukas.

Pianist Gila Goldstein has performed as a solo artist and a collaborative pianist throughout the United States, Canada, Mexico, China, Korea, the Philippines, Europe, and Israel. A board member of the American Liszt Society and the founder-president of its NY/NJ Chapter since 1992, she has been a frequent guest performer at the ALS annual festivals around the U.S. and Canada. Her two recordings of Paul Ben-Haim piano and chamber works on the Centaur label received great acclaim. Goldstein is member of the piano faculty at Longy School of Music in Boston and at Brown University where she is currently the director of piano studies. She has given master classes and adjudicated international and national piano competitions throughout the U.S., in Israel, China, the Philippines, and Korea.

Goldstein obtained her music degrees in piano performance from the Manhattan School of Music and the Tel-Aviv University’s School of Music. Her teachers included Professors Nina Svetlanova and Victor Derevianko, both disciples of Heinrich Neuhaus. gilagoldstein.com • @gilagoldsteinpianist (Facebook)

Arthur Greene was born in New York. He graduated from Yale College, and then Juilliard and Stony Brook, where he studied with Martin Canin. Greene was first prize winner in the Kapell and Bachauer competitions. He has performed with the Philadelphia Orchestra, the San Francisco Symphony, the National Symphony, and many others. He has played recitals in Carnegie Hall, the Kennedy Center, Moscow Rachmaninov Hall, Tokyo Bunka Kaikan, and similar halls throughout Europe and Asia. He was an artistic ambassador to Serbia, Kosovo, and Bosnia for the United States Information Agency. Greene’s recordings include the Complete Etudes of Alexander Scriabin for Supraphon. He has performed the 10 Sonata Cycle of Alexander Scriabin in international venues, including multi-media presentations with Symbolist artworks. He has performed mazurkas with the Janusz Prusinowski Kompania, a Polish folk ensemble. Greene is a member of the piano faculty of SMTD. youtube.com/watch?v=p7d3mcAct8A

Robert Grijalva has been the executive director of piano technology and assistant professor at SMTD for thirty-four years. Before coming to U-M, he worked independently as a private tuner and Steinway concert technician in the San Francisco Bay Area. He also has credentials as a Yamaha and Bösendorfer specialist. A craftsman member of the Piano Technicians Guild, International, he has taught seminars in San Francisco, Detroit, Denver, and in Mainz, Germany at the Johannes Gutenberg University. He holds degrees in piano performance from Oberlin Conservatory and University of Wisconsin-Madison.

A prizewinner of numerous competitions, pianist Ji-Hyang Gwak has garnered international praise for her versatility, energy, and technical mastery. Her most recent achievement was in the 2021 Lyon International Music Competition in France, where she won third prize and received concert engagement from the Association Frédéric Chopin à Lyon. Gwak was the first prize winner of the Sicily International Piano Competition, the Seattle International Piano Competition, the MFMC Rosamond P. Haeberle Memorial Piano Award, the High Point University International Piano Competition, the Michigan MTNA Young Artist Piano Competition, and the Eastman Concerto Competition. She was also a semi-finalist at the Concours musical international de Montréal, and the Ricard Viñes International Piano Competition. Gwak holds a BM in piano performance from Seoul National University and a MM in piano performance and literature from Eastman School of Music. She is currently pursuing graduate studies at SMTD under the tutelage of Professor Christopher Harding. jihyanggwak.com

Robert Hamilton has enjoyed a distinguished career covering five decades, earning tributes from critics and audiences following his concerts in New York, Washington DC, Chicago, and multifarious American cities, as well as from the major music capitals of Europe. He won “an impressive number of international competition prizes” (The New York Times), and has performed over such radio and television networks as NPR, ABC, BBC-London, DRS-Zurich, Radio Warsaw, and Voice of America. His recordings on Philips and Summit Records have been favorably compared by critics to leading pianists of the past (e.g., “Unquestionably the equal of any ‘historically best’ interpretations” – Keju Zhang/ Classics Overseas). As teacher, Hamilton has been a music professor at Indiana University and Arizona State (currently), and is also a member of the artist faculty at PianoSummer in New York. Hamilton recently published Artistry: Pursuing the Mysteries of Music Performance, available on Amazon. roberthamiltonpianist.com

Yixuan fafa Han is currently studying with Professor. Arthur Greene at SMTD in pursuit of his DMA. He has studied with Professor. Dang Thai Son, Alexander Korsanita, Gabriel Chodos at New England Conservatory for his MM. Han studied with Professor. Angela Cheng at Oberlin Conservatory for his BM and studied piano with Professor Danwen Wei at Shenyang conservatory for his pre-college diploma.

Han has been awarded third prize of the Tuesday Musical Competition in Akron (2017) and performed solo recitals at Oberlin Conservatory, Anshan, and Shenyang Conservatory. He has performed at the Rebecca Penneys Music Festival (2018), Beijing Music Festival(2011 & 2012), and Perugia Music Festival in Italy (2010)

Christopher Harding, chair of piano at SMTD, maintains an international performing and teaching career in venues as far-flung as the Kennedy Center and Phillips Collection in Washington, D.C., Suntory Hall in Tokyo, Seoul Art Center (IBK and Recital Halls), the National Theater Concert Hall in Taipei, as well as in Canada, mainland China, Israel, Italy, Russia, and Romania. He has presented numerous master classes and lecture recitals across the United States, Europe, and many parts of Asia. He has held a Fulbright Senior Specialist residency at Seoul National University, simultaneously holding a special chair in piano of piano performance at Ewha Womans University, and is a permanent guest professor at the Sichuan Conservatory in Chengdu, China. He has edited several volumes of the music of Debussy and Mozart for the Schirmer Performance Editions, and his recordings and live performances can be found on YouTube. christopherhardingpiano.com.

Experienced music educator Katherine Hickey earned degrees in piano performance at California State University, Los Angeles, with Judith Nesleny and Dr. Milton Stern, including a year at the Liszt Academy of Music in Budapest, Hungary; MA in piano performance, California State University, Long Beach; and DMA in Music Education from the University of Southern California. She performed at the First West Coast Liszt Festival (UC Santa Barbara) in 1970 as a student performer (Dante Sonata).

Her research is centered on Jenő Ádám and his role in the Kodály movement. Dr. Hickey is currently professor of music at University of Redlands, California. She serves on local, national, and international boards, including Past President (2000-06), Treasurer (2011-18) of the Organization of America Kodaly Educators, current International Kodály Society Secretary-Treasurer, and ALS-SoCal Treasurer. Dr. Hickey co-directs the Los Angeles International Liszt Competition for pianists and singers with Dr. Éva Polgár.

Caroline Hong is professor and keyboard area head at The Ohio State University. She graduated from Indiana University, Juilliard, and the Peabody Conservatory. She has served as faculty for the Indiana University Summer Piano Academy, Amalfi Coast Piano Program, Cincinnati College-Conservatory of Music, Vianden International Festival, Longwood University, and Piano at Peabody. Critics have noted her “expressive and powerful playing,” “formidable technique,” and “keen sense of lyricism and the classical style”. Formerly under management as a member of Duo Viardot, she is currently on the roster as soloist at Price Attractions. Her recordings with Fleur de Son champion living piano composers. She serves the ALS through her work as director of the Franz Liszt International Piano Festival and Competition, president of the Ohio Chapter, and as a member of the Board of Directors.

Her strong record of teaching is reflected in students who continue to win competitions and faculty positions. She thanks the OSU College of Arts and Humanities for its support. priceattractions.com/caroline-hong-piano

Lynn M. Hooker is a musicologist, ethnomusicologist, and cultural historian who studies music, identity, and labor in nineteenth- to twenty-first-century Central Europe, with particular attention to the intersection between Hungarian and Roma music and musicians. She currently serves as associate professor of music at the Rueff School of Design, Art, and Performance at Purdue University, where she teaches music history and world music; she was previously on the faculty of Indiana University in Hungarian Studies, Folklore and Ethnomusicology, and Musicology. Her book Redefining Hungarian Music from Liszt to Bartók was published in 2013 by Oxford University Press. She has published on music and modernism, nationalism, race, and popular and folk music and theater, in Musical Quarterly, Ethnomusicology, The Cambridge Companion to Operetta, Hungarian Studies, and Twentieth-Century Music, among other places. Her current project addresses the transformation of Hungary’s “Gypsy music” industry in the twentieth and twenty-first centuries.

Pianist Daniel Paul Horn performs in recital, on radio, and with orchestra. As a chamber musician, he collaborates with members of the Chicago Symphony Orchestra, played in Beijing with the MasterWorks Ensemble, and has performed with the Ying Quartet. He works with noted singers, and has premiered compositions of Jacob Bancks, Delvyn Case, Richard Danielpour, David M. Gordon, Daniel Kellogg, and Max Raimi. Horn recorded the critically praised disc Wanderings on a Graf fortepiano, an all-Schumann recital, and discs with flutist Jennie Oh Brown, cellist Donald Moline, and soprano Carolyn Hart. Horn studied at Peabody and earned a doctorate at Juilliard; his principal teachers include Walter Hautzig, Martin Canin, and Menahem Pressler. Currently professor of piano and keyboard chair at the Wheaton College Conservatory of Music, he has served as a faculty artist at a number of American summer festivals, and is treasurer of the ALS. wheaton.edu/academics/faculty/daniel-paul-horn

Seattle native Forrest Howell is a versatile musician, active in performance, teaching, community outreach, and scholarly research. As a soloist, Howell has been invited to perform at the Temple Square Concert Series, Gilmore Festival, Gijón International Piano Festival, Porto PianoFest, and Round Top Festival Institute. Recent performance highlights include performances in the Cultural Center of the Philippines with Broadway singer Lea Salonga, in Round Top, Texas performing The Carnival of the Animals with the Texas Festival Orchestra, and at the Winners Concert of the MTNA National Conference as a member of the prize-winning Timpanogos Trio. Howell’s teaching, research, and community outreach work focuses on the interpersonal relationships between students and teachers, seeking to use the principles of Pierre Bourdieu to empower marginalized and minority groups to engage in creative and artistic work. He currently resides in Ann Arbor, Michigan where he is pursuing doctoral studies in piano performance and pedagogy at SMTD.

Pianist Jianhong Hu is a native of Chongqing, China and trained at the Sichuan Conservatory of Music with Professor Daxin Zheng and at Bowling Green State University with Professor Robert Satterlee.

He is currently working as a teaching fellow at University of North Texas and studying with Professor Pamela Mia Paul. He has played concerts extensively throughout China and the U.S., most recently at Harbin Normal University and Chongqing Normal University. He has a special affinity for the music of Franz Liszt. His passion for Liszt resulted in his participation in the Weimar/Bayreuth Franz Liszt International Piano Competition and the Ferenc Liszt International Piano Competition in Budapest in 2015 & 2016. He has played concertos with the Bowling Green Philharmonia, Sichuan Philharmonic Orchestra, Sichuan Symphonic Orchestra, Chongqing Youth Symphonic Orchestra, and Chongqing Symphonic Orchestra. He was invited to play at the Beethoven Sonata Marathon hosted by the Detroit Symphony in 2012, and was one of five performances selected for later broadcast on WRCJ. He served as a lecturer in collaborative piano in the Conducting Department at the Central Conservatory in Beijing during the 2018-19 academic year. While in the United States, he was a member of the Fawn Trio, and was honored in the Plowman and Fischoff Chamber Music Competitions.

David Jackson, professor of trombone at U-M, enjoys an active career as a performer and teacher. He is a recognized and ardent supporter of new music who has commissioned and premiered numerous compositions for the trombone. He most recently commissioned and debuted Angel of Dreamers, by Eric Ewazen, for trombone, baritone voice, and strings, and John Henry’s Big by Adolphus Hailstork for trombone and piano. Jackson has been a guest performer with numerous orchestras, including the Detroit Symphony, Pittsburgh Symphony, Dallas Symphony, Chicago Symphony, Fort Worth Symphony, Grand Rapids Symphony, New World Symphony, as well as the Michigan Opera Theatre and the Cabrillo Music Festival. He is a member of the Detroit Chamber Winds. As a guest clinician and performer, he has presented numerous guest recitals and master classes at institutions including the Juilliard School, Yale University, UCLA, University of Minnesota, Cincinnati College-Conservatory, as well as, the conservatories of Shanghai and Beijing. His former students occupy performing and teaching positions around the world. Jackson has been on the faculties of Baylor University, Eastern Michigan University, University of Toledo, the Interlochen Arts Camp and the Idyllwild ChamberFest. He spends his summers teaching and performing at the Brevard Music Center. He is an S. E. Shires artist and clinician.

Bohuslava (Slávka) Jelínková, a native of the Czech Republic, trained at the National Conservatory of Dance in Prague. Upon graduation, she was invited to join the Opera Ballet of the National Theatre in Prague, where she danced and toured worldwide for ten years. She also received a master’s degree in ballet pedagogy from the Prague Academy of Fine Arts. Jelínková taught extensively in the Czech Republic, including at the National Conservatory of Dance. Since moving to Michigan in 1999, she has taught at the Flint School of Performing Arts, the Ann Arbor Arts in Motion, the Russian Classical Ballet Academy, the Brighton Ballet School, and SMTD. For three years she taught character dance classes and choreographed for the Summer Intensive of American Ballet Theatre. Jelínková has also taught at the Cape Town City Ballet and Cape Junior Ballet, South Africa; and the Fairbanks Summer Arts Festival, Alaska.

Tomasz Kamieniak is a pianist and composer based in Berlin. A graduate of the Karol Szymanowski Academy of Music in Katowice in the piano class of Professor Joanna Domańska, he further developed his playing with Professor Rolf-Dieter Arens at the University of Music in Weimar, Konstantin Scherbakov, Professor Zbigniew Raubo, and Leslie Howard. Tomasz was awarded Special Prize at the 4th International Franz Liszt Piano Competition in Weimar. He recorded piano works by Józef Wieniawski as the winner of the Grand Prix at the 4th Competition “Forgotten Polish Music” organized

by Acte Préalable. Kamieniak is a scholarship recipient from the Marshall’s Office in Katowice and the Wagner Society in Bayreuth. He has performed concertos by Liszt, Wieniawski, Górecki, Glass, Kilar with various orchestras, and his solo performances have taken him to Levoca, Kiev, Weimar, London, Bayreuth, Kielce, Katowice, Bielsko-Biała, and Zakopane. www.tomaszkamieniak.com • @tomasz.kamieniak (Instagram) • @kamieniak.pianist.composer (facebook)

János Kéry studied in Debrecen, Hungary (1980-1991), at the Boise State University, U.S. (1991-92), and graduated with honors at the Franz Liszt Academy of Music in Budapest in 2000. The same year he became a member of the Hungarian Society of Music. With Eötvös and DAAD scholarships he gained two further Masters degrees at the University of Music in Saarbrucken, Germany: Konzertreife (2003) and Solistenprüfung (2005). He was awarded Doctor of Liberal Arts in 2015 by the Liszt Academy in Budapest. Since 2004 he has been teaching piano at the Liszt Academy in Budapest, has given master classes and has been member of jury in piano competitions in Hungary and abroad. He has performed at the Liszt Academy, Vigadó, and the Palace of Arts in Budapest, at Yale University, U.S., and the Bellas Artes concert center in Mexico City among others, as well as in many different countries in Europe and North America.

The cover artist of the prestigious International Piano magazine, Dr. Grigor Khachatryan is recognized worldwide as one of the most preeminent pianists of his generation. His newly-released CD set with Albany Records titled Spirit of Freedom, featuring his own two large-scale virtuosic piano sonatas, has garnered instant rave reviews from numerous internationally reputable music critics. Born in Yerevan, Armenia, Khachatryan began his musical studies at Barsej Kanachyan’s Music School of Yerevan.

Shortly thereafter, he moved to the United States and continued his musical development at the esteemed Jacobs School of Music at Indiana University under the tutelage of distinguished professor of piano, Luba Edlina-Dubinsky, where he earned his Bachelor, Master and Performer Diploma degrees.

In addition, Khachatryan holds a doctorate degree in piano performance, with academic minors in composition, and music theory from the Jacobs School of Music. Khachatryan is an associate professor of piano at Concordia College.

Violinist Fabiola Kim was hailed by The New York Times as “a brilliant soloist,” who “played with extraordinary precision and luminosity.” Her most recent CD, 1939, has received international acclaims from BBC magazine, The Strad, Gramophone, and others. Kim is the winner of various competitions, including the Seoul Philharmonic Orchestra’s Concerto Competition, the Aspen Music Festival Competition, and the Juilliard School Concerto Competition, and was a prize winner at the Irving M. Klein International Competition for Strings. Kim has collaborated with conductors such as Alan Gilbert, Esa-Pekka Salonen, Jane Glover, and Nicholas McGegan. Additionally, her chamber music festival appearances include concerts at Aspen Music Festival, Ravinia Steans Institute, Verbier Festival, and La Jolla Music Society Summerfest. Kim is an assistant professor at SMTD and is on faculty at the Colburn School. She is also the co-founder and co-artistic director of Sounding Point Academy.

Minji Kim is an active soloist and chamber musician. Recently, she was invited to perform a solo recital at the Crystal Valley Concert Series in Middlebury, IN. As a passionate chamber musician, she is one of the founding members of Chamber Artists of Southeast Michigan. In 2018, she was invited to the Gilmore Keyboard Festival, where she had the opportunity to perform in a master class for Katherine Chi. An enthusiastic educator, she currently teaches at SMTD as a graduate student instructor. She was a mentor for the “Sarang-Nanum Wecan” foundation, where she taught a student who has an intellectual and developmental disability. Kim graduated from Seoul National University with BM and BA. She moved to the United States to attend SMTD and received MMs in piano performance and chamber music. She is currently pursuing her DMA at SMTD with Professor Christopher Harding.

Namji Kim is professor of piano at the University of Wisconsin-Eau Claire. She graduated from the Conservatoire National Supérieur de Musique de Paris with first prizes in piano, chamber music, and harmony. She earned her BM and MM from the Juilliard School, and her DMA from the Manhattan School of Music. She performed in master classes given by composer Olivier Messiaen and has won several international piano competitions. Her concert schedule has included performances around North America, Europe, Russia, and Korea. She has soloed with the Philharmonic Orchestra of Kharkov at the Grand Hall of Philharmonia, Kharkov, Ukraine under the direction of Vakhtang Jordania and the Fort Worth Symphony Orchestra at Texas Christian University under the baton of Geoffrey Simon. Her five review essays were published in Religion and the Arts. She has released a CD dedicated to Fauré’s 13 Barcarolles on Centaur Records.

American pianist Joseph Kingma, praised by the New York Concert Review as, “[coaxing] the listener into the music’s poetry from the very first notes of his Liszt, showing the command of a master and a composer’s insight…held the audience spellbound,” enjoys a prolific national and international career as a soloist, chamber musician, and teacher. He won first prize in the 2017 Franz Liszt International Piano Competition, sponsored by the ALS, and has won awards in many other international competitions. His solo, chamber, and concerto engagements include the Dame Myra Hess Concert Series in Chicago, the Yamaha Artist Services Performance Series in New York City, the Gulf Coast Symphony, the Chamber Orchestra of Sarasota, the Monroe Symphony, Palm Beach Chamber Music Festival, among many others. Kingma is the coordinator of the keyboard division and assistant professor of piano at Palm Beach Atlantic University. josephkingma.com • @ josephkingmapianist (Facebook & Instagram)

“Simply stated, I’m a pianist.” A virtuoso, Justin Kolb, travels from Budapest to Santa Barbara presenting solo recitals, conservatory “power talks” and motivational “kids clinics.” As a pianist he has premiered compositions by Robert Starer (Weill Recital Hall at Carnegie-NYC), John Downey (Lobero Theatre-Santa Barbara, CA), Peter Schickele (Performing Arts Center- Rhinebeck, NY), Paul Alan Levi (Merkin Concert Hall-NYC), William Ferris (Lobero Theatre-Santa Barbara, CA), Giles Malkine (SUNYNew Paltz and Robert Cucinotta, Mohawk Mountain House- New Paltz NY). Solo engagements include Chicago Symphony Orchestra, NW Indiana Symphony, Hambourg Philharmonic (Germany), and Northshore Concert Band. Clavier Magazine featured Kolb on its cover with an inside feature about his motivational “kids clinics”. The New York Times (Alex Ross) and Chicago Tribune (John von Rhein) laud his American music performances and Albany Records retains Kolb on its artist’s roster. A co-founder, Kolb serves as chairman emeritus of the Phoenicia International Festival of the Voice.

Jonathan Kregor is professor of musicology and head of the division of composition, musicology, and theory at the University of Cincinnati, College-Conservatory of Music. His research interests include aesthetics, Franz Liszt, musical reproduction, music and memory, virtuosity and gender, and art song.

He is the author of Liszt as Transcriber (Cambridge University Press, 2010), winner of the inaugural Alan Walker Book Award from the ALS; Program Music (Cambridge University Press, 2015); articles and reviews in numerous academic journals; editor of works by CPE Bach and Clara Schumann; co-editor of Liszt et la France: Musique, culture et société dans l’Europe du XIXe siècle (Vrin, 2012); and editor of Nineteenth-Century Programme Music: Creation, Negotiations, Reception (Brepols, 2019). Since 2012 he has been editor of the Journal of the American Liszt Society.

Péter Láki, a native of Budapest Hungary, graduated from the Franz Liszt Academy (now University) of Music in 1979 and received his PhD from the University of Pennsylvania in 1989. He served as program annotator of the Cleveland Orchestra from 1990 to 2005. In 2007, he joined the faculty of Bard College in upstate New York as visiting associate professor of Music. Dr. Láki is the author of numerous musicological articles. He served as the editor of Bartók and His World, a collection of essays and documents published for the Bard Music Festival by Princeton University Press in 1995. He writes program notes for orchestras and performing arts organizations around the country and has lectured at many international conferences. In September 2017, he was one of three keynote speakers at an international Bartók symposium held in Budapest. His most recent article, on Annie Fischer’s recording of Liszt’s Sonata in B minor, was published in Hungary in the spring of 2021. music.bard.edu/faculty/peter-laki

Born in Vietnam, pianist and Steinway Artist Andrew (Drew) Le has been hailed as “an impressive tourde-force...a plenitude of poetic nuance” (New York Concert Review), and lauded for his “consummate piano virtuosity” (Goleta Valley Voice) and his “pistonlike precision” (Mountain Tradition). Le was the first-prize winner of the 2004 Hilton Head International Piano Competition, and joined the piano faculty at Kent State University’s Hugh A. Glauser School of Music in the fall of 2019. Prior to Kent State University, Le served for 14 years on the faculty at Hope College in Holland, Michigan. He and his wife, violinist Jennifer Walvoord, are the artistic directors of the Chamber Music Festival of Saugatuck.

Le studied piano performance at the Interlochen Arts Academy and SMTD, and was also a C.V. Starr Doctoral Fellow at the Juilliard School, where he received his DMA in 2007. His teachers have included Hien Le, Vivian Kleinhuizen, Rich Ridenour, Victoria Mushkatkol, Arthur Greene, John Perry, and Jerome Lowenthal. drewle.com

Junghwa Lee performs and presents actively, with solo recitals in 16 countries including the Arts Center Concert Series at National Chiao Tung University in Taiwan, Beethoven 32 Sonatas Recital Series in Singapore, “Days of Contemporary Music” Festival in Romania, “Composers of Today” Festival in Brazil, the Dame Myra Hess Memorial Concert Series in Chicago and her New York debut recital at Weill Recital Hall at Carnegie Hall. Winner of many competitions in Korea, including Sonyun-HankukIlbo, Wolgan-Eumak, Seoul National University Symphony Orchestra Concerto Competition and the Korean Symphony Orchestra Concerto Competition, Lee received performer’s certificate from the Eastman School of Music. Lee earned BM and MM degrees in piano performance from Seoul National University, and DMA in piano performance and literature from the Eastman School of Music. Currently associate professor of piano at Southern Illinois University Carbondale, Lee is director of Southern Illinois Piano Festival.

Pianist Xiaoya Liu has captured the imagination of worldwide audiences through her profound interpretations and charismatic performances across Asia, Europe, and the United States with orchestras such as the Fort Worth Symphony Orchestra, the Round Rock Symphony, and the Ann Arbor Symphony Orchestra and in venues including Carnegie Hall and the Kennedy Center. Liu was a top prizewinner in the Wideman International Piano Competition, the Sicily International Piano Competition, the PianoTexas Concerto Competition and the U-M Concerto Competition, the New York International Artists Piano Competition and the France International Music Competition. Liu received her DMA in piano performance from SMTD, studying with Professor Christopher Harding, and was the recipient of the Earl V. Moore Award in 2021, one of the highest honors given for outstanding achievement by SMTD. Her album of Carl Vine Complete Four Piano Sonatas under Dynamic will be released worldwide in early 2022. xiaoyaliupiano.com

Terence Lo is a cellist currently pursuing his MM in Cello Performance at SMTD. As a soloist, he has been a finalist in competitions such as the Lions of Virginia Bland Competition, Masterworks Festival Concerto Competition, and the University of Illinois Concerto Competition. In addition, he is a prolific chamber musician and has been a finalist in the Coltman Chamber Music Competition as a founding member of the Elara String Quartet. Lo’s other musical interests include historical performance and ethnomusicological studies. He has had the privilege of learning from and performing with distinguished historical performance groups such as the Eybler Quartet and Tafelmusik. Outside of his musical studies, he loves reading, writing, and gardening.

Dr Shay Loya is a senior lecturer of music at City, University of London, where he directs the BM undergraduate programme and teaches music theory and analysis. He is also a board member of the journal Music Analysis. His research combines music analysis with issues of nineteenth-century nationalism, cosmopolitanism, exoticism, and transculturation, with a particular focus on the music of Franz Liszt. Previous publications include Liszt’s Transcultural Modernism and the HungarianGypsy Tradition (University of Rochester Press, 2011), which won the Alan Walker Prize (2014), and “Recomposing National Identity: Four Transcultural Readings of Liszt’s Marche hongroise d’après Schubert” (Journal of the American Musicological Society, 69:2, 2016). He is currently working on a new monograph provisionally entitled Liszt’s Late Styles, which offers new and diverse aesthetic and analytical perspectives on the composer’s fascinating late oeuvre.

Pianist Yuting Ma attended New England Conservatory, where she obtained her BM and MM in piano performance, and studied with Ms. Vivian Hornik Weilerstein; she is now pursuing a DMA at SMTD, studying with Professor Arthur Greene. Ma has performed as both a soloist and chamber musician in the U.S., Asia, and Europe. She also has performed as soloist with orchestras including the St. Andrew Orchestra and the Perugia Orchestra. Additionally, she has won numerous top prizes including first prize of the New York International Piano Competition, Tulsa International Piano Competition, and Shan-De Cup International Piano Competition.

Farhan Malik is a lecturer, writer, teacher, and critic. His articles, reviews, and discographies have appeared in the world’s leading piano journals. He has studied recorded piano performance from the beginning of the recording era through the present day, and has amassed a world-class collection of historically important piano recordings. He has worked with several CD companies on historical pianist projects, including Marston Records with whom he produced the acclaimed 3-CD set The Complete Recordings of Emil von Sauer, and with Philips Classics on their Great Pianists of the 20th Century 200CD edition. Considered an expert on the Russian piano tradition, he has written extensively on Vladimir Sofronitsky, Sviatoslav Richter, and Alexander Scriabin, among others, and served on the board of directors of the Scriabin Society of America since 1997. Malik holds both BM and MM degrees in piano performance.

Christian Matijas-Mecca has served as musical repetiteur in the staging of iconic works from the ballet and modern dance repertory and has accompanied for directors and artists from New York City Ballet, Bolshoi Ballet, Cullberg Ballet, and the Graham, Taylor, Mark Morris, and Alvin Ailey companies.

Matijas-Mecca has presented at professional societies in North America, Europe, and Asia and has been an invited speaker at London’s Royal Academy of Dance. He presented a lecture-recital at the Jane Austen House and Museum in Chawton, England, where he performed a selection of music drawn from Austen’s personal music library on the author’s 1810 Clementi piano. He is the author of The Words and Music of Brian Wilson (Praeger, 2016), and Listen to Psychedelic Rock! (Greenwood, 2020), and now is at work on Detroit’s Lost Soul: Invictus and Hot Wax Records, Holland-Dozier-Holland’s Forgotten Legacy.

Kevin McMillan is one of the most respected lyric baritones and vocal pedagogues of his generation.

Critics have praised his “elegant voice” and “singularly remarkable interpretive skills” in appearances with almost every major North American orchestra under conductors such as Norrington, Blomstedt, Davis, Järvi, Dutoit, Rilling and the late Robert Shaw, Kurt Masur, Jesus Lopez-Cobos, Pierre Boulez, and Frühbeck de Burgos. His Carmina Burana recording with Herbert Blomstedt and the San Francisco Symphony received a GRAMMY award. After schooling in Canada at the University of Guelph and Western University, he attained a Master’s degree from the Juilliard School. He is a professor of voice in the School of Music at James Madison University, where he teaches a full studio of undergraduate and graduate voice students, undergraduate and graduate vocal pedagogy, coaches the JMU Bach Aria Group, and serves as the voice area auditions & admissions coordinator.

Gabriel Merrill-Steskal is currently pursuing a DMA in piano performance at SMTD, where he studies with Professor Logan Skelton. An avid performer and collaborator on both modern and period pianos, he recently won second prize at the 1st Sfzp International Fortepiano Competition and studies fortepiano with Professor Matthew Bengtson. Before completing his MM at SMTD, he graduated summa cum laude from Whitman College, where he studied piano with David Hyun-Su Kim and completed a double major in music and chemistry, receiving honors in both majors and the Campbell Award for outstanding senior recital. In addition to his performance activities, Merrill-Steskal is an active teacher and scholar. His most recent research project involves studying some prolongational aspects of folk-based pitch structures in Bartók’s music. Aside from all things piano, he enjoys spending time outside running and rock climbing.

Emily Monroe is currently pursuing a MM in violin performance and chamber music at SMTD under the instruction of Professor Aaron Berofsky. Monroe holds her BM degree from Vanderbilt University, where she studied violin with Cornelia Heard and baroque violin with María Romero Ramos.

Louis Nagel is a Steinway Artist and professor emeritus of piano at SMTD. Winner of the Harold Haugh Award for Excellence in Teaching, he has combined his pedagogical and performance career with outreach throughout the United States and abroad. Performances and residencies have reached audiences and students in Israel, Vienna, Russia, England, Australia Taiwan, and Poland.

Critics have praised him as“an exciting musical intelligence combined with a brilliant technique”, “a pedagog, a performer and scholar, all synthesized.” Nagel has been called the “go-to” person to prepare students for college and conservatory auditions and for those who aspire to “the next level” in pianistic and musical artistry. He continues to teach privately and concertize in solo appearances and in collaboration with his wife, psychologist/musician Dr. Julie Jaffee Nagel in unique joint masterclasses that address careers in the arts, stage fright, and the importance of music in society. Nagel is a graduate of The Juilliard School where he earned his Bachelor, Masters, and Doctoral degrees. His recordings include works of Bach, Haydn, Mendelssohn, Shostakovich, Liszt, and Balakirev.

Since his orchestral debut at age 12, Canadian pianist Derek Parsons has been performing for appreciative audiences in a career spanning four decades. Critics have hailed him as “a wonderfully sensitive musical artist” and his performances, “…a drama of epic proportions,” and “…in total command.” He has performed on three continents and throughout the United States and Canada as orchestral soloist, recitalist, and collaborative artist. Parsons has appeared on several ALS programs and served as host and artistic director for the 2018 Festival. Most recently he served on the jury panel for the 2021 LA International Liszt Competition. His solo disc, Liszt: The Poet Inspired, was released in June 2015. His latest research has involved authoring a performance edition of the lesser-known Healey Willan Piano Concerto. Parsons is performing his arrangement in hopes of presenting this under-appreciated work to a wider audience.

Doug Perkins is a percussionist, producer, and conductor declared a “percussion virtuoso” by The New York Times. He has appeared at venues of all types including Carnegie Hall and Lincoln Center to the Alaskan Tundra. Perkins premiered over 100 pieces and works with composers as David Lang, Paul Lansky, John Luther Adams, Tristan Perich, Christian Wolff, Sofia Gubaidulina, and Steve Reich.

He founded So Percussion, the Meehan/Perkins Duo, and performs regularly with Ensemble Signal, among others. Perkins’ acclaimed recordings can be heard on the Bridge, Cantaloupe, Harmonia Mundi, New Focus, New World, and Nonesuch labels. Perkins is associate professor of percussion/ director of percussion at SMTD. He previously taught at the Boston Conservatory at Berklee, Dartmouth College, and was director of the Chosen Vale International Percussion Seminar and endorses Black Swamp Percussion, Pearl/Adams, Remo, Vic Firth, and Zildjian instruments, sticks, and mallets.

Professor of piano and former John Rabb Emison professor of creative and performing arts at DePauw University, Indiana, May Phang enjoys discovering and performing a wide range of repertoire from past to present. Performances as soloist and chamber musician have taken her to international venues in North America, Europe, and Asia. Solo performances with orchestras include the Banff Chamber Players, Lafayette Symphony, Montreal Symphony, Singapore Symphony, and the Philadelphia Orchestra. Her debut CD Travels through Time featured works centered around Mark Twain’s satirical A Connecticut Yankee in King Arthur’s Court. Her new recording of Beethoven’s Diabelli Variations (Centaur Records) is now available for streaming and at retail outlets. mayphang.com

Lori Piitz is a professor and coordinator of the piano area at James Madison University in Virginia. She enjoys musical collaborations of all kinds, including chamber music and piano four-hands and has performed in music festivals in the U.S., Canada, and Germany, including the Staunton Music Festival, the Schleswig-Holstein festival, and the Music & Beyond and Festival of the Sound in Canada. Other recital venues include Steinway Hall, the Kennedy Center and Avery Fisher Hall. A native of Ottawa Canada, Piitz studied at the University of Ottawa and earned a Doctorate from Indiana University. Her principal teachers were Helgi Fatovic, Jean-Paul Sevilla, and Menahem Pressler. An interest in pianist health led to membership in PAMA and studies in injury-preventive piano technique with Barbara Lister-Sink. Piitz is a founding member of the James Madison University/Shenandoah Valley Chapter of the ALS.

Critics praise Éva Polgár for her “intelligent interpretations” (Funzine Magazine), “emotional power” (New York Concert Review), and “vibrant technique” (American Hungarian Journal). Dedication to her native Hungarian culture has resulted in her research of Béla Bartók’s piano arrangements of his orchestral compositions and her specialization in the music of Franz Liszt. Her solo album titled Liszt: Harmonies patriotiques et religieuses was released recently under Hunnia Records. She has toured three continents and has been featured at Carnegie Hall in New York City, the Leipzig Gewandhaus in Germany, and the Vigadó Concert Hall in Budapest, Hungary. In the realm of cross-disciplinary endeavors, she collaborates extensively with visual artist Sándor Vály. In addition to her teaching appointment at Azusa Pacific University, she is a co-director of the Los Angeles International Liszt Competition and an elected member of the board of directors for the Southern California Chapter as well as the national organization of the ALS. evapolgar.com

Dmitry Rachmanov is the chair of keyboard at CSU Northridge. He has served on the faculties of Manhattan School of Music, Roosevelt University, and has appeared as a guest artist/lecturer at The Juilliard School, New England Conservatory, Beijing Central, and Shanghai Conservatories.

His appeared in concert at Carnegie Hall, The Kennedy Center, London’s Barbican and South Bank Centres, in major halls of China, and was soloist with Ukraine National Symphony, National Orchestra of Porto and Vidin Sinfonietta, among others. He has recorded for Naxos, Parma, Master Musicians, and Vista Vera labels. Rachmanov is a founding member of the Scriabin Society of America and has given world tours featuring the music of Alexander Scriabin. He is also the president of the ALS’s Southern California Chapter, and a co-director of the CSUN biennial ChamberFest. A recipient of numerous awards, Dr. Rachmanov was named the 2018-19 Research Fellow at CSUN’s Mike Curb College. Rachmanov is a Steinway Artist. dmitryrachmanov.com

Cellist Anne Richardson’s passion for creating and sharing music has led to a versatile career as a soloist, chamber musician, and orchestral musician. She made her Lincoln Center debut at the age of 19, soloing with the Juilliard Orchestra under the baton of Alan Gilbert at David Geffen Hall. Additional solo appearances include concerts with the Louisville Orchestra, Massapequa Philharmonic, Bryan Symphony Orchestra, and Juilliard’s Pre-College Symphony, among others. She has been a featured soloist on NPR’s From the Top, and at the Juilliard in Aiken Festival, Lincoln Center’s Great Performance Circle, and Vail International Dance Festival. She was also named the Kentucky Center for the Arts’ Gheens Artist in Residency in 2019 and was honored to be a guest faculty member and artist in residence at the 2018 Tennessee Cello Workshop. Richardson has performed extensively as a chamber musician, collaborating with many inspiring colleagues at the Rome Chamber Music Festival, Juilliard’s ChamberFest, Kneisel Hall, United Nations Chamber Music Society, New York Piano Society, and with Jupiter Symphony Chamber Players. As an orchestral musician, she has performed as principal of the Juilliard Orchestra at David Geffen Hall and at the BBC Proms, and with the Verbier Festival Orchestra.

Graduating from the Juilliard School in 2020, Richardson is now pursuing her DMA at SMTD.

Steinway artist Eric Ruple is on the piano faculty at James Madison University. He enjoys an active career as a solo and chamber musician, including several performances at the Kennedy Center in Washington, DC and Steinway Hall in New York. He is also pianist for the Virginia Symphony Orchestra, including principal keyboard role in the ongoing “Harry Potter Live” concerts. He was also featured in Bernstein’s “Prelude, Fugue and Riffs” with the VSO Jazz Ensemble. His recording “Musica Incognito” with hornist Ian Zook has earned unanimously positive reviews from several national and international publications. He is an active member of the ALS and is a regular adjudicator in Hong Kong. He served as interim director for the JMU School of Music. He received his DMA from SMTD.

Pianist Robert Satterlee has developed a reputation as an accomplished and versatile solo recitalist and chamber musician, playing regularly throughout the United States. He has completed many tours of China, and has played concerts at the Romanian-American Festival in Romania, the Piano Plus Festival, and the Corfu Festival in Greece and has also performed in Sweden, Holland, Germany, Thailand, and Kenya. His compact disc of the music of Frederic Rzewski was selected by The New York Times as one of the outstanding classical recordings of 2014. Satterlee was appointed in the fall of 1998 to the piano faculty of Bowling Green State University in Ohio, where he teaches a studio of students from all over the United States and abroad. Satterlee teaches at the Interlochen Arts Camp in the summer, and holds degrees in piano from Yale University, Peabody Conservatory, and the University of Missouri-Kansas City Conservatory of Music.

A feature article about Yizhak Schotten in Strad Magazine called him “one of America’s finest viola players... a leading light of the U.S. viola establishment.” A former member of the Boston Symphony, he was later principal violist with the Cincinnati and Houston Symphony Orchestras. A professor of prizewinning students at SMTD, he performs internationally and is a major recording artist.

Yizhakschotten.com • youtube.com/channel/UChMzXPrYL-xEC0G3LUbQUSQ

Richard Shuster is professor of piano at Texas Woman’s University in Denton, Texas. He is in demand as a guest teacher and adjudicator, and he is an active performer of a wide range of solo and chamber repertoire. Most recently, he was awarded a Fulbright Scholar Grant to teach piano literature courses at the Franz Liszt Academy of Music in Budapest, Hungary. Shuster has performed the piano music of Gabriel Fauré extensively and was a featured performer at the Focus on Piano Literature: Gabriel Fauré conference at the University of North Carolina Greensboro. His most recent CD, Gabriel Fauré: The Complete Nocturnes, was released in 2014 on the Fleur de Son label to great critical acclaim.

Shuster earned the DMA and MM in piano performance degrees from the Eastman School of Music in Rochester, New York, and the MM in piano performance degree from Indiana University in Bloomington, Indiana.

Logan Skelton is a pianist, teacher, and composer whose work has received international critical acclaim. As a performer, Skelton has concertized in the United States, Europe, and Asia and has been featured on public radio and television stations in the U.S., China, and Romania. He has recorded numerous discs for Centaur, Albany, Crystal, Blue Griffin, Equilibrium, Supertrain, and Naxos Records, and has been a juror for many international piano competitions. In recent years he has contributed substantially to the upcoming Gershwin complete editions of Concerto in F, Rhapsody in Blue, and other of Gershwin’s piano works. As a composer, Skelton has a special affinity for art song, having composed nearly two hundred songs, including numerous song cycles. He has served on the faculties of Manhattan School of Music, Missouri State University, and is currently Arthur F. Thurnau Professor of Music at SMTD.

Philip Solomonick was born in Los-Angeles, CA. After moving to Israel, during his childhood, he was very active and won numerous awards in Israel, Ukraine, and Russia. Later, he won the ChopinCompetition in Tel-Aviv and The Pnina-Zaltsman Competition. In the Jerusalem Academy of Music and Dance, he won the Haim-Kalmi Competition, the school’s Concerto Competition, and received the prestigious Dean’s Award. He performed with orchestra numerous times in Israel, France, Russia, and the United States. The highlight of his career was a solo recital to the memory of Yuri Lyubimov, which he was invited to give at the Moscow State Tchaikovsky Conservatory. Today he is a doctoral student at SMTD under Professor Arthur Greene, and was recently a finalist at the American International Piano Competition in Washington DC. philipsolomonick.com

Violinist Solomia Soroka, born in L’viv, Ukraine, is among the most accomplished Ukrainian musicians of her generation. She won top prizes in three prestigious international violin competitions held in the former Soviet Union–the Prokofiev, Lysenko, and Zolota Osin’ competitions. Dr. Soroka completed postgraduate studies in the Kyiv Conservatory, and later served on its faculty in the chamber music department. Her doctoral degree is from the Eastman School of Music. Soroka appears with concerts in Europe, Asia, and the United States. She made ten world premier recordings of American, Ukrainian, and Holocaust composers for Naxos and Toccata Classics, for which she received excellent reviews in major music magazines in the U.S. and Europe. Soroka is a violin professor at Goshen College. During the summer she conducts masterclasses in the U.S., and Ukraine, and is on the faculty of Music Fest Perugia in Italy, and Vivace Festival in Wilmington, NC.

Hailing from San Diego, CA, pianist, harpsichordist, and fortepianist Shuntaro Sugie is active worldwide performing all around the U.S., Europe, and Japan. Recent engagements include the Schlosskonzerte in Bad Krozingen, Germany and the Fringe Concerts as part of the Utrecht Early Music Festival in the Netherlands. Having studied at the Hochschule für Musik Freiburg (Germany) and the University of Southern California in Los Angeles, CA, he is currently a doctoral student at SMTD, where he studies with Professors Joseph Gascho and Matthew Bengtson. Past teachers include Robert Hill, Tibor Szasz, Norman Krieger, and Stewart Gordon. His core interests are in the music of J.S. Bach and Mozart. Outside of music, he enjoys walks in nature, watching movies, and photography.

Hungarian pianist Peter Toth has performed in over twenty countries all over the globe, including Japan, South Korea, Russia, France, Germany, and the United States. Dr. Toth has won top prizes at numerous piano competitions, such as the American Paderewski Piano Competition (2013), the Franz Liszt International Piano and Voice Competition in Los Angeles (2010), and the Franz Liszt International Piano Competitions in Budapest (2001) and Weimar (2000). In 2006, his first released CD recording Liszt: Late Piano Works won the grand prize of the Hungarian Liszt Society. In 2017, he joined the music faculty at Fairleigh Dickinson University. He also taught piano at the Mason Gross School of the Arts Extension Division at Rutgers University in New Brunswick, New Jersey, between 2016 and 2019. petertothpianist.com • @PeterTothPianist (Facebook)

Adam Unsworth is professor of horn at SMTD. Prior to his appointment in Ann Arbor, Unsworth was a member of the Philadelphia Orchestra (1998-2007) and the Detroit Symphony Orchestra (1995-98).

He has toured Asia and Europe with the San Francisco Symphony, is a frequent guest with the Detroit Symphony, and is principal horn of the Ann Arbor Symphony Orchestra. Unsworth has five recordings to his credit in the jazz and contemporary music genres. He is a member of Quadre, a Bay Area-based horn quartet focused on commissioning and performing new music through the lens of social justice and environmental issues. He is also part of two GRAMMY-nominated jazz big bands in New York City, the Gil Evans Project, and Japanese big band leader Miho Hazama’s M-Unit. Unsworth has appeared as a recitalist and clinician at many universities across the United States. He received his formal training at Northwestern University and the University of Wisconsin-Madison.

Annamaria Vasmatzidis began her violin studies at the age of five years old in New Jersey. She studied under the New York City Ballet’s concertmaster, Kurt Nikkanen, before moving to the Manhattan School of Music Precollege Division. She is also a graduate of Indiana University’s Jacobs School of Music, where she received her BM under the tutelage of Professor Mark Kaplan. She is currently pursuing her MM at SMTD under Professor Danielle Belen. Vasmatzidis has performed in many masterclasses for international artists such as Mayumi Seiler, Lucie Robert, and Ilya Kaler. Her previous summer program experiences include the Greenwood Music Camp, the Heifetz International Music Institute, the Aspen Music Festival, and the Domaine Forget International Music Festival. Prior to the Covid-19 outbreak, she was also awarded a fellowship to the 2020 Madeline Island String Quartet Program.

A member of the Chester String Quartet for 15 years, violinist/violist Kathryn Votapek now maintains an active career as a guest artist at chamber music festivals throughout the United States, Canada, and Europe. Votapek has been on the faculty of the Meadowmount School of Music, the Interlochen Arts Camp, the Accademia Musicale Chigiana (Italy), and the Peter de Grote Summer Academy (Holland), as well as performing at the Klosterkammerfest (Germany), Speedside Festival (Canada), the International Deiá Festival (Spain), and the Garth Newel Festival. Votapek is currently on the faculty at SMTD, the summer faculty at the Chautauqua Institution, and is the associate concertmaster of the Ann Arbor Symphony Orchestra. Previously she was associate professor of violin and artist-inresidence at Indiana University South Bend. Votapek received her BM and MM degrees at Indiana University and The Juilliard School. Her teachers were Robert Mann, Franco Gulli, and Angel Reyes.

Asian-American pianist and fortepianist Angie Zhang combines a decorated performance career with impactful teaching contributions to create maximum impact with her music. Known for her authentic and sensible music-making, she possesses the rare gift of further captivating her audiences with her eloquent speech and inviting aura. Making her concerto debut under GRAMMY-nominated conductor Neil DePonte at age 10, she has performed extensively as a soloist with orchestra, recitalist, and chamber musician. Zhang equally feels at home performing in art museums, nursing homes, and traditional concert venues, and recording on a variety of historical and modern instruments. Following an impressive 13-year journey at The Juilliard School, where she obtained her pre-college diploma, BM, and MM (with academic and chamber music honors) as a Kovner Fellow, Zhang is now pursuing two degrees at SMTD, studying piano with Professor Logan Skelton (DMA) and fortepiano with Professor Matthew Bengtson (MM). youtube.com/channel/UCzKZFKmUdJhn6pJklO1rxDQ • @angiezhangmusic (Instagram)

Hungarian Pronunciation Guide Special thanks to János Kéry from the Liszt Academy (Budapest) for helping to compile this list of Hungarian words and names. His own pronunciations can be found on the Festival website: smtd.umich.edu/liszt2021

Magyar Rapszódia Magyar Rapszódiák Magyar nóta Csárdás Verbunkos Bokázó Cimbalom Ernő Ferenc György Jenő László Mihály Miklós Ödön Sándor

(Hungarian Rhapsody) (Hungarian Rhapsodies) (Hungarian Song) (Inn Dance) (recruiting dance) (a heel-click heard as a common cadential pattern) (cimbalom)

MUD-yar rap-SO-dee-uh MUD-yar rap-SO-dee-ack MUD-yar NO-tuh CHAR-dash VAIR-boong-kosh BO-kaa-zo

(Ernst or Ernest) (Franz) (George) (Eugen or Eugene)

AIR-nö FAIR-ents JÖRGJ (very soft j sound) YEH-nö LASS-low ME-hai MICK-lowsh Ö-dön SHAN-door

(Michael) (Nicholas) (Edmund) (Alexander)

DO-hnan-ye FEH-keh-teh HOO-boy KO-dye KO-char LEE-geh-tee RAH-kow-tsee SAW-baw-dee

Dohnányi Fekete Hubay Kodály Kocsár Ligeti Rákóczi Szabadi Játékok

TSIM-ba-lum

(Games)

YAH-tayy-coke

SMTD Personnel List and Acknowledgements Festival Director Matthew Bengtson Assistants Minji Kim (Fall 2021 event) and Eun Young Lee (Fall 2020 planning) Dean, School of Music, Theatre & Dance David Gier Chair, Department of Piano Christopher Harding Piano technician Robert Grijalva President, American Liszt Society Jay Hershberger Master of Ceremonies Justin Kolb Program Book Design Brandon Monzon Web Design Rachel Francisco Staff & Logistical Support Paul Feeny, Ben Thauland, Emily Henley, Alvin Hill, Roger Arnett, Michelle Terrell, and Tanya Berg This Festival was made possible in part by grants from the University of Michigan Office of Research (UMOR), the School of Music, Theatre & Dance, the American Liszt Society, the Robert Glasgow Keyboard Faculty Fund, the Stearns Collection of Musical Instruments, and the Center for Russian, Eastern European and Eurasian Studies (CREES).

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5/22/2020 3:28:47 PM

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