“I want to be the Botox for the wrinkles and dents of the human heart,” says the dynamic violinist Hahn-Bin, who has become a revolutionary force for classical music in the two short years following his Carnegie Hall debut. In a genre of his own — one he calls avant-pop classical — the bold young virtuoso’s theatrical performances give rise to his strikingly personal tales about “love, fear, beauty, and terror.” The Seoul-born New Yorker, whose early artistic influences include Pedro Almodóvar, Maria Callas and Liza Minnelli, made his international debut at age 12 at the Grammy Awards in 2000, drawing a standing ovation from the legendary Isaac Stern. His groundbreaking Carnegie performance in October 2009, preceded by a decade of study with the preeminent Itzhak Perlman at The Juilliard School, was lauded by The New York Times as “inspired, innovative and bracing” — but for the Seoul-born New Yorker, it was no time to rest on his laurels.

Hahn-Bin, whose name means ‘the shining star’ in Korean, launched The Renaissance of Classical Music in Spring 2010, an undertaking he calls “an all-encompassing project which aims to bring the quarantined genre into the mainstream pop culture.” The latest installment in The Renaissance of Classical Music is Tilldawn Sunday a “hybrid music theater work where a genderdefying storyline meets a genre-defying musical kaleidoscope,” says Hahn-Bin. Weaving together the music of over 20 composers and set to a narrative written by Hahn-Bin himself, Till Dawn Sunday takes the audience on a voyage through the fullest spectrum of emotions with its four distinct episodes. “Though I’ve always told stories through the violin, the difference with Till Dawn Sunday is that I have now become the drama. I am now the art,” says Hahn-Bin about his new musical odyssey, which features many of the greatest hits in music. Included are classical golden oldies like Saint-Saëns’ Danse Macabre, Elgar’s Salut d’amour, and Monti’s Csárdás, as well as the evocative film scores of Schindler ’s List, The Wizard of Oz, Young Frankenstein, and The Witches of Eastwick. “I have a morbid fascination for those moments in great films where the soundtrack speaks the unspeakable and in turn reveals truths about the character,” HAHN-BIN says. “I have always been a living cinema, and the violin, my soundtrack — but this time around, with Till Dawn Sunday, there are no secrets left untold.”

Joe’s Pub, The Public Theater, 425 LaFayette Street, New York, NY 10003 Price: $20 December 6 & December 13 at 7:30pm Tickets)212-967-7555