The University of Iowa
The University of Iowa News Services Home News Releases UI in the News Subscribe to UI News Contact Us

University of Iowa News Release

Feb. 24, 2006

Tricia Park Solos With UI Chamber Orchestra March 7

The University of Iowa Chamber Orchestra will feature violinist Tricia Park and cellist Anthony Arnone -- two members of the string faculty from the UI School of Music -- on its next concert, at 8 p.m. Tuesday, March 7 in the Englert Theatre in downtown Iowa City.

The concert, under the direction of William LaRue Jones, will feature Park in a performance of Henryk Wieniawski's Variations on an Original Theme, op. 15, and Arnone in a performance of Haydn's Cello Concerto in D major, Hob. VIIb:2. The orchestra will also play Mozart's "Paris" Symphony, K297.

"I think the Englert is the perfect setting for an intimate chamber orchestra concert," Jones said. "Mozart's energetic 'Paris' Symphony, Haydn's elegant Second Cello Concerto and a dash of Wieniawski's highly florid violin Variations will be a treat for everyone!"

Wieniawski was regarded as one of the greatest violin virtuosos of the 19th century. He was raised in Warsaw but was accepted at the age of eight into the Paris conservatory, where he studied both violin and composition. The majority of his life was spent as an inexhaustible touring virtuoso, playing hundreds of concerts across Russia, North America and Europe.

Wieniawski's Variations on an Original Theme was composed for solo violin and piano in 1854 and later arranged by John Luther for violin and string orchestra. It is a virtuoso tour de force for the soloist, as each variation introduces new difficulties. The first variation offers acrobatic string crossing, followed by unaccompanied passages with left-hand pizzicato in the second variation and rapid multiple stops and artificial harmonics in the third variation. A lyrical interludes precedes a fast-flowing waltz and the finale, where both soloist and orchestra dash to an exhilarating close.

Haydn composed his Cello Concerto in D major in 1783, when he was directing the orchestra of Prince Nicolaus Eszterhazy. It was written for Anton Kraft, the principal cellist of the orchestra. The concerto was so well written for the cello that for many years it was suspected to have been composed by Kraft himself, until Haydn's signed autograph manuscript was discovered in 1951.

Kraft was clearly a skilled virtuoso, as the concerto offers plenty of opportunities for soloistic display. From the double stops that mark the cellist's first entrance to the rapid scale work found later in the first movement, through the use of the instrument's highest register in the lyrical slow movement and the cheerfully showy finale, the Concerto in D major shows off the technical capabilities of the player without sacrificing Haydn's ability to write tuneful melodies.

Mozart's European tour of 1777 to 1779 was in many ways a disaster. Traveling for the first time without his father, who remained in Salzburg and sent Mozart's mother along, the young composer was looking for a job that would offer prestige as well as financial rewards. Instead, the trip was marred by Mozart's youthful impetuosity, his mother's death in Paris and Mozart's eventual failure to find even a hint of an acceptable position. He returned to his native Salzburg alone and disappointed.

The music he wrote on this trip is another matter, however. It includes one of his most popular symphonies, written in 1778 for performance at the famous "Concerts Spirituel" in Paris -- so-called because they took place during Lent when operatic performances were banned.

Mozart took notice of the local audience's expectations, and particularly the "premier coup d'archet"-- a prominent opening unison from the full string section that announced the beginning of a symphony. The first movement begins with just such a chord, but the finale plays with the expectation in a different way: It begins with violins alone, very soft, and the unison outburst comes eight measures later. This joke surprised and delighted the audience, who immediately burst into applause.

The newest member of the string area at the UI School of Music, Park joined the UI faculty as the Maia Quartet's first violinist in 2005. A celebrated soloist as well as a chamber musician, she is a recipient of the prestigious Avery Fisher Career Grant and was selected as one of "Korea's World Leaders of Tomorrow" by the Korean Daily Central newspaper.

Since appearing in her first orchestral engagement with the Baltimore Symphony Orchestra, Park has performed with the English Chamber Orchestra, the St. Paul Chamber Orchestra, the Frankfurt Radio Symphony Orchestra and the National Symphony Orchestra of South Africa; the Montreal, Dallas, Cincinnati, Seattle, Honolulu, Nevada and Lincoln symphonies, and other orchestras. She has given recitals throughout the United States, including a highly acclaimed performance at the Ravinia Rising Stars series.

Park appeared with Pinchas Zukerman at the gala opening of the Aspen Music Festival's Harris Concert Hall. After her subsequent New York debut at Lincoln Center's Mostly Mozart Festival, a New York Times review praised her "impressive technical and interpretive control." An appearance with the Metamorphosen Chamber Orchestra at Jordan Hall garnered a glowing review from the Boston Herald that states, "If you see the name Tricia Park in any future programs, buy a ticket."

Summer chamber music festival appearances include La Jolla, Ravinia, Taos and Holland Music Sessions. In addition, Park is a member of the Fireworks Ensemble, specializing in contemporary classical music as well as avant-garde programs featuring rock, jazz and other interdisciplinary elements. Fireworks recently completed a CD of dance music, ranging from the Renaissance to disco, jazz and modern "trance" music.

Park received her bachelor's and master's degrees from the Juilliard School where she studied with the legendary violin teacher Dorothy DeLay and where she received the Starling-DeLay Teaching Fellowship. She is currently on faculty at the 92nd Street Y in New York City.

Arnone is a founding member of the Meriden Trio and the Sedgwick String Quartet, which regularly performs at the Spoleto Festival in Charleston, S.C. He was principal cellist of the Madison Symphony in Wisconsin 1996-2001, was a member of the Orchestra Philharmonique de Nice and the Wichita Symphony, and was principal cellist of the Spoleto Festival in Italy 1992-1997.

Arnone has taught master classes and performed across the country and currently teaches summers at the Eastern Music Festival in North Carolina and the Stonybrook Music Festival in New York. Before coming to the UI, he held a faculty position at Ripon College in Wisconsin, where he taught cello and bass, music theory and chamber music, and conducted the orchestra.

A UI music alumnus, Jones joined the faculty of the School of Music in 1997 as director of the University Symphony and director of orchestral studies. Prior to joining the UI faculty, Jones was the founding music director/administrator of the internationally recognized Greater Twin Cities Youth Symphonies of Minneapolis and St. Paul, Minn.

Jones has appeared as a guest conductor with a wide array of professional, festival, collegiate and student ensembles throughout North America, Latin America, Europe and Asia, ranging from the Minnesota Orchestra and the Minneapolis Pops to the Penang (Malaysia) Symphony, the Antofagasta (Chili) Symphony and the Symphony Orchestra of Lucerne (Switzerland). Jones has conducted more than 70 all-state orchestras with additional festival/clinics in most of the 50 states and Canadian provinces.

Jones is a highly honored musician, having received the Twin Cities Mayors' Public Art Award, the American String Teachers Association Exceptional Leadership and Merit Award and the David W. Preuss Leadership Award. He has also been selected Musician of the Year by Sigma Alpha Iota, a music honorary society.

Jones holds degrees from the University of Wisconsin, University of Iowa and Kansas State University, with additional studies at The Juilliard School of Music and the University of North Texas.

Performances at the Englert Theatre are made possible by an agreement between the UI Division of Performing Arts and the Englert Theatre, Inc. The series of 11 performances, from both the School of Music and the Dance Department, continues through the 2005-06 academic year.

Admission to the Chamber Orchestra concert will be $12 for adults, $6 for UI students and youth. Tickets are available from the Englert Box Office, 221 E. Washington in downtown Iowa City. The box office is open 1 pm. to 6 p.m. Monday-Friday. For additional ticket information, call the box office at 319-688-2653.

The mission of the Englert Civic Theatre, Inc., is to own, maintain and operate the Englert Theatre as a community arts center and performance space, enhancing the vitality of Iowa City's historic downtown by preserving its last historic theater.

The School of Music is part of the Division of Performing Arts in the UI College of Liberal Arts and Sciences.

For information on UI arts events, visit on the World Wide Web. You may visit the UI School of Music web site at To receive UI arts news by e-mail, contact

STORY SOURCE: University of Iowa Arts Center Relations, 300 Plaza Centre One, Suite 351, Iowa City, IA 52242-2500.

MEDIA CONTACT: Peter Alexander, 319-384-0072,