"a pianistic firebrand..." The New York Times

"Alpin Hong: Classical for the iPod generation" Ocala Star-Banner

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First Prize, 2001 Concert Artists Guild International Competition

Winner, The McGraw-Hill Companies’ 2005 Robert Sherman Award for Music Education

During two whirlwind American tours and performances across the globe, pianist Alpin Hong has earned the reputation as a modern day Pied Piper. Opening the ears, eyes and imaginations of hundreds of thousands of Americans, his combination of stunning technique, emotional range, and rare humor continues to bring audiences young and old to their feet. Indeed, the Santa Barbara News Press described Mr. Hong’s performance as “…a tour de force. Hong evoked a kind of Beatlemania when he came on stage. What a showman! What a musician!” In recognition of the pianist’s immense gifts for communicating his passion for music to audiences of all ages, The McGraw-Hill Companies honored him in September 2005 with the $10,000 Robert Sherman Award for Music Education and Community Outreach.

In July 2005, Gramophone magazine declared Mr. Hong’s first CD (works of Scarlatti, Brahms, Debussy and Stravinsky on MSR Classics) “a debut that enhances this young pianist’s reputation,” in particular praising his “strong finger-work and keen ear for voice-leading.” The release of his second album in January 2007, friendtaskmasterteacher, sold out of its first run within a matter of weeks and has already garnered critical acclaim. The New York Times lauded his “crystalline energy…clear and persuasive ideas…and remarkable breadth of coloration” and called him “a pianistic firebrand” in a review of his standing-room only New York recital debut at Carnegie Hall’s Weill Recital Hall, the result of his winning First Prize in the 2001 Concert Artists Guild International Competition.

Highlights of Mr. Hong’s recent performances include his debut at the Gilmore International Keyboard Festival in Michigan performing Prokofiev’s Piano Concerto No. 3 with the Battle Creek Symphony under the baton of music director Anne Harrigan, residencies (comprised of educational outreach events and recitals) presented by the University of Iowa’s Hancher Auditorium and by the La Jolla Music Society as part of its well-known Discovery Series, and his Chicago recital debut on the Dame Myra Hess Series broadcast live on WFMT-FM. His uniquely humorous and visionary approach to arts education led to masterclasses at the University of Utah, San Jose State University, and the College of DuPage in Chicago, and his performances at festivals such as the Usdan Center for the Creative and Performing Arts left a new generation of young artists inspired and cheering.

Mr. Hong’s astonishing ability to connect to people of all ages, experiences, and backgrounds distinguishes him and shapes his evolving performance style. His extensive classical training, matched with his background in skateboarding, snowboarding, martial arts, and videogames, forms a creative force unmatched in its youthful vivacity and boundless energy.

Alpin Hong is a native of Michigan and made his orchestral debut with the Kalamazoo Symphony at the age of ten. He moved to Los Angeles soon after and garnered competition victories at a young age with wins at the 1989 Stravinsky Piano Competition, the 1993 SYMF Competition and the 1994 Los Angeles Spotlight Awards Competition. His teachers have included Mark Richman, and Emilio del Rosario, and he completed his Master’s degree as a student of Jerome Lowenthal at The Juilliard School.

Alpin Hong Educational/Outreach Programs

ONE-TIME WORKSHOP DESCRIPTION

TITLE: “Movies to Games, Classically Trained”

DESCRIPTION: This workshop investigates how popular movie, television, and video game music affect the listener, by demonstrating how classical composers used rhythm, harmony and melody to emotionally influence their audiences. It introduces elements such as intervals, keys (major vs. minor, Western vs. Eastern), and timing (tempo, rubato) to show that the modern music of today has its roots in classical compositional traditions. The piano is a natural tool for this workshop due to its familiarity, polyphony, and ability to cover almost every genre of music, from the simplest electronic music to orchestral literature.

AGE GROUP: This workshop can be presented to any age group, as the musical examples are easily adapted to the audience. For example, younger audiences (preschool and elementary) would be familiar with programs such as Spongebob Squarepants and Harry Potter, while older groups (junior high to college) would be aware of music from Star Wars, Nintendo video games, and other media appropriate to their more advanced age level and experience. Adults would appreciate both the modern music presented and the classical selections taken from the entire range of piano literature.

CAPACITY: There is no minimum or maximum audience capacity for this workshop. It can be adapted to accommodate a small classroom setting, or an auditorium seating thousands.

DURATION: This workshop can be adapted to almost any timeframe, however the optimum timeframe would be 30 min. to 1 hour. The longer timeframe would allow more audience interaction, such as a 5 to 7-minute Q&A after a 45 min. presentation. The length of the program can also be adapted to the age range of the audience (for example, preschool audiences tend to have shorter attention spans)

BACKGROUND: Students participating do not require any background information. This program is calibrated to raise awareness and appreciation of classical literature and instrumentation in audiences unfamiliar with classical music. However, it may be helpful or entertaining for teachers to present musical excerpts (either movie or video game clips, or recordings) in class prior to the program.

ADDITIONAL INFORMATION: This workshop has many possible formats and content. For example, it can reintroduce the piano itself and its history and development as an instrument. It can be tailored to include more historical content to echo a classroom’s already established curriculum. For an audience comprised mainly of music students, it can be formatted to include more in-depth examination of a single work or style, or focus on artistic, educational, or career advancement. Teachers seeking alternative programs should consult with the artist prior to the presentation.

MASTER CLASS DESCRIPTION

TITLE: “Master Class (with Alpin Hong)”

DESCRIPTION: This is a typical performance master class for pianists. Students perform a complete work or movement and receive brief instruction in a public setting. The amount and depth of instruction is calibrated according to available time and level of training. Issues addressed include performance practice, competition preparation, stage presence, style, technique, and basic career guidance for students seeking advanced musical education.

AGE GROUP: Master classes can be given to piano students at any level, including adults.

CAPACITY: Master classes can accommodate as many students as there is available time. However, the number of participating students will affect the depth of instruction possible for each individual.

DURATION: The preferred timeframe for each student includes the full length of the work presented plus at least 10-15 minutes of instruction. This can vary according to the age and level of the students. For example, very young or beginning students may require only 7-10 minutes total to be allotted for each individual. However, advanced students performing complete works may require over 30 minutes to be allotted for each individual. The maximum duration of the master class in its entirety should not exceed 2 hours, however adjustments may be made in special circumstances.

BACKGROUND: Students participating should be able to present a complete work or movement. The work does not need to be memorized or completely ready for stage presentation, however the level of prior preparation will affect the benefits that a master class setting offers. It is recommended that intermediate to advanced students memorize the work prior to presentation, as master classes cannot accommodate the extended time and depth of instruction that a private lesson offers. It is a requirement that the student bring the score to the master class, and recommended that the student’s private instructor be available to attend.

EXTENDED RESIDENCY DESCRIPTION

TITLE: This title is always agreed upon by Alpin and the School particpants

DESCRIPTION: An extended residency of two days or more is intended to allow students to interact further with a performing artist, and work on a specific project together over the course of the allotted timeframe. The format can vary widely and be individually tailored to the students’ and teachers’ needs. A residency would bring exposure for students or ensembles in the community outside of the school. For a large ensemble such as an orchestra, band, or choir, it could involve rehearsals and a concert presentation with the artist, such as a piano concerto or other musical work. Larger ensembles respond and benefit greatly from interaction and instruction from another artist other than their accustomed teacher. Smaller ensembles such as a string quartet would receive private instruction and collaboration in a variety of performance settings. Musical theatre students and instrumentalists could also benefit from private coaching as part of their preparation for performance. Specifically, piano students could take advantage of a master class, private instruction, and a collaborative performance at the end of the residency.

AGE GROUP: An extended residency would most benefit students from junior high school to college ages. Collaboration with the artist is a main focus of the residency experience and would require at least an intermediate level of musical exposure and performance ability.

CAPACITY: There are no restrictions on how many students could be involved in an extended residency. Smaller ensembles such as chamber musicians would receive more focused individual attention.

DURATION: An extended residency would require at least 3 days, with an appropriate amount of time set aside for rehearsal, performance, or other interactive programming. There is no maximum limit for duration outside of artist availability.

BACKGROUND: Students participating should be extensively prepared prior to the residency, unless the residency is intended specifically to promote musical appreciation in the community. Ensembles should have musical works prepared and discussed with the artist to maximize the benefit of a residency.