Trained in the Great Traditions of the Piano
Professor-Lecturer of Piano at the University of Utah, Vedrana Subotić brings six generations of pianistic tradition into the studio - training that traces through Menahem Pressler, György Sebők, Péter Frankl, and Ralph Votapek back to Busoni, Liszt, and the great schools of Vienna, Budapest, and Moscow
Teaching & Mentorship
University Teaching
Dr. Subotić teaches piano performance across the Bachelor, Master, and Doctoral programs at the University of Utah, alongside a sought-after course in career development for musicians, for which she received the university’s Faculty Recognition Award.
Each year brings the Studio Performance Project, an intensive study of a focused body of repertoire. Recent cycles have included the Liszt Transcendental Etudes, the complete Prokofiev sonatas with Yale’s Boris Berman, the complete Bach Well-Tempered Clavier with Christopher O’Riley, the complete Beethoven sonatas, and the complete Debussy Preludes.
A guest-artist masterclass series, built over the years, has brought pianists including Menahem Pressler, Ingrid Fliter, Boris Giltburg, Till Fellner, and Jon Kimura Parker to the program.
Teacher Training
Mentorship for piano teachers covers pedagogy, repertoire sequencing, and studio-building, drawing on experience that has brought nearly $100,000 in grant funding to the University of Utah piano program and produced students who’ve won national competitions and academic honors.
Consulting & Evaluation
One-time sessions are available for pianists seeking outside perspective:
• Technical problem-solving
• Injury-related playing adjustments
• Career path advising
Summer Courses & Festivals
The Utah Liszt Festival & Competition and the Bach Festival are both directed at the University of Utah, alongside international teaching at InterHarmony (Italy), the World Piano Conference (Serbia), and a Visiting Professorship at the University of Chile.
Pianistic Lineage
Training descends through two of the piano’s principal traditions - the lineage of Busoni and Liszt via Pressler and the Hungarian school, and the Russian school via Votapek and Valdma - carried forward into the studio and transmitted to every student
