The Renaissance of Hahn-Bin

Filmmaker Alison Chernick ushers us into the colorful universe of 23-year-old violin virtuoso Hahn-Bin. The Korean prodigy has been resuscitating a dozing classic music scene and capturing the imagination of new generations of young people with his technical brilliance and provocative visual performances. Till Dawn Sunday is a “hybrid music theater work where a gender-defying storyline meets a genre-defying musical kaleidoscope,” explains the musician of his latest theatrical opus, a myth of resurrection from metaphorical death through the power of music, showing in New York and London. The youngest person to be accepted to Korea’s University of the Arts at age 9, Hahn-Bin brought the crowd to their feet with his US debut at The Grammy’s a mere three years later. Under the tutelage of the legendary Itzhak Perlman, the self-proclaimed “strange fruit” learned to channel the emotion of his personal experiences into the complex compositions, choreography and stage production of his recent multi-faceted works. Hahn-Bin's magpie references have been plucked from fellow creative polymaths Laurie Anderson, Andy Warhol and David Bowie, and are nimbly interwoven with Bach, Saraste and Tchaikovsky to form his own brand of avant-pop classical. “It was the first time I interviewed someone dead—who was also neither male nor female,” remarked Chernick. “His music comes from a deep dark place inside himself and you can feel it.”