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A Truly Musical Beacon of Hope in a War Zone

Eleven-Year-Old American Prodigy Amelia Ly Performs Beethoven in Lviv, Ukraine: A Beacon of Hope and Cultural Solidarity Amid Ongoing Conflict

Lviv, Ukraine

January 17, 2026

In a powerful symbol of resilience, international unity, and the enduring power of music, 11-year-old American piano prodigy Amelia Ly from Nashville, Tennessee, performed Beethoven’s Piano Concerto No. 2 in B-flat major with the Lviv National Philharmonic Orchestra of Ukraine on January 16, 2026, under the baton of renowned Ukrainian-American conductor Theodore Kuchar.

This landmark concert, arranged by Price Attractions—a leading artist advocacy and management company dedicated to promoting exceptional young talents—was held in Lviv, the birthplace of legendary pianist Mieczysław Horszowski. Amid Ukraine’s continued fight for sovereignty, where cultural life persists despite challenges like air raid alerts, the performance highlighted music’s vital role in fostering healing, hope, and cross-cultural bridges.

Amelia’s appearance traces a direct pedagogical lineage: Beethoven → Czerny → Leschetizky → Horszowski → Dr. Craig Nies → Amelia Ly. Guided since 2022 by distinguished Vanderbilt University professor Dr. Craig Nies—a former student of Horszowski at the Curtis Institute—Amelia embodies clarity, authenticity, and compassionate expression, shaped by Nies’s emphasis on intellectual depth, tonal beauty, and social responsibility through community outreach.

Beginning piano studies at age four with Prof. Anna Nogaj and Aneta Youngblood, Amelia has captivated audiences at Carnegie Hall (multiple times), Vienna’s Musikverein, London’s Royal Albert Hall, the Amphitheatre of the Paris Philharmonic, Beethoven-Haus in Bonn, Germany, and more. Featured on ABC and NPR, she is a first-place winner in many international competitions.

Conductor Theodore Kuchar, the most recorded of his generation with over 150 albums, is the only conductor to have crowned all three of Ukraine’s premier orchestras: the Lviv National Philharmonic (Principal since 2022), the National Philharmonic of Ukraine (Kyiv), and the National Symphony Orchestra of Ukraine (Artistic Director 1994–2000, now Conductor Laureate). He continues to champion Ukrainian music worldwide while symbolizing cultural resilience.

In Horszowski’s hometown, Amelia’s performance revived a timeless legacy: music as thoughtful, compassionate expression bridging divides and inspiring hope.

In Lviv, a Circle Closes: Amelia Ly’s Beethoven and the Living Lineage of Mieczysław Horszowski

January 11th, 2026

Lviv, Ukraine

Later this week in Lviv—a city of timeless cobblestone streets, aromatic cafés, and echoes of profound musical history—an eleven-year-old American prodigy will step onto the stage to perform Beethoven’s Piano Concerto No. 2 in B‑flat major, Op. 19. As the audience settles into hushed anticipation, Maestro Theodore Kuchar, Principal Conductor of the Lviv National Philharmonic Orchestra of Ukraine, will raise his baton. It will descend, unleashing a performance that threads a vibrant lineage back over two centuries—through mentors, teachers, and the very essence of sound—to this very birthplace of Mieczysław Horszowski.

The Lineage: Beethoven → Czerny → Leschetizky → Horszowski → Nies → Ly

Horszowski was born in Lwów (now Lviv) in 1892, a child prodigy who first absorbed music from his mother, a pupil of Karol Mikuli—himself a disciple of Frédéric Chopin—and later from Theodor Leschetizky, who had studied under Carl Czerny, Beethoven’s direct student. This unbroken chain fuses Chopin’s lyrical expressiveness with Beethoven’s architectural genius into the hands of one remarkable performer. Horszowski’s approach embodied a “natural, unforced” style, emphasizing clarity, balance, and intellectual depth over mere showmanship; in New York, he presented complete cycles of Beethoven’s solo works and all the Mozart sonatas, hallmarks of his quiet authority. But Horszowski’s legacy extended beyond performance; he taught at the Curtis Institute of Music, where his pupils carried this torch into the modern era. Among Horszowski’s most distinguished pupils was Dr. Craig Nies—a pianist whose career and teaching legacy have become pillars of American musical life. After studying at the Curtis Institute under Horszowski, Nies brought that rare lineage to Vanderbilt University’s Blair School of Music, where he has served for over three decades since joining the faculty in 1991. His tenure is marked by visionary leadership, including 14 years as co-chair of the piano department, and an unwavering commitment to excellence. Nies is celebrated not only for his technical mastery and interpretive depth—praised for the “sheer beauty of his tone”—but also for his expansive repertoire projects, from Bach’s Well-Tempered Clavier to complete cycles of major composers. His artistry reflects Horszowski’s ideals of transparency, structural clarity, and humility before the score, while his mentorship has shaped generations of pianists into thoughtful, socially engaged musicians. Drawing on elite training at Curtis, Yale, and SUNY Stony Brook, Nies combines intellectual rigor with a humanistic approach, inspiring students to see music as both an art and a calling. His influence resonates far beyond the concert stage, fostering a culture where musical excellence and community impact go hand in hand—a living testament to Horszowski’s enduring legacy.

The Student: Amelia Ly

Amelia Ly, the young sensation from Nashville, Tennessee, embarked on her piano odyssey at just four years old, guided by the eminent Prof. Anna Nogaj—who taught the renowned pianist Krzysztof Jabłoński for over a decade and served as the former dean of Bradley University’s Piano Preparatory School—along with her daughter Aneta Youngblood. Featured by ABC News and NPR News, Amelia’s journey has since illuminated prestigious venues worldwide—from Vienna’s Musikverein and London’s Royal Albert Hall to the Paris Philharmonic’s Amphitheatre, Beethoven‑Haus in Bonn, and multiple appearances at New York’s Carnegie Hall—alongside local volunteer recitals that bring joy to retirement homes and community events.

Since 2022, under Dr. Nies’s guidance, Amelia’s playing reflects the Horszowski hallmark: meticulous phrase‑building, disciplined voicing, and a commitment to authenticity over flash. But Nies’s influence extends far beyond technical refinement. Known for his deep empathy and intellectual rigor, he has shaped generations of pianists at Vanderbilt, fostering not only artistry but character. His mentorship emphasizes resilience, humility, and the social responsibility of music—encouraging students to share their gifts in community settings, from hospitals to retirement homes. Amelia’s own volunteer performances echo this ethos, proving that music is not merely a pursuit of perfection but a bridge of compassion. Through Nies, Horszowski’s ideals live on—not only in concert halls but in the quiet spaces where music heals and connects lives. Adding depth to her training, Amelia also attends master classes with legendary pianist Dickran Atamian, one of the youngest winners of the prestigious Naumburg Piano Competition (1975, age 19). Atamian’s career has included nearly 400 concerts with major orchestras (Cleveland under Lorin Maazel, Detroit, New York Philharmonic, Boston Pops), an RCA recording contract at 22, the world premiere of a solo piano transcription of Stravinsky’s The Rite of Spring at Carnegie Hall, and service as Artist‑in‑Residence at the University of Michigan—an individualistic pianism that now informs their 2026 collaboration, Mozart in Harmony: A Journey Across Generations, performing Mozart’s double piano concerto at venues across the globe, including an 2026 October tour with the Budapest Philharmonic under Maestro Rico Saccani and their 2027 tour in China.

Engagements

In March 2023, Amelia played with her teacher Craig Nies for Rachmaninoff’s 150th birthday celebration, and again in March 2025 for Ravel’s. At seven years old, Amelia performed as a guest artist with the Peoria Symphony Orchestra, and in 2024, performed with Maestro David Wroe at Carnegie Hall—a partnership that led to her featured appearance at the New Jersey Festival Orchestra’s 2025 annual gala. These milestones propelled her toward this week’s Lviv performance, which features Maestro Theodore Kuchar, whose career is profoundly rooted in Ukraine’s leading ensembles and supported by one of the most extensive discographies of his generation. Following this week’s January 16, 2026, performance, Amelia returns to Europe in October 2026 for further work with the Budapest Philharmonic and Maestro Rico Saccani. On October 11, 2026, she’ll perform Mozart’s double piano concerto with the University City Symphony under Leon Burke, followed by the San Gabriel Valley Symphony and Sheridan Solisti in Chicago. Then in 2027, reengagement with the New Jersey Festival Orchestra, San Angelo Symphony with Hector Guzman, the Peoria Symphony Orchestra under George Stelluto, and Abilene Philharmonic under David Itkin.

Kuchar’s Ukrainian Chapter

Theodore Kuchar is one of the most electrifying conductors of his generation, a musical force whose nearly 150 recordings have reshaped the global orchestral landscape. His performances are celebrated for their intensity, precision, and emotional depth, earning him top international honors including BBC Record of the Year, ABC Record of the Year, Gramophone Editor’s Choice, and multiple Grammy nominations. He is the only conductor to have led all three of Ukraine’s premier orchestras and currently serves as Principal Conductor of both the Lviv National Philharmonic and the National Philharmonic Orchestra of Ukraine—an unprecedented distinction that underscores his central role in the country’s musical life. Kuchar’s artistic leadership has elevated ensembles across Europe, the Americas, Asia, and Australia, with his transformative tenure at the National Symphony Orchestra of Ukraine producing more than 80 acclaimed recordings and tours on four continents. His global engagements have brought him to the world’s great stages, from Carnegie Hall to the Berlin Philharmonic, and his collaborations include many of the most iconic artists of our time: Itzhak Perlman, Yo‑Yo Ma, Joshua Bell, Sarah Chang, and Mstislav Rostropovich, among others. Equally commanding in opera and musical theatre, he has led over 200 performances with the Finnish National Opera and Ballet. Recent seasons have only amplified his momentum, highlighted by major U.S. and U.K. tours and a triumphant, sold-out Carnegie Hall appearance with the Lviv National Philharmonic. With his unmistakable blend of authority, passion, and artistic fearlessness, Theodore Kuchar continues to captivate audiences worldwide and stands as one of the defining conductors of his era.

The Piece:  Beethoven’s Second Concerto in a City of First Principles

Selecting Beethoven’s Second Concerto is poetically fitting. Composed mainly between 1787 and 1789, with revisions up to 1801, this early B‑flat work brims with fiery wit and classical elegance, hinting at the bold independence that would define Beethoven’s later concertos. Horszowski interpreted Beethoven with a focus on architecture and rhetoric, prioritizing proportion over sheer power. In his hometown, Amelia revives these core values: crisp articulation, balanced dialogue with the orchestra, and the conversational interplay Beethoven envisioned—and Horszowski urged his students to uphold.

Lviv Hears Its Own Echo

Performing Beethoven in Lviv is commonplace in this musically steeped city, home to institutions like the Philharmonic and Opera House. But as a pedagogical descendant of Horszowski, Amelia brings something unique. The connections from Beethoven to Czerny, Leschetizky, and Horszowski aren’t mere footnotes; they manifest in tangible techniques—the curve of a trill, the poise of a cadence, the harmonic tension in dynamics. Amelia’s repertoire demonstrates her evolving ability to treat piano music with eloquence and intelligence. This is Horszowski’s enduring lesson from Lviv, channeled through Nies: let the piano voice thoughts rendered beautiful. When the concluding B‑flat chord fades this week, it will celebrate Amelia’s growth. Yet woven into it is Horszowski—the Lwów boy schooled by Beethoven’s heirs—and the guiding presence of Craig Nies and Theodore Kuchar, ensuring this heritage isn’t just recounted but vividly lived. It returns, poetically, to its roots.