Innovation in concert themes and programs is a key to the vision of artistic director Kristin Lee, a noted violinist who performs in many of the concerts."
– The Olympian

Lee is a passionate advocate for meticulously designed thematic programming, crafting experiences that not only provoke emotions but also educate and inspire. By blending music from both past and present, Lee provides audiences with a distinctive experience that includes both cherished classics and innovative works by contemporary composers, often incorporating multidisciplinary elements as well.

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American Sketches

With her recent debut album, Kristin Lee presents two compelling programs that honor American composers in celebration of America's 250th Anniversary.

Program 1 features a collaboration with pianist Michael Stephen Brown and highlights pioneering American composers who introduced innovative styles and forms to the classical genre.

Program 2 performed with pianist Jun Cho, offers an hour long journey through American music with a focus on ragtime and jazz influences.

Both programs showcase Kristin Lee's dedication to bringing the rich diversity of American classical music to the forefront.

Program 1

In collaboration with pianist Michael Stephen Brown

Kreisler:  Praeludium and Allegro in the Style of Pugnani for Violin and Piano (1910)

Ives: Sonata No. 4 for Violin and Piano, “Children’s Day at the Camp Meeting” (1906)

Bloch: Sonata No. 2 for Violin and Piano, “Poeme Mystique” (1924)

John Adams:  Road Movies for Violin and Piano (1995)

Beach: Romance for Violin and Piano, Op. 23 (1893)

Paul Schoenfield: Four Souvenirs (1990)

Program 2

In collaboration with pianist Jun Cho

H.T. Burleigh: Four Southland Sketches

Ernst Bloch: Sonata No. 2 "Poeme Mystique"

Jonathan Ragonese: Non-Poem 4

Three pieces arranged by Jeremy Jordan

Gershwin But Not For Me
JJ Johnson Lament
Scott Joplin Entertainer

Amy Beach: Romance

George Gershwin (arr. Frolov): Fantasy on Themes from Porgy and Bess

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Mother

“How do Mothers impact us?”  Explore this simple, profound question in this musical and filmic exposé, featuring first-person stories captured by filmmaker Carlin Ma and musical works of Dvorák, Clara Schumann, Beach, and Brahms performed by violinist Kristin Lee, mezzo-sporano Jennifer Johnson Cano, and pianist Michael Stephen Brown.

Johannes Brahms: Wiegenlied (Lullaby), Op. 49, No. 4 (1868)

Carlin Ma: Film No. 1: Mother is…

Antonín Dvořák: Gypsy Melodies, Op. 55, Song My Mother Taught Me (1880)

Carlin Ma: Film No. 2: Memories

Clara Schumann: Three Romances for Violin and Piano, Op. 22 (1853)

Carlin Ma: Film No. 3: Conflict

Amy Beach (1867-1944): Three Songs, Op. 2: Twilight, When Far From Her, Empress of Night (1889)

Carlin Ma Film No. 4: Consequences

Johannes Brahms: Two Songs for Voice, Viola, and PIano, Op. 91

Carlin Ma Film No. 5: Hope

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Kristin Lee x Sandbox Percussion

Featuring newly written works for violin and percussion quartet by Joan Towers & Vivian Fung - to be performed after February 2026 after the world premiere performance at Emerald City Music.

From Vivian Fung:

I am very excited to announce this new collaboration with Kristin Lee and Sandbox Percussion.  Our relationships extend back many years.  I wrote my Violin Concerto No. 1 for Kristin in 2010, with Birdsong and Twist following shortly thereafter.  Sandbox and I partnered on (Un)Wandering Souls in 2020, and I have had a longtime interest in all things percussion (e.g., The Ice Is Talking, Voices Inside My Head).  

I see this project as a violin concerto of sorts, but in a more adventurous vein, as a percussion orchestra forms the backdrop for this setting.  My continual captivation with percussion is a product of the magnitude of possibilities that the genre contains, augmented by the notion of found objects becoming bona fide instruments.  While the possibilities for sound exploration are almost endless, my focus will be finding percussion sounds that complement, contrast, and augment the sounds of the violin.

A natural way of dividing the work is by the material type used - wood, glass, metal, etc.  So, for example, the glassy sounds of the harmonics on the violin may be complemented by an orchestra of glass sounds of different timbres in the percussion, and that can be augmented by experimenting with different shaped vessels - wine glasses, vases, and tubes come to mind.  

The wooden sounds possible on the violin such as knocking on the instrument and tapping on the wooden side of the bow can be augmented with wooden planks, wood blocks, and temple blocks struck in different ways.  

There is an inherent theatricalism in the sound world I am seeking to explore, so as part of the process of composition, I will be working with the performers to maximize the use of spatial possibilities in the room, placement of instruments and movement of performers during the work, and also playing around with the use of lighting.  

Because of the implicit experimentation involved in this piece, we are building into the schedule time for workshopping.  Initially, the performers and I will be exchanging notes by email and video conferencing.  Towards the end of my draft of the piece, we plan to meet in person, likely at Sandbox’s studio in Brooklyn, NY to play through the piece, make revisions, and experiment further to really create a unique work that highlights this collaboration.
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Concertos for the 25-26 Season

Samuel BARBER Violin Concerto

Johannes BRAHMS Violin Concerto 

Max BRUCH Violin Concerto No. 1

Vivian FUNG Violin Concerto No. 1

Edouard LALO Symphonie Espagnole

Astor PIAZZOLLA Four Seasons 

Peter Ilych TCHAIKOVSKY Violin Concerto 

Camille SAINT SAENS Violin Concerto No. 3

Jean SIBELIUS Violin Concerto 

Dmitri SHOSTAKOVICH Violin Concerto No. 1

Antonio VIVALDI Four Seasons