Hyeyung Yoon, violin & Soyeon Kate Lee, piano Greogry Beaver, cello

Hyeyung Yoon, violin & Soyeon Kate Lee, piano
Greogry Beaver, cello

Hyeyung Yoon, violin & Soyeon Kate Lee, piano
Greogry Beaver, cello


Featuring the New York Premiere of Robert Sirota’s Pange Lingua Sonata

Music by Bach and Brahms

Wednesday, March 26, 2014 at 7:30pm
SubCulture | 45 Bleecker Street
Tickets: $25 in advance / $30 at the door


www.subculturenewyork.com
 or212.533.5470

www.robertsirota.com | www.soyeonkatelee.com | www.subculturenewyork.com

Two longtime friends – violinist Hyeyung Julie Yoon and pianist Soyeon Kate Lee – will present an unforgettable evening of chamber music at the new downtown venue SubCulture. The concert features the New York premiere of composer Robert Sirota’s Pange Lingua Sonata, written for Yoon and Lee in 2012, and Bach’s Sonata in C Minor. Cellist Gregory Beaver joins the ensemble for Brahms’ Piano Trio in C Major; Soyeon Kate Lee will also perform “Agitato/Calmo” and “Tender Rage” from Robert Sirota’s Mixed Emotions for solo piano.
Robert Sirota’s Pange Lingua Sonata for violin and piano was commissioned by Hyeyung Julie Yoon in memory of her grandfather, Myung Il Paek. “I have used the Pange Lingua, an epic hymn with text by St. Thomas Aquinas, as the generative material for this three-movement work,” Sirota said. “The first movement, ‘Apologia,’ marked with intensity, explores fragments of ideas that ebb and flow as if searching for an anchoring statement of faith. The hymn melody finally appears towards the very end of the movement. The second movement, ‘Ballade,’ marked Adagio, poco rubato, offers more full-throated melodic writing for the violin, with the Pange Lingua theme appearing in the piano about halfway through the movement. The final ‘Variations’ movement is marked Allegro Molto. In it, the Pange Lingua theme is taken through eight variations, followed by a fairly extended and brilliant finale.”
Over the last four decades as a composer, Robert Sirota has developed a distinctive voice, clearly discernable in all of his work – whether symphonic, choral, stage, or chamber music. The New York Times has described his style as, “fashioned with the clean, angular melodies, tart harmonies, lively syncopations and punchy accents of American Neo-Classicism,” and writes, “Thick, astringent chromatic harmonies come in tightly bound chords to create nervous sonorities. Yet the textures are always lucid; details come through.”

 

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